MUTO by Blu
Blu animates walls in Buenos Aires with about seven minutes of awesomeness:
MUTO a wall-painted animation by BLU from blu on Vimeo.
Archive for Entertainment & Culture
Portishead – Third
I have to say it at once: Portishead fulfill and surpass all expectations, and I can’t describe Third as anything but another masterpiece. But it is different. Definitely Portishead, but at the same time fundamentally different, and something entirely new.
The opening track, “Silence”, has a sound like you’d expect Portishead to sound like after maturing for a decade – maybe a bit more lo-fi, but with the familiar structure of lazy drum patterns along with familiar sounds. But then it is abruptly cut off, as if to make statement that the past ends there.
Going back, I’d say that Dummy was comfortably melancholic, while the self titled follow-up turned a few shades darker with its outcry of frustration. So, how would I define the sound of Third in emotion? Nagging anxiety, unnerving tension, restlessness and that feeling of wanting to crawl out of your own skin. The album never lets really lets you relax – if it isn’t stressing, monotonous beats or discordant semi-industrial sounds it’s sudden changes and interruptions.
“Hunter”, the second track, just lets you get into a comforting mood before an electronic arpeggio abruptly wakes you like a doorbell in the night. “Plastic” stops, starts and twists this way and that. “We Carry On” has a beat like that of some tribal ritual, and along with something like electronic imitations of primitive instruments the beat goes on and on and keeps you waiting for a break that never really comes. The whispering “Small” is broken off by determined, dissonant chords. And then we have the single track “Machine Gun”, like a martial theme out suitable for some dystopian sci-fi, a minimalistic construction of industrial beats carrying Beth’s light voice and, somewhere far in the background, a mellow flute struggling to be heard.
Minimalism is, by the way, a good description of the whole album. There is a lot going on, but the soundscape is open, even vast. It goes with the anxiety-feeling I described, and there’s something quite cold and raw about it. And along all this there is, of course, Beth’s wonderful voice – this time free from the vocal effects so common in the past.
Third is a work of musical art, far from light entertainment. It demands attention, left in the background it will turn into an distraction and lure you in – or force you to turn it off. It is Portishead, and it is something you have never heard before. And it is absolutely brilliant.
Official portishead site | Wikipedia entry
Portishead – Third at amazon.com: Download | CD | Vinyl
Portishead – Third at amazon.co.uk: CD | Vinyl
Portishead – Third
I have to say it at once: Portishead fulfill and surpass all expectations, and I can’t describe Third as anything but another masterpiece. But it is different. Definitely Portishead, but at the same time fundamentally different, and something entirely new.
The opening track, “Silence”, has a sound like you’d expect Portishead to sound like after maturing for a decade – maybe a bit more lo-fi, but with the familiar structure of lazy drum patterns along with familiar sounds. But then it is abruptly cut off, as if to make statement that the past ends there.
Going back, I’d say that Dummy was comfortably melancholic, while the self titled follow-up turned a few shades darker with its outcry of frustration. So, how would I define the sound of Third in emotion? Nagging anxiety, unnerving tension, restlessness and that feeling of wanting to crawl out of your own skin. The album never lets really lets you relax – if it isn’t stressing, monotonous beats or discordant semi-industrial sounds it’s sudden changes and interruptions.
“Hunter”, the second track, just lets you get into a comforting mood before an electronic arpeggio abruptly wakes you like a doorbell in the night. “Plastic” stops, starts and twists this way and that. “We Carry On” has a beat like that of some tribal ritual, and along with something like electronic imitations of primitive instruments the beat goes on and on and keeps you waiting for a break that never really comes. The whispering “Small” is broken off by determined, dissonant chords. And then we have the single track “Machine Gun”, like a martial theme out suitable for some dystopian sci-fi, a minimalistic construction of industrial beats carrying Beth’s light voice and, somewhere far in the background, a mellow flute struggling to be heard.
Minimalism is, by the way, a good description of the whole album. There is a lot going on, but the soundscape is open, even vast. It goes with the anxiety-feeling I described, and there’s something quite cold and raw about it. And along all this there is, of course, Beth’s wonderful voice – this time free from the vocal effects so common in the past.
Third is a work of musical art, far from light entertainment. It demands attention, left in the background it will turn into an distraction and lure you in – or force you to turn it off. It is Portishead, and it is something you have never heard before. And it is absolutely brilliant.
Official portishead site | Wikipedia entry
Portishead – Third at amazon.com: Download | CD | Vinyl
Portishead – Third at amazon.co.uk: CD | Vinyl
The sky will fall tomorrow!
It’s true. I saw something that must have been flakes of the cement that keeps it up fall outside my window. It’s mid-april, and it shouldn’t snow now, so in my opinion it must be proof that the whole firmament will come tumbling down within 24 hours. I’ve already checked out this building’s air raid shelter, and as soon stores open I will go stockpile canned food. Now, quickly, post on your blogs, journals and the forums you frequent – everyone must know! Hey, start a petition as well, we have to make sure to reach the people who can do something about it.
And people do take action from things they read online. Througout the day, I’ve seen several heated calls to action based on an article on Animation World Network, in which the author discusses a propes bill that would force everyone to register copyright for all their works to avoid that they become orphaned works – which supposedly would allow companies to reap everything including flickr, your blog and your family album for unregistered works and put them to commercial use.
Of course, that prospect worries me as an artist. Regestering works would be an added cost, and one that would feel hard to justify for works that won’t immediatly yield any profits – like those all creatives have littering their studios, desk and harddrives. And it would probable affect me here in Europe as well a few years down, since our governments often follow suit.
But I can’t say I felt an urge to to join any discussions before I had a bit more facts – something which I found lacking after a glance on Simon’s article. And a while later, Cory Doctorow of Boing Boing (my must regular source on such matters, btw) pointed out this article, whose author has done a bit more research and found that no such bill as the one mentioned on AWN is in progress of being legislated – only mention of one from a couple of years ago that didn’t become anything. She also provides a lot of useful information regarding the subject of copyright and orphaned works as it is today.
So, my strategy of finding (or waiting to be provided with) a bit more facts seems to have saved me some trouble again. Not only the work of arguing against something that doesn’t matter, but also saving me from looking stupid after passing on what just seems to be a blimp’s worth of hot air.
Now, get going on the sky thing. You read it on the internet – so it must be true…
The sky will fall tomorrow!
It’s true. I saw something that must have been flakes of the cement that keeps it up fall outside my window. It’s mid-april, and it shouldn’t snow now, so in my opinion it must be proof that the whole firmament will come tumbling down within 24 hours. I’ve already checked out this building’s air raid shelter, and as soon stores open I will go stockpile canned food. Now, quickly, post on your blogs, journals and the forums you frequent – everyone must know! Hey, start a petition as well, we have to make sure to reach the people who can do something about it.
And people do take action from things they read online. Througout the day, I’ve seen several heated calls to action based on an article on Animation World Network, in which the author discusses a propes bill that would force everyone to register copyright for all their works to avoid that they become orphaned works – which supposedly would allow companies to reap everything including flickr, your blog and your family album for unregistered works and put them to commercial use.
Of course, that prospect worries me as an artist. Regestering works would be an added cost, and one that would feel hard to justify for works that won’t immediatly yield any profits – like those all creatives have littering their studios, desk and harddrives. And it would probable affect me here in Europe as well a few years down, since our governments often follow suit.
But I can’t say I felt an urge to to join any discussions before I had a bit more facts – something which I found lacking after a glance on Simon’s article. And a while later, Cory Doctorow of Boing Boing (my must regular source on such matters, btw) pointed out this article, whose author has done a bit more research and found that no such bill as the one mentioned on AWN is in progress of being legislated – only mention of one from a couple of years ago that didn’t become anything. She also provides a lot of useful information regarding the subject of copyright and orphaned works as it is today.
So, my strategy of finding (or waiting to be provided with) a bit more facts seems to have saved me some trouble again. Not only the work of arguing against something that doesn’t matter, but also saving me from looking stupid after passing on what just seems to be a blimp’s worth of hot air.
