Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book. Books Video icon An illustration of two cells of a film strip. Video Audio icon An illustration of an audio speaker. Audio Software icon An illustration of a 3.
Software Images icon An illustration of two photographs. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Created with "low-end" equipment and miniscule budgets, these films and videos convey an intimacy rarely encountered in the public cinema.
Robert Full, head of UC Berkeley's Poly Pedal Laboratory, researches insect locomotion in studies that capture centipedes and cockroaches running along treadmills at speeds up to 1, images per second. Full will appear In Person to describe how these motion studies have become the basis for 3-D computer models and the design of robots that move like insects. Ant City by Moss Paul F.
The improvisational quality of the narration delivered by Moss Schnee with his heavy Brooklyn accent reveals as much about human notions of organized society as animal ones.
Mark Thompson's astonishing Immersion , 7 minute excerpt captures a performance in which the artist places a queen bee on the crown of his head.
Over a period of about an hour, worker bees attracted to the queen slowly cover Thompson's entire head — his eyes, mouth and ears — hanging together in chain-like formations. In order to experience this "immersion" into the hum of the hive, Thompson maintains Buddha-like concentration and calm throughout. In each work the appearance of events is not taken at face value but used to examine perceptual, kinesthetic and cinematic experience.
The main character in this piece is the bloom of a wax vine, a house plant which has been with me since my mother placed it in the window of my childhood bedroom. The supporting role is played by my 9 th floor apartment in downtown San Francisco, where both my reels were shot. There are people in the apartment: me, two friends and my lover as a child with his parents in old photographs. There are people walking in the alley below. CB Untitled by Elizabeth Powers; unsplit 8mm, color, sound, 4 minutes Untitled uses the multiple image format of unsplit regular 8mm to document a landscape and explore the landscape of memory.
A solid moment, suspended within a space of constant vibrating activity. Tran; hand-cranked 35mm, color, silent, 1 minute Cinema suspended intermittently; suspended cinema.
MW "Effectively a conflation of the mutually exclusive projects of Muybridge and Marey, the Motion Studies are simultaneously intensely dynamic and absolutely static. Where Muybridge captures the object in motion and Marey represents the motion of the object, Wilson isolates these properties while displaying them simultaneously, implying temporality in single frames and objecthood as a function of duration.
On the surface it's about the changes taking place, over a two- year period, in an empty lot and a decrepit old building next to my house. Deeper down it's about the walls and windows between my interior and exterior selves, and how the fragile constructs of identity are etched, eroded, re-shaped and transformed by outside forces.
Richard; 16mm, color, sound, 8 minutes A collage of nature examining the details of flowers, leaves and a super-natural blue, black and purple forest. An exploration of nature and an amazingly versatile film stock, which sadly has been discontinued by Kodak.
The title refers to the abuse which has and continues to be leveled against the environment. Knott's house every evening of the year, between the hours of eight and ten. Then on those evenings on which food was available for the dog, in Mr. Knott's window, or some other conspicuous window, a red light would be set, or perhaps a green, and all other evenings a violet light, or perhaps no light at all, and then the man and no doubt after a little time the dog too would lift up his eyes to the window as he passed, and seeing a red light, or a green light, would hasten to the house door and stand over his dog until his dog had eaten all the food, but seeing a violet light, or no light at all, would not hasten to the door, with his dog, but continue on his way, down the road, with his dog, as though nothing has happened.
On the occasion of her fifteenth birthday, the story goes, Sadie's father, filmmaker James Benning, gave her an old Fisher Price Pixelvision camera the PXL and so provided her with both the inspiration and the means to make her first series of videos. These wistful, openly amateurish works were received with such instant critical and popular acclaim that Benning became a "star" almost overnight: ironically, she appeared to be successfully living out the very type of fantasy that countless misfit teens have entertained in their own most introverted, alienated moments.
But if the Cinderella qualities of Benning' s story, as it has so often been told, have an air of uncanny familiarity, this is perhaps not unfitting.
What these early works seem to offer might aptly be described as an art of transforming the mundane, a personalized scrapbook of scenarios which are at once surprisingly typical and astonishingly unique. Each of these films is involved in the negotiation of treacherous boundaries: between childhood and adulthood, masculinity and femininity, ordinary and extraordinary desires, between the "in here" and the "out there," they confront the thresholds which every individual encounters in his or her own life, but never in precisely the same way.
