I edited “Lighters Up” by Snoop Lion, featuring Popcaan & Mavado, directed by Andy Capper and produced by Codine Williams for Berhane Sound System and RCA Records
“Lighters Up” premiered on VEVO on February 1st, 2013
Before we got all comfy with EPGs and Guides and TiVo there were ‘flicking channels. And when you flicked channels you built up a bizzaro narrative from the fragments of TV that clunked in front of your eyes. People wrote endlessly about this as if these machine narratives gave us some insight into 20th century malaise; but In some Cronenberg-ian daydream these channels were not fragmented, they hung around and decayed over each other, melting together in an orgy of RGB (or Y’UV / Y’IQ, pedants).
Rising and falling and obtaining, in a Paralax View style, some sort of mental hold on you through its pixel overload, it nonetheless has many moments of almost woodcut beauty (see the black and white section with the peacock). Although mind-melded to the music throughout, interestingly, the video’s own momentum keeps it going well past the song’s end; like some whirling dancer still jerking up into the air long after the music’s stopped and the lights are on.
Matthew Caron’s hypnotic destruction of video is what’s being described above. They’ve done this in the service of “The Three Voices of Tawûsê Melek” by Long Distance Poison. This video is included on a DVD that will, in turn, be included with the Gliese Translations LP/DVD which can be pre-ordered here.
“The Three Voices of Tawûsê Melek” and a collaborative video performance with Rebecca Gaffney titled “A Passage Above” are included on a DVD packaged with the 12? vinyl of Gliese Translations, available from Fin Records 3/19/2013. PRE-ORDER HERE.
Here’s what director Andy Capper had to say:
I shot it at the Niagra Bar on 7th and A because the neon sign from the cover of the record hangs there.
That corner of New York is really significant in L.E.S hardcore / punk history and I guess it was sung about in “New York Crew” by Judge. That track is one of mine and Turbo lead singer’s Tony Sylvester’s favourite songs ever; I met Tony through hardcore about 20 years ago and we’ve been best friends ever since.
Director: Andy Capper
DP: Dan Meyer
Editor: Matthew Caron
Art attack: Nicholas Gazin
Styling: Annette Lamothe-Ramos
Thanks to: Volcom, Mack Beer, Turbojugend International, Johnny T & Niagra.
I cut this video of Araabmuzik doing his thing at 285 Kent in the summer of 2012. Weird Magic and Distrolord made the night happen, A$AP Rocky and A$AP Ty Beats came through to party, Ian Perlman shot the footage and the rest is history.
Over the summer, Brooklyn’s 285 Kent held one of its wildest parties of the year, bringing in an insane collection of guests. AraabMuzik, A$AP Rocky, A$AP Ty Beat$ and Grimes (doing a DJ set) all made the bill at Dreams, an event hosted by Weird Magic and Gustavo Guerra. Luckily for those of us who couldn’t make it out to Williamsburg, we now have some high quality video of the star-studded event. Check out that video up above to see AarabMuzik doing what he does best while the A$APs and Grimes enjoy. – Complex
I recently created four videos for Boys Don’t Cry, presented Baang + Burne Contemporary. Boys Don’t Cry is a three person show featuring the works of Joseph Cultice, Chris Jehly and Rich Tu. These three artists stemming from different disciplines, working in different mediums, come together in Boys Don’t Cry. Finding a pathway to express their desires, fears, and unanswerable questions poignantly through their work are what each artist has in common. By utilizing personal demons stuck within, each unfolds the inner workings of their psyche earnestly, explosively, sarcastically, violently and with hope.
Boys Don’t Cry: Opening Night
Rich Tu: There Will Be No Survivors
In comparison to Cultice and Jehly, Rich Tu’s massive minimalist drawings are a new beast, a contradiction in itself. The simple drawings stand up and declare a singular message from an exceptionally large stage (some measuring up to 50×50″), with equal part wit and macabre innocence. From the series There Will Be No Survivors, the viewers are confronted with a dark humor sliver lined with a toy solider delight. Irony is easy to deliver. To discover substance and vulnerability beneath repartee is a rarer find. Contrary to the trending aesthetic of contemporary art, which is often filled with saturated colors, bling, shine and excessive glamour, Rich’s work strips away the “pop” sensibility and offers up an elegant, black and white, naked, quiet scream.
