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The man that gave some of us our favorite Royksopp song, Smiths cover, the face of Kings Of Convenience, and the soul of The Whitest Boy Alive, and pretty much my idol has a new single… and its in Italian. I have mixed feelings, I don’t dislike it, I really don’t want to listen to it again today because of the Olive Garden commercial guitar on it, maybe tomorrow.
Its hard, i’m not a Kings Of Convenience bandwagon fan, i’m a true Erlend fan and this just throws a few things off but not in a bad way. For the record, I enjoy how everything else meshes, that synth is actually refreshing, the flute with the bassline nails some classy early light disco that i’m a fan of. But the ukelele sounding thing when its up front, i’m just not feeling. What are your thoughts? and don’t say “why those shoes?” because I already said it.
Its hard to pick a favorite Paul Rudolph image, i’m just soo inspired every time I look his sketches, i’ve actually decided to get one tattooed on me.
Below is a Fact mix that i’ve been going back to, really solid and thought though, not just a bunch favorites slapped together, that seems to be the Dial way.
Tracklist:
1. Raymond Scott – Country Fair (Instrumental)
2. Dj Sotofett – Asa Med
3. Anthony Shake Shakir – Frayed
4. Perception – Abandoned Building In Mono
5. Max/Ernst – 7Klick1
5. Steevio – Ty (Deep Mix)
6. Furthr – Enta (enypnion)
7. DJ Qu – Times Like This
8. Black Jazz Consortium – Be And Not Know Why (feat. Christina Wheeler)
9. STL – Paku Paku
10. Jason Fine – Conical
11. Delroy Edwards – 4 Club Use Only
12. Ra. H – Spacepops
13. Gherkin Jerks – Midi Beats
14. Vakula – 41600
15. Delano Smith – Invitation Only (Reconstructed by Tobias.)
16. M-Core – Be Gene
17. Parallel 9 – Dominus
18. Echoplex – Soleil
19. tvhosten – Swinger EP
20. Acid Jesus – Radium
21. Lucy – Finegan (Pariah Rmx)
22. MLZ – One State
23. Jeroen – Axis
24. D5 – Run
25. Mark Ambrose – Bellringers
26. Phuture – Rise From Your Grave
27. Dream 2 Science – Dream 2 Science
Perhaps I’m a little late on the Sebastião Salgado bandwagon but I’m really glad I jumped on. Sebastião Salgado is a veteran documentary / photojournalism photographer from Brazil. I believe most of the shots above were shot with a Leica M7 with mostly Kodak’s T-Max 400 film. I’ve also read that Mr. Salgado has switched to digital format in recent years. Either way, his photographs floored me. I was at Samy’s Camera here in Los Angeles and they had his book Genesis on display. I could have sat and viewed that book for days. Each image had me staring at it for a good length of time. Salgado’s work is the kind of work that makes me want to quit photography entirely because it’s just too good.
I could go on and on about his work but go ahead and do your own research on Sebastião Salgado.
Sebastião Salgado Wiki
Alexander Kopatz is a biologist and wildlife researcher from Svanvik, Norway, who I’ve been following for sometime now through his blog, GO 70° NORTH. I love the way his nostalgic and subtle tones match the stark and expansive landscapes he works in. Highly recommended that you follow him on his blog or updates through his Facebook and Instagram.
Posted by: Owen
I found paintings in my on going search for artificial landscapes. I think we all have that place in our hearts for that architecture and nature fantasy mesh, even if its office buildings or in this case dramatic islands floating in the sky.
Object autopsies from Todd McLellan’s book Things Come Apart. No idea how he got those exploded views but they’re incredible.
Via Wired
I have never owned a Mac Pro nor do I ever plan on owning one (probably, never say never). I am writing this from the perspective of a life-long PC user (which I am) who thinks very highly of Apple products (I use Macbook Pros for the Tycho live shows). I love OS X, I love Apple hardware; I just prefer PC as my desktop environment when creating music, design, and video. I don’t have any great explanation, I just do. But I’ve always envied those shiny aluminum behemoths lurking in the corners of my friend’s studios. The interior of the Pros was always what did it for me: that blue color on the PCBs, the brushed finish on the capacitors, the thermal compartments. So I too was waiting on this new machine, if only to see what Apple would come up with next.