The setting for these works, Benning' s own bedroom in her parent's home, also appears as a deeply familiar one. In its capacity to provide the stage for the reveries and resentments which will give shape to our future social identities, the adolescent bedroom occupies a special place in the topography of our inner experience.
As we are reintroduced to this space through the dreamy eye of Benning's Pixelvision notably, a camera initially marketed by its manufacturer as a child's toy , we are reminded of how that intimate setting could also become the site of fantastic self-transformations. Where Benning's embrace of her own "outsider" status propels the personal inwardness of these films, it also evokes the sort of self-imposed isolation which seeks to re-imagine the world from the vantage point of its own privileged sense of separateness.
Subversively restaging pop music cliches and hackneyed Hollywood plots by using only the most everyday of props — Barbie dolls, fake mustaches, toy cars — Benning rescales the dimensions of these often oppressive constructs, bringing them literally closer to home and down to a level where they not only seem less powerful, but where they can become subject to her own playfully erotic manipulations.
To suggest that Benning's works exhibit a fascination with the plastic in mass produced, objectified fantasies is not only to point out their sharply critical interest in exposing what is superficial and hollow in the consumerist trappings of childhood, it is also to suggest that they reveal how the very substance in which our ideals of 4 Program Notes gender and romance have been stereotypically molded can become unexpectedly and gratifyingly malleable when it enters into the forge of the adolescent imagination.
While the candor and wit of these works have extended their appeal to a broad range of audiences, there also remains a degree of urgency in these pieces that will strike an especially familiar chord in gay and lesbian viewers.
The Utopian edge of Benning's revisionary imagination should not be blunted by our own nostalgia for "the limitless possibilities of youth," nor should her works be read as simply the documentary traces of a "passing phase. The difficulty of finding a positive identity for oneself in a world filled with violence is starkly revealed by Benning's youthful but already despairing voice. Recorded against a backdrop of pornographic images and phone sex ads, Benning portrays the innocence of female romance and the taboo prospect of female marriage.
Acting alternately as a confessor and accuser, the camera here captures Benning's anger and frustration at feeling trapped by social prejudices.
Addressing the camera with an air of seduction and romance, Benning allows the viewer a sense of her waitful angst and special delight as she comes to realize her lesbian identity. Throughout she uses small toys as props and examples, handling and controlling them the way we are in turn controlled by larger, violent forces.
The Judy Spots ; video, color, sound, 13 minutes These five short videos introduce Judy, a papermache puppet who ruminates on her position in society. Like Judy of the famous Punch and Judy, Benning' s Judy seems to experience the world from the outside, letting things happen to her rather than making things happen around her.
Before, my videos were a lot more about depicting something as it was happening. In relation to identity and sexuality as well as class dynamics, making tapes was a kind of celebratory or positive reinforcement, trying to make something that made me feel validated. And in relationship to the ambiguity of Taylor's gender, this split between the head being a cartoon and the body being real makes the audience more attuned to body language. Left to her own devices by a loving but over- taxed working mother and frustrated by her trained long-distance relationship with her self-involved father, she experiences an emotional isolation and pre-pubescent sexual confusion scarcely mitigated by the presence of a sympathetic gay man who rents a room in the house.
A sense of malaise and socio-economic construction prevails, exacerbated by peers who look askance at her tomboy androgyny. This initially distancing device is rapidly recuperated and normalized, paradoxically enabling Benning to ascend to a high lever of emotional engagement and psychological nuance.
This world, which itself could probably be diagnosed as more paranoid and schizophrenic than any "case subject" hospitalized in a mental institution, is made a part of Anne Robertson's completely personal, diaristic film-life-therapy-performance. This evening we will show extracts of her Five Year Diary, "a constant work of progress, as is every life. It was shot silent and has cassette sound.
It covers the period May 14 to September 26, Within is personal documentary; midway occurs the death of my 3-year-old niece Emily; the impact of her death is explored. My niece Emily was born April 25, She was a charming child, petite, constantly hugging everyone and telling us "I love you. My last film of her is on the porch, waving goodbye. She had begun to have convulsions when her blood sugar was low, and had been in intensive care several times, covered with monitors yet constantly asking to be held.
She came home again. July 16 th , , she awoke in the morning, asked for a glass of water, drank it, then died in her father's arms. Emergency medical technicians, then hospital personnel, worked on her for hours, but she could not be resuscitated.