Drawing from cartoons and comic books circa 1930’s and 40’s, Chris Jehly’s large scale paintings use comic illustrations and cartoons to explore how one “can mask, distort, vilify, and amplify the perception of everyday life.” Many of the cartoon characters express elements of racism, misogyny, sexual innuendos, and drug use. The characters bring into focus the politics and social codes of the period, rendering them comical by exaggeration. Jehly uses these references and applies them to his own work with a deft hand, side-stepping the realm of appropriation and social commentary. Without using any pencil sketching as a guide, Jehly goes straight to the canvas with paint, bringing an element of surprise, spontaneity and fluidity to what appears to be highly controlled and calculated work. Extracting the sense of impromptu from his early street art roots, Jehly doesn’t dictate the orientation of the canvas. There is no up or down, north or south; he continuously turns the canvas as he works, approaching the piece from different angles, thus keeping the graffiti element of surprise intact.
Joseph Cultice: The Garden
Joseph Cultice is a photographer with a prestigious career of high gloss, superstars and cultural icons. He spends his days attempting to chip away at the façade to reveal a fraction of the real story underneath the persona, to construct the idea that “pop is personal.” Boys Don’t Cry includes luscious images from the series, The Garden, a photographic series that questions our contradicting desires for limitless debauchery and domestic bliss in equal measure. Our incongruous desires are rendered with Lynchian surrealism into a messy domestic life interspersed with seemingly wild liberation. Is the nuclear family still a relevant dream for contemporary society? The intricacies in the intimacy of the family scenes are all the more poignant once we understand the “models” are his own family and himself.
Boys Don’t Cry pairs three of Baang + Burne’s newest artists for an unexpected show, working with and against each other, to unmask the volatility of contracting desires we hold within.
Oct 4 – Nov 8
Gallery Hours Wed – Sun, 12-6pm
548 W 28th St #238, btw 10/11th st, NYC
Long Distance Poison performed Signals To A Habitable Zone on October 12th and 13th, 2012 at The Autumn Bowl as part of Whispers: A Sound + Art Series. It was our first performance as a group in conjunction with an arts festival. Whispers: A Sound + Art Series presented a weekend of sound-based and sound-inspired art performance, establishing The Autumn Bowl as a new site for innovative musical and visual experiences. Presented by Nuit Blanche NY, The Autumn Bowl lasted through the month of October and featured artists working with light, sound, and projection and offer a range of events in conjunction with co-presenting cultural organizations within a 360-degree video projection and sound environment.
A couple of weeks ago Aaron Cohen and the Inner City Kids made it happen in 350 Broadway at one of our lauded in-store performances. Playing in support of his recently released Mishka Records mixtape Murk, the locked-in Cohen churned through highlights from that tape with steely intensity and some guests as well. Even if you weren’t there, you can relive the magic with these videos shot by our friend Matthew Caron. There’s even more awaiting your eyes over at our Vimeo. Enjoy! – Whole Milk
“M00N” is more or less a reflection upon internal struggles, both ongoing and resolved which caused me to doubt a lot of things I was doing from relationships to school and music. After venting on that track a lot of those insecurities dissolved into nothing and I felt free from a lot of the turmoil which was haunting me. – Haleek Maul
Taped Live at PACS Gallery, Brooklyn NY for live stream to Seattle’s Next 50 Festival, 2012
Music by Long Distance Poison
Signal I and Signal II videos by Matthew Caron
Live video mix and manipulation by Scott Kiernan, Victoria Keddie, and Ethan Miller
Cameras by Lee Lichtsinn, Matt Bonner, and Rebecca Gaffney
Photo and video by Intel
I collaborated with my friend Eric Drasin on video design and VJ duties for the Four Stories Launch Party at the W New York Downtown on August 9th, 2012
The scene on the red carpet of W New York – Downtown was electric Thursday night as Roman Coppola, The Directors Bureau, W Hotels, and Intel kicked off Four Stories, a short film series and competition. The party inside the hotel was even livelier than the scene on the street. DJ sets by Michaelangelo L’Acqua, W Hotels global music director, Theophilus London and DJ EIKO from Tokyo rocked the crowd. Michael Pitt and James Ransone — who are members of the competition’s judging panel — joined about 200 cinema-loving revelers to celebrate the opening of Four Stories. Roman even delivered a toast to the spirit of creativity, innovation, and collaboration.
W New York Downtown’s living room was decked out with large-scale movie posters, cinematic projections and an interactive display. Intel-inspired Ultrabooks™ powered cutting edge animated GIF booths that virtually transported guests to four iconic W Hotels destinations across the globe. Roman and his production company, The Directors Bureau, will produce four short films at W Hotels in Doha, Mexico City, The Maldives, and Washington DC.
Read more about the Four Stories Launch Party at Intel