For more information on former Soviet Union photographic oddities, please consult this guide.
Sergei Mikhailovich Prokudin-Gorskii uses a specially designed view camera that creates three separate monochromatic negatives at once. By applying red, green and blue filters to selectively cut colour transmittance, he collects red, green and blue tones on separate negatives, which can later be combined during printing using similar filters to create colour images. All this in 1905!
Excerpts from a conversation which took place outside New City, just after Scrapbooker’s intense debut:
curious listeners can find the entire conversation (which includes some hot Ikon action) here.
Youtube comments to The Beatles’ Twist and Shout:
at least nickelback has the money to put fucking color in their music videos. what is this shit? its fucking black and white because these fuckers are too poor to buy fucking color cameras.
beatles are nonames
nickelback is the best metal band ever
I imagine Giuseppe Ielasi in Aix-en-Province, holed up in a mostly-empty loft, surrounded by musical and potentially musical paraphernalia. Sitting inside his toy block castle, tape rolling, he pours water into cups, zips up zippers, sprays aerosol cans, and cracks billiard balls together. He captures the sounds of collision and its resultant echoes, and once his accumulation is sufficient, he scrambles it. The product is a kind of modern musique-concrete—sounds individually identify themselves while interlocking to form a larger musical whole. But Aix, distilled through a minimalist-techno apparatus, avoids musique-concrete’s typical harshness. Rough edges are sanded and glossed into geometric shapes. Rhythms form organically from the accretion of sound in an atmosphere that borrows equally between jazz and downtempo. Traditional instruments attend, though they usually arrive warped barely within recognition.
Although these tracks are labeled only by number, they remain distinct parts of a cohesive collection. The opening track introduces itself with a clear but rhythmically uncertain bass note (a good sound system is crucial for full effect) that alternates with the upper registers where objects interact and reverberate in wide space. After almost two minutes a droning organ declares the track’s intent—it’s a song after all, and the mass of disparate sounds suddenly resolve into something clearer, the meter for a melody. “02” is even sparser, where a violently plucked string keeps time against incoming zippers, exhausted aerosol cans and stuttering reverse-piano stabs. Perhaps more so than any other, the third track, “03,” achieves a delicate balance between the pleasures of unfamiliar but richly-recorded percussion and the tension Ielasi expertly sustains and releases by adding and removing certain instruments at just the right moments. A slight relief from Aix‘s challenging rhythms comes from two quieter sections: “04” with its alien landscape of clicks and wispy drones, and “07,” which plays like a stroll through a deserted shopping mall. The final track reinforces Aix‘s jazz affiliation through a sampled upright bass that ends the album—after only a brisk 31 minutes—on a thoughtful, melancholic note.
Aix‘s success as an album lies in the way in which Ielasi takes a potentially sterile process and imbues it with emotion, obscuring its calculative essence. And yet, Aix‘s mathematical underpinnings are crucial to its appeal—they structure the music and chart the album’s satisfying course. For the listener attuned to Ielasi’s unique musical aesthetic, Aix embodies tone and time, working together in irresistible harmony.
stirring speech, but now we must kill our leader
apricots at the picnic
drunk in the daytime
ghosts in the backyard!
clockmaker’s clock is broken, but beloved (by mathew)
I think this is my favourite of all the collections. Goodnight, loop fans, wherever you are.
busy, confident stroll
noodles’ funk adventure (mo munk)
6th circle (by gone savage band)
This was meant to be it but I’ve discovered another good set. So be it.