The results of her autopsy: an enlarged heart, and evidence of a rare condition concerning blood sugar uptake. My sister is a pediatric nurse. I cannot talk to her about this film.
Her grief is so huge, it almost cannot be shared. San Francisco Cinematheque My grief was so immediate that it surfaced as absolute denial, and a psychotic breakdown.
I have been diagnosed as having a schizoaffective disorder. I was hospitalized for 17 days following the shot of the full moon, and sounds of my ravings then emerged to take up the daily camera again.
What had been ordinary diary, raps in my studio, friends, family, observations of the world, daily life, now all seemed to revolve around the loss of my niece, who was only 3 years old. I feared death and "blinking out like a lightbulb" or never having children of my own; I wished for a Paradise with gardens as beautiful as Emily was, our little flower.
As I gathered flowers for her ashes' interment, I heard her speak in my head, "Be sure to leave some pink and purple ones, because the bees love them. When my youngest brother Andrew died in at the age of 9, my father wrote a poem; it is in bronze on our family gravestone: On the morrow, in the sun, we will see you, hold hands, rife the morning star, and stand together on the high mountain top overlooking all. If my film succeeds, it is because grief is a common human condition, and the death of a child causes the ultimate grief, which you share.
Yet this is also the story of a mind's survival, using art as therapy. Carrying the camera through this time helped me transcend psychosis, and convey the sense of our darling little girl to you all. I give you my sense of loss, and a hope to see Emily again someday. It covers the period September 27, to January 29, Within is personal documentary; one of the themes is the impact of the death of my 3-year-old niece, Emily.
AR Melon Patches, or Reasons To Go On Living ; Super-8mm, color, sound on audiotape with live narration, 28 minutes Gradually, life-affirming images seeds, gardens, babies replace depressing images pills, smoking, drinking. Sound is of four children when very young, who are also in the film, and of joyous birds. She has been making films since She has been diagnosed as a manic-depressive, a conclusion she denies, preferring instead to think of herself as a typical anxiety neurotic of the obsessive-compulsive sort, with marked tendencies for fantasy, joy, and panic.
She is no longer a depressive, and film has been the cure. Her avocation is organic gardening, and this too has been a healing force for her. Her films total more than 45 hours running time; her gardens total more than 5, square feet.
She believes in Super-8, and art plus life as therapy Comprised of works whose reputation and influence is matched only by the infrequency of their public screening, the three-part series will feature films of long duration which intensify concentration of minute detail and the transformation of visual material over time. While Michael Snow's La Region Centrale contemplates nature's space and Ernie Gehr's Still contemplates urban space, tonight's film by Ken Jacobs explores and delves into the space of film itself.
The two met in New York in through their mutual friend, filmmaker Bob Fleischner. Jacobs was, at the time, an aspiring Action Painter, but he found himself equally drawn to the emergent form of the Happening, as it was then being pioneered by artists like John Cage, Jim Dine and Allan Kaprow.
In his early films with Smith Saturday Afternoon Blood Sacrifice, Little Cobra Dance, Star Spangled to Death , Jacobs' emphasis was on capturing his "star's" manic capering in recognizably everyday settings: the empty streets of the Lower East Side, the rooftop of an apartment building on W. Aided and abetted by Jacobs' camera, Smith's very presence would turn these scenes of modern urban banality into stages for his own nomadic and irreverent brand of Performance Art.
Although this evening's film appears to mark a significant shift in Jacobs' concerns as a filmmaker, it is still possible to witness the continuing influences of both Abstract Expressionism and the Happening even within its more obviously structuralist interests in exploring the fundamental elements of cinema.
Tom, Tom begins and almost ends with the "primitive" film of the same name, re- presented each time in its entirety. The almost seventy-minute interim might best be described as an extended fugue state, in which the original film is obsessively rephotographed and subjected to a hypnotic array of temporal and optical manipulations. As we are encouraged to delve ever deeper into the physical details of these images which are themselves rephotographed from paper contact prints in the Library of Congress, it should be noted , we find ourselves crossing over the thresholds of figural perception entirely and entering into new territories of vision.
Where certain moments in the film will inevitably recall abstract painting, we are also reminded that abstraction, at its best, also allows us an unobstructed encounter with the sensuous materiality of its medium. There is something of the Happening to be discerned in the film as well, particularly in the ways that the film acts to disrupt our own ingrained habits of perception.