Considering I’m not a Mac Pro user it’s not really my place to be thrilled or disappointed, I guess I’d just say I’m surprised. This was a radical step in a new direction and for that, I applaud Apple’s stones. With their dominance in the consumer sector this could have gone two ways: The Mac Pro could have just gone away, or, with nothing to really gain or lose, they could do something completely unexpected and truly innovate. They chose the latter and I think it’s a great thing for the PC industry as a whole.
I would have said let’s put aesthetics aside and just discuss the specs on this machine, but it seems the two are inexorably linked, which depending on how you view this, could be a good or bad thing. On the one hand it’s compact and sleek, on the other it seems very proprietary, further limiting the already limited list of compatible hardware. But don’t forget what’s around back: six Thunderbolt 2 ports. The first thing I thought when Thunderbolt 1 was announced was “here comes modular computing”. The first thing I thought when I saw the 2013 Mac Pro and the Thunderbolt 2 announcement was “here is the face of modular computing”. A compact central computing element with an external interconnect protocol capable of PCIx+ speeds. This opens some very large doors in terms of upgrading and/or easily and quickly adjusting your system for changing needs.
The form factor is incredibly efficient (take a look at the Mac Pro site at Apple for more on the unified thermal architecture, brilliant). For someone who transports a very large PC ATX case to and from various studios, the idea of a compact, tubular enclosure like this is a dream. I could fit this thing in a messenger bag or a small flight case. For tour it could be great too; mount two of these horizontally in a flight case so that when the case caps are removed the intake and exhaust are exposed. I’ve seen the old Mac Pros mounted two-up in 19″ flight cases on stage before, it’s a huge footprint, this would be a welcome change for many a stage manager / tech I’m sure. As I’m writing this I’m starting to convince myself this might make a good next desktop, we’ll see.
All in all I think it’s a beautiful piece of engineering with the specs to back it up, but what do I, a lowly PC user, know? What do you current Pro users think? Does this scare you? If so, why? What do you think of the look? Are you going to get one?
The New Mac Pro
“Half Of Where You Live”
We’re proud to be allowed to be streaming the new Gold Panda album for the ISO50 readers. If you love the record be sure to support it physically, this one should be around for years to come. Below is a more detailed description/story around the album but if you want just the music then enjoy above.
SUPPORT:
BUY VINYL / CD / DIGITAL
Nearly three years after the release of his debut album Lucky Shiner, Gold Panda returns with his second album Half Of Where You Live, to be released on Ghostly International and his own NOTOWN label (UK). The album is the product of a period spent touring the world multiple times around, absorbing influences and probing potential new avenues of creative exploration.
Half Of Where You Live represents a stylistic and thematic advancement from Gold Panda’s previous work, expanding on the ideas he presented on 2012’s Mountain/Financial District 7” and this March’s Trust EP. It reflects its creator’s nomadic existence — you can see the influence of his travels in track titles like ‘Brazil’ and “Enoshima,” in the oriental textures of “My Father In Hong Kong 1961” and “We Work Nights,” and in the sounds of “Junk City II,” conceived as a hypothetical soundtrack to ’90s anime and the films of controversial director Takashi Miike.
“These films depicted a post-economic boom Tokyo in the 1990s”, the producer explains, “and there was a last days feeling in them. [The feeling] still lurks [in Japan]. I saw a return to that possible dystopia. I’ve seen people in Osaka walking around, jobless, mental, stricken. I think real desperation and poverty is returning; it’s quite scary.”
The whole album, in fact, is described as a “city album” by its maker, and it’s easy to see why — each track possesses a different aesthetic and reflects a different environment. Gold Panda describes it as “a jump from location to location… I felt like I was stealing a piece of each place I went to.” ‘Community’ is a house-tinged reflection on cultural divides in London, while “Brazil” catalogs Gold Panda’s arrival in Sao Paolo: “I wanted to make a track that soundtracked my ride from the airport to downtown” he explains. “The [vocal] sample is kind of like an excited chant, bigging up the place, then it all gets confusing to replicate the traffic and buildings.”
Taking on this loose concept has meant a more considered approach for Gold Panda, and the music has harsher edges than his previous work, and an almost hauntological feel at times. Crucially, though, this new approach hasn’t compromised the producer’s creative freedom, and the album still flows with his trademark organic vibrancy. “I’ve tried to really focus on just a few elements,” he explains. “I tried to avoid chopped up female vocals this time around, as it’s become pretty well done, and anything that was too solid structurally. Ultimately, though, you just you find your groove and settle into a sound and realize you only really need to please yourself.”