Now, get going on the sky thing. You read it on the internet – so it must be true…
Renaissance
I watched Renaissance last night, which for those who don’t know it is an animation feature co-produced by British, French and Luxembourgian interests. Set in Paris in the year 2054, it plays as a sci-fi noir thriller about a jaded police captain, Barthélémy Karas (viced by Daniel Craig in the English version), on a mission to find the kidnapped Ilona Tasuiev, a researcher for the ubiquitous health and beauty corporation Avalon. With the aid of Ilona’s sister Bislane, he gets further into a mystery with roots reaching back to 2006.
The story might be a bit thin, and not very original, but it’s a solid one and does its job of keeping the film together. The theme is simple but comes with a twist that adds a bit of depth at the end to make it more a little worthwhile.
Now, what really makes Renaissance stand out is the visuals. Its graphic novel style is brilliantly executed. I think it’s as close to bringing the black ink style alive as anyone has come. There’s a minimal use of grays for lighting effects, but otherwise the appearance is very graphic. The result is very vivid, so much that I first thought the characters were live actors animated with some sort of rotoscoping technique, but it appears they are digitally created, with motion capture recorded movements. Even facial expressions work well, and that’s something that often makes the illusion fail. In short, it’s a film that would be worth seeing only for the style. If I get an opportunity to see it in a theater, I would gladly pay the admission just to see how it works that way.
While it was animated for English voices, I was recommended to watch the French version with English subs, and it worked well. Maybe because it is set in Paris, but maybe there’s something else to seeing animation in a language you don’t understand. I’ll watch the English version later.
Anyway, I enjoyed it. If I should rate it, I’d say its an 8/10. There are aspects that aren’t perfect, but the overall experience is great. Maybe it isn’t something for anyone, but that’s true for all films.
And here’s a bit of links and shopping information:
Imdb entry
Official US DVD site
Rennaissance DVD at amazon.com
Rennaissance DVD at amazon.co.uk
Renaissance
I watched Renaissance last night, which for those who don’t know it is an animation feature co-produced by British, French and Luxembourgian interests. Set in Paris in the year 2054, it plays as a sci-fi noir thriller about a jaded police captain, Barthélémy Karas (viced by Daniel Craig in the English version), on a mission to find the kidnapped Ilona Tasuiev, a researcher for the ubiquitous health and beauty corporation Avalon. With the aid of Ilona’s sister Bislane, he gets further into a mystery with roots reaching back to 2006.
The story might be a bit thin, and not very original, but it’s a solid one and does its job of keeping the film together. The theme is simple but comes with a twist that adds a bit of depth at the end to make it more a little worthwhile.
Now, what really makes Renaissance stand out is the visuals. Its graphic novel style is brilliantly executed. I think it’s as close to bringing the black ink style alive as anyone has come. There’s a minimal use of grays for lighting effects, but otherwise the appearance is very graphic. The result is very vivid, so much that I first thought the characters were live actors animated with some sort of rotoscoping technique, but it appears they are digitally created, with motion capture recorded movements. Even facial expressions work well, and that’s something that often makes the illusion fail. In short, it’s a film that would be worth seeing only for the style. If I get an opportunity to see it in a theater, I would gladly pay the admission just to see how it works that way.
While it was animated for English voices, I was recommended to watch the French version with English subs, and it worked well. Maybe because it is set in Paris, but maybe there’s something else to seeing animation in a language you don’t understand. I’ll watch the English version later.
Anyway, I enjoyed it. If I should rate it, I’d say its an 8/10. There are aspects that aren’t perfect, but the overall experience is great. Maybe it isn’t something for anyone, but that’s true for all films.
And here’s a bit of links and shopping information:
Imdb entry
Official US DVD site
Rennaissance DVD at amazon.com
Rennaissance DVD at amazon.co.uk
I am sorry to report dear Paris is burning after all
Thanks to William Gibson I saw this video of Annie Clark performing St. Vincent’s “Paris is Burning”. Beautiful.
I just had to… procure… the promo for Marry Me. More beautifulness.
Update Found out that those videos are bloggable, so here’s an update.