If Jacobs and Smith were interested in the possibilities of expanding the domain of art into the zones of the everyday, then this 9 San Francisco Cinematheque film might be considered as an attempt to shift that project into the interior realms of spectatorship itself. Watching the film, one begins to sense how Alice must have felt when she passed through the looking glass: Jacobs' hallucinatory reconstruction of this simply staged nursery rhyme inexorably begins to erode all of our conventional expectations about what film is and what it can do, where aesthetic experience begins and where it ends.
Jacobs demonstrates how unimagined worlds and fantastic dramas can be extracted from even the most apparently insignificant or unintentional detail, and as we reemerge from this adventure, we discover that it is difficult to look at our own everyday world in quite the same way that we did before.
Annette Michelson has suggested that this film occupies a special place in film history because it marks both the apotheosis and the end of a certain strain of cinephilia — that consuming passion for the movies which energized so many of the artists of the American Underground. Where it was the luminous enchantment of the filmed body i. And cinephilia will now assume the guise of meta-cinema. To love the cinema in the age of television, he suggests, is to love an absence, an unmoumable loss.
But as Jacobs' own comments on his film seem to imply, even in the deepest throes of an obsessive melancholia for a cinema long since dead, we will still find a vibrant, living drama in the very act of looking itself. Cine-recordings of the vivacious doings of persons long dead My camera closes in, only to better ascertain the infinite richness playing with fate, taking advantage of the loop-character of all movies, recalling with variations some visual complexes again and again for particular savoring , searching out incongruities in the story-telling a person, confused, suddenly looks out of an actor's face , delighting in the whole bizarre human phenomena of story-telling itself and this within the fantasy of reading any bygone time out of the visual crudities of film: dream within a dream!
A train of images passes like enough and different enough to imply to the mind that its eyes are seeing an arm lift, or a door close; I wanted to 'bring to the surface' that multi- rhythmic collision-contesting of dark and light two-dimensional force-areas struggling to edge for identity of shape Sitney, P.
New York: Oxford University Press, Willemen, Paul. Indianapolis: Indiana University Press, Mixing autobiographical elements with performance, and idiosyncratic alter egos with an inquiry into the nature of 'self,' 'truth' and 'story,' they create multiple screen personae to exorcise demons and achieve psychic catharsis.
Muralist, Super-8 film and video maker Claire Bain will show her Super-8 opus Vel and the Bus, in which Vel suffers an identity crisis as a result of a bus accident; and two new videos, Jennifer! Anne McGuire's and Claire Bain's films and videos are avant-garde works that call for a radical redefinition of the function of the cinematic medium. Breaking narrative conventions while still telling stories, and focusing on visceral emotions while still expressing complex abstract thoughts, they deconstruct notions of what is acceptable representation.
The main thread of this distinctly different form of expression is also the most salient formal meeting point of the two artists: their conscious and physical presence in their work.
This uncompromised exposure of the artist's whole being isn't merely an ornamental addition to the visual texture, but is rather the raison d'etre of the artwork itself. By making their presence central to their work, the two filmmakers open up the filmic space for new content and challenge conventional representations of women on screen.
Claire Bain and Anne McGuire definitely make very "female" and "personal" films, but films which shatter one's very expectations of the female screen persona and personal filmmaking.
It is precisely because of the filmmakers' merciless cutting into their own psychic tissue and exteriorizing of their own fantasies, fears, obsessions, beliefs and drives, that their films come across as mind-blowingly direct and reflexive personal statements. At the same time, the displacement of the gap between the representation and its referent — because artist-and-actress both are and are not one and the same — make these films both more complex and more provocative.
As spectators we experience a good old Brechtian estrangement effect, where the familiar stretches its meaning, becomes uncanny and eventually has to be rethought.
A performance about the artist's experience in the aftermath of an accident. Simultaneously shot by three cameras. Vel first manifested herself in when a landlady gave me and my roommates a box of old clothes which included a pair of gray polyester pants, and a polyester shirt to go with them.
They were the same kind of pants that my mom wears, with an elastic waistband. I was inspired to put them on and become the type of stereotyped person that my mind associated with that type of clothing.
