After the teasing first Assembly Point, this second edition cements the fact that Asia is brimming with musical creativity as a whole. Collective collaboration between GOODNWS, a music media based in Jakarta, Indonesia and from Singapore Darker Than Wax. From Tokyo to the deepest side of Taiwan, we unearth a new generation of artists who inject into their music, a diverse range of influences. So, in conjunction with our extended family label GOODNWS based in Jakarta, we are back once again presenting you the sonic frequencies in all things Boom-bap, House, Garage, forward funk nuggets and hypnotic loops.
Starting with Japan, the likes of Japan's Sauce 81, Linn Mori and Rigly Chang have been enlisted for the cause. Nobu Suzuki is a highly respected figure in the electronic music scene, and is truly a sound musician in so many levels. Linn and Rigly Chang are part of the younger generation of Japanese beatmakers who are really starting to develop their own forms.
Travelling across to Hong Kong, we have wonderboy J-Hoon who is a multi-talented cat that freestyles, sings and dabbles in the world of Boom Bap and Electro. J-Hoon has also opened up for acts like Daz-I-Kue, Rhettmatic, Eric Lau, Dj Krush and Afrika Bambata, so you know he means business.
Get on their Soundcloud account to listen and download to the whole compilation!
For these past two decades, Wes Anderson has been one of the most prominent movie director. As we can see in all of his movies such as “The Royal Tenenbaums” (2001), “The Life Aquatic with Steve Zissou” (2004), “The Darjeeling Limited” (2007, and the most recent “Moonrise Kingdom” (2012), he has this signature, distinctive style which is put into every one of his movies.
Anderson’s exquisite style apparently attracted RogerEbert.com’s Editor-in-Chief, Matt Zoller Seitz to investigate Anderson’s work. Seitz recently released his book titled that sums up all of Anderson’s movies from the first to the latest one. This book contains an in-depth overview of Anderson’s works, so that it guides the readers through Anderson’s life and career supported by previously unpublished photographs and artworks.
Seitz also created a video essay series based on the book that we can watch online through RogerEbert.com’s Vimeo channel. Seitz scripted and narrated the videos by himself. These video are divided in seven chapters, in accordance with Anderson’s movie titles. In these videos, Seitz takes the watchers to take a closer look into Anderson’s creations. They are insightful as they give a broader horizon about the films and Anderson as the creator of the films.
To date, there are five parts of this video essay series including Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, and The Darjeeling Limited. The other chapters are coming as the series will be completed with a double feature of Fantastic Mr. Fox and Moonrise Kingdom which are going to be posted Friday, October 25. So make sure you keep checking back the channel because this video essay series is too good to be missed.
To watch the rest of the series, visit RogerEbert.com’s Vimeo page.
In their latest edition of , presents a profile talk about Alfonso Cuaron’s latest surround sound masterpiece, . The video includes the director himself and the re-recording mixer Skip Lievsay explaining about the meticulous and masterful sound in the thrilling realistic space disaster movie. Covering lots of ground like the Dolby Atmos sound system and recording on set.
Cuarón designed the film to be played in a surround sound setting. The best way to experience the movie would probably be in IMAX 3D, where you can hear the sounds coming off from different sides. It is mentioned in the interview that most of the sounds came in as “transducer recordings,” based on vibrations. All of this connects back to the visceral cinematic experience Cuarón was aiming for in the first place, to create a dramatic sound space to a dark and vast outer space environment.
Gravity could probably end up winning a few technical Academy Awards, including and especially the sound categories. Usually a movie with these kinds of techniques applied to it are for the people from the industry to enjoy, but not to worry, this movie will put all kinds of audiences on the edge of their seats. This is a movie that reminds us why watching a film in the theater is the best way to enjoy the film.
Classic movies are always interesting. Through them, we can get vivid images of the era's social context; the storyline, the characters’ wardrobes and styling, the music, and so on.
(WSATCC) is an Indonesian indie-pop band which greatly inspired by the classic Indonesian movies such as Tiga Dara (1956), Badai Pasti Berlalu (1977), Gita Cinta dari SMA (1979), and Ali Topan Anak Jalanan (1977).
WSATCC’s performances make us imagine about Indonesian society in the late 1960s to 1970s through their style of music, the way they dress and their stage acts.
The frontwoman of the band, through the elements of the movies. Sari stated that most of WSATCC’s songs are strongly influenced by the soundtracks of the movies, which she found really beautiful
Beside the soundtracks of the movies as their musical references, WSATCC also do some research on the social context in Indonesian society through the movies and their parents’ collection of photographs for the visual reference of the band.
We can see through Sari’s blog post that the classic that results a fresh concept for the art scene which is highly appreciated by the art enthusiasts in this country.
Click the highlighted link below to read her post:
In ’s latest single music video, the Greek dreampop duo collaborated with the Canadian based videographer Jesse Lamar High and Nik Harper (LAMAR+NIK). The song is called
LAMAR+NIK are famous for their unique character of their videos they created such their work for Pixies’ two latest singles, “Indie Cindy” and “Bagboy.” The video for Recollection is a distinctive piece of theirs as well.
The video took place at an abandoned school building, where we follow a middle-aged woman wandering through the deserted classrooms while reminiscing about her days as a student. As she wanders in the building, there are bubbles appearing in various shapes in every room she enters.
The message of the video seems to be that our lives are surrounded by memories; everything we do will soon become memories and all we can do is to recollect the memories as much as we can, whether the memory is good or bad. The bubbles that appear in the video reflect that like bubbles, our memories have different forms, too.
Another interesting fact about this video is that all the bubbles in the video are real. LAMAR+NIK stated that they did not use computer-generated imagery (CGI) in this video at all.
To find out more about LAMAR+NIK’s works, click here.
The new collaboration between Japanese modern artist and the cosmetic brand entitled just released a 3 minute promotional animation done by the artist himself.
The art direction is based on Murakami’s upcoming animation series, which was previewed back in 2010, 6 Hearts Princess. It involves magical girls, or majokko, so think cosplay, animes, mangas, and a series of colorful fantasy explosions when you think about this collection.
The concept behind the entire collection is around “dual beauty” of the pink and black princess. A notion that states that every woman has a pink (light) and black (darkness) side in her, nice and naughty, innocent and sexy. Playing with the concept, the make-ups will allow you to freely transform yourself from pink to black, or from black to pink flawlessly.
In an exclusive interview to WWD, Murakami said,
The 6HP collection launches in November, and if you're a Murakami fan or a makeup junkie, get your wallets and clicking fingers ready. Because the collection will be exclusively available on their USA website early November and the lineup will range from $24 to $75.