It was a middle-aged woman from middle America. It was me in ten years, if I had taken a different path through a parallel universe, stayed in New Mexico or been one of the people I saw in the grocery store. But many of my characters, Vel included, are much more than imitations of other people.
They are aspects of my own experience of identity, focused on and magnified into full- blown characters. They, like everyone, have much more dimension than whatever categories their outward appearance has, by social definition, placed them in.
Vel, for example, appears conservative, straight-laced and hick-like with her polyester clothes and southwestern drawl. But in Vel's raw aftermath of the Accident the camera reveals that Vel has her own share of wild fantasies, and in the end she finds healing in solitude and nature. CB Jennifer! She is the same age I was when Vel first appeared 10 years ago.
She is hip, New Edge, The-Mission-artsy-recent-grad-school-fartsy- knows-what-she-wants After that I was able to attend to all of the other pressing business — thank you Jennifer.
It is a collaboration between me and the machines used to make it. As Jennifer would say, "You can figure it out! No big mystery — it's just so familiar to me and I'm curious about how others see it.
CB 12 Program Notes Anne McGuire is an internationally recognized video artist whose works contain elements of impersonation and performance, personal exorcism and media critique, autobiography and humor. Her videos "employ genre conventions derived from popular culture variety show, talk show, rock video [and her] presence as a performer amplifies the sense of strangeness that lies at the heart of the familiar, creating a vertigo between form and content.
She got her BFA in film from the San Francisco Art Institute in , and since she has also been painting community murals and teaching art to children.
Her film work focuses on the formal and narrative characteristics of the medium in and of themselves and as setting for her characters, while her videos are primarily concerned with characterizations as a vehicle for personal expression, but also contain formal reflections. Currently she is raising funds to do a large community video project in her neighborhood, the Mission, that will involve residents in making their own videos in ways that expand on and depart from the usual narrative, documentary or TV forms.
La Region Centrale by Michael Snow, 16mm, color, sound, minutes. When Snow seems to say that there is no fusion of nature and the human, but an action that excludes us, he suggests the primal Canadian experience: the encounter with a hostile, alien landscape and a recoiling human 13 San Francisco Cinematheque presence.
This drama, a mythical one, is replayed through out the form of La Region Centrale. Certain landscape paintings have achieved a unity of method and subject. Cezanne for instance produced, to say the least, an incredibly balanced relationship between what he did and apparently saw.
He made sketches of what the machinery might look like, but the feat demanded the expertise of an engineer. Then in a filmmaker friend in Canada put Snow in contact with Montreal technician Pierre Abeloos. In approximately a year's time Abeloos developed the appropriate electronics and machinery. After innumerable trips into the wilds of Quebec, Snow was still unable to find the location he wanted. Paradoxically, he sought an area totally untouched by man and man-made devices — not even a telephone pole — yet a place which would be easily accessible by car for hauling the equipment and crew.
After resorting to maps and aerial photographs, Snow finally discovered the place he was looking for by helicopter — a mountain top with stones, boulders, surrounding hills and mountains, overlooking a lake — about one hundred miles north of Sept-Iles in Quebec. Abeloos designed the mounting device according to Snow's specifications for a movement in such a way that no part of the mount was filmed in the course of shooting, although at times its shadow was purposely recorded by the constantly moving camera.
Sets of axles on the machine mount permitted multiple kinds of movements simultaneously. Snow prescored the kind of camera movements he wanted to achieve. The options for movement were horizontal, vertical, rotational, zoom, and camera start, along with speed variables for each one. As Snow described the set up: 'Pierre [Abeloos] worked out a system of supplying the orders to the machine to move in various patterns by means of sound tapes. Each direction has a different frequency of an electronic sine wave assigned to it.
It makes up a layer of tones divided into five sections starting very high, about 10, cycles per second, down to about seventy cycles. Start giving our teachers some respect.
They hold the key to schools staying open. The cracks between the Government and its scientists are beginning to show. The tragic lesson of Netflix's Challenger disaster series — death is an occupational hazard of life. Meteor showers to watch out for in , including the Draconids and Orionids. Royal family. Princess Eugenie is pregnant with her first child. Minister backs campaign for jubilee statue of the Queen following summer of memorial vandalism.
More stories. Matt Ratana: Croydon police officer had moved to 'safer' custody role before his retirement Matiu Ratana, known to friends as Matt, was shot in Croydon Custody Centre by a handcuffed suspect By Telegraph Reporters 26 Sep , am.
Students seek assurance that they will not be subjected to draconian lockdown measures It comes amid mounting concern that vice-Chancellors in England will order students to stay away from pubs and bars By Camilla Turner 25 Sep , pm. Suspect was handcuffed in custody — but somehow he pulled out a gun and shot Matt Ratana Officer is named as Sgt Matt Ratana, a "gentle giant" and rugby coach with almost 30 years service By Robert Mendick 25 Sep , pm.
Croydon police officer shot dead at his station named as Matt Ratana, year veteran of the force It is thought that his attacker is of Sri Lankan origin, and had been arrested and taken into custody by a special constable By Martin Evans 25 Sep , pm. Matt Ratana: The sports-mad Kiwi who chose to serve the people of his adopted country Having played rugby for a string of top-level clubs, Mr Ratana could have turned professional — but instead he opted to join the police By Martin Evans 25 Sep , pm.
We've noticed you're adblocking. I wanted this video to closely reflect the subject and lyrics of the song, more so than it has been done with past videos that might have been more metaphorical. It's a slightly dramatised look into the kind of upbringing I had, showing a fathers struggle with addiction and the impact it has on his family, especially his son. It was extremely hard to see the set of this video as it was like walking into a time capsule and since its release, I've only watched the videos a handful of times.
It is extremely real but that was the way I wanted it to once again start a conversation on these issues that many people have struggled with. What was the hardest song on 'Alien' to put together, and why? I don't think there was any song in particular that was most difficult to write. As all of the songs come from a pretty personal place, they all took a lot of energy and time to write. We tried different chorus', got opinions from a bunch of different people but eventually realised that we were over thinking it and reverted back to the original.
We thought that the chorus should "take off" when it kicked in but with the darker tone of the song, this low, monotonous version felt perfect, giving off that feeling of being numb to the pain. Looking back on 'Node', how happy are you with this album still, and what do you think that it's done for the representation of Northlane? I'm extremely proud of it looking back, considering the pressure we were under at the time. We recorded that album 5 months after I joined, most of it being written on the road.
What songs are you still really enjoying performing live from 'Node' at the moment, and why? They're a lot of fun and since Brendon's joined the band, he's brought new life to those songs live.
The UK has always felt like a second home to us and we always strive to come back with a bigger and better show than ever, this time is no different! There's also a different kind of energy with these new songs that I think will translate to something pretty special live. We can't wait to get back over there! The people are warm despite the weather , super loyal and love live music. I was lucky enough to play The Roundhouse supporting Parkway Drive for my first time and it will always hold a special place in my heart!
What else can we expect to see from Northlane in ? Then we're off to North America, heading back to the US for the first time in about 3 years! We get back home just before Christmas so we've really packed the end of the year out. Expect to see us just as busy in the New Year! We just wrapped up a short run of East Coast US shows. Always a good time playing shows in front of our dedicated fans who embraced a set comprised mostly of the new record.
Was there a particular song or moment that sparked the creative process for 'Six'? We knew as soon as we tracked it that we were on the right track to create something a little different, yet still keeping true to the foundation of the band. Why do you think that there was a big gap between this record and the last, or did it just happen in a much more natural way?
When we start to feel that itch things start coming together. It worked out exactly how it should have, organically. Can you tell us a bit about the themes and influences that run throughout 'Six'? We of course had the mind set that this record was meant to be a little different but each song flowed very well with what we were looking to accomplish. What was the hardest song on 'Six' to put together, and why?
In the end, I think they turned out great. How did you end up working with Josh Schroeder, and how would you say that he helped shape the album? Josh has always been a good friend and a hell of a producer. We all live fairly close to each other and having someone who has been able to share that growth coming up together really helps you feel at home in the studio.
How did the artwork for 'Six' come together, and what does it mean to you guys? We wanted something simple and clean. In hindsight there are most definitely a few things I would change, but all in all I think the simplicity of the artwork shows the maturity of the band. Less about how cool it looks and focused more on the content inside it. How did the music video idea for 'Stone' come together, and if possible, can you tell us about the lyrical content behind this rack in particular?
The vibrant fall colours with the dark setting of the early days as we get closer to winter. Looking back on 'Heavy Hearts', how happy are you with this album still, and what do you think that it's done for the representation of For The Fallen Dreams? It was my first record back with the band after a five year absence. What songs are you still really enjoying performing live from 'Heavy Hearts' at the moment, and why? We cannot wait to get back to the UK!
Our fans over the pond have always been some of our favourite to perform in front of. Looking forward to that section of the tour and the fish and chips that come along with it. What do you remember the most about coming to the UK for the first time? Being able to take in our surroundings was a very surreal experience at that time. What else can we expect to see from For The Fallen Dreams in ? We will be working on new music this winter and gearing up for a number of different runs in Our Story so far… Voidnaut is a metal band based in Athens, which was formed in by Kostas Krikos and Steve Venardo as a small project.
Interview with Kelly When did the first glimpses of 'Daydream Explosion' come about? Not exactly… we try to write all the time and put out an album every 2 years - ish. By about the 1 year mark after an album release we always get a bit restless and anxious about what is next. We started writing and put out an EP for our Patreon fans. The reception was awesome and we kind of took them as our starting point. Once that was out we decided it was time to launch an album preorder… then it was full speed ahead!
What made you want to release 'Everything' first, and can you tell us a bit about how this track in particular came together? I love that song. I thought it would be a good peek into what was to come. It was one of the later songs in the writing process. Luis had the music down and I kept putting off writing lyrics for some reason. I came home from somewhere in the middle of the day and heard Luis on the piano… and it hit him!
We sussed out the rest that night after putting our kids 2 and 5 yrs old to bed. So, how did you get to the album title 'Daydream Explosion', and what does it mean to you? And it sounds cool, right?
We read that there are some pretty intense lyrical themes inspiring this album. As always, you can expect an energetic, melodic and hooky delivery. Sometimes it can get a little pointy and rough around the edges but falls within the bounds of Dollyrots-style. Thematically we hit a lot of things this time around; partying, the end of the world, love, longing, frustration, reflection, gratuity and geeze AND put down the deposit.
Sadly my dad passed away 4 weeks before our flight and to hit our song goal 20 songs seemed impossible. I just wanted to curl up and cry, not go make peppy Dollyrots music, BUT we had no choice. So, like other times in life we put one foot in front of the other and made it happen. We look at music and art as a bit of a mystical thing… and we would put the kids to sleep each night and go out to our studio and try to grab ideas out of thin air. We never give up You've said that "the album creation was cathartic", so can you elaborate on that, and maybe how putting this album together has compared to anything else that you've done before?
Sure, the last 3 albums have come with a huge shift in life for us… as I mentioned above they were written and created while I was pregnant and then this one as I mourned the loss of my dad. Especially something artistic. I just had to start and get through it. By getting back to the thing I love to do I did feel a little better every day.
I also think it helped me tap into some deep feelings and emotions because of where my mind was at the time. This was our 6th full length album with John. He totally gets us and helps create the sounds we have in our minds. Noah Levy, a friend of his and now ours, stepped in for that role on this album.
John is kind of our George Martin. This time around there were a couple songs that were half-baked that we wanted to record. It has a Rockabilly, Swing, loungy sound that turned out to be one of my favourites. What was the hardest song on 'Daydream Explosion' to put together, and why?
I try to think back and forget a lot of the harder stuff. How did the album artwork for 'Daydream Explosion' come together, and what does it mean to you? Well, this is kind of tragic and perfect… Luis and I were in a car accident… back seat and got rear ended. Had to get x-rays, MRIs etc and are still dealing with the aftermath.
Totally an accident… huh huh huh. This is your first time working with a label in a very long time. With the rise in crowdsourcing around we felt like we should give it a shot.
Blackheart totally understood and we moved forward with our fans. We sent them some demos and they loved it. They understood that we needed to still keep our pre-order DIY thing going with our fans and gave us the space to do that while taking a lot of the production and distribution worry off our plate.
It was just the right choice for us and something fun and different to try. What else can we expect to see from The Dollyrots in ? Gonna have a lot of planes, RVs and Lyft rides in our future. That just gets us to Halloween. Story is… we never stop. We love hanging out with them! Interview with Jaret Congrats on celebrating your 25th anniversary as a band! What has this whole time been like for you, and how rewarding has it been for the band overall to be reflecting back on your career whilst putting out new music and being on the road?
It is kind of hard to explain. We have done so much, seen so much, and then there is the insane catalog of music. It has been pretty incredible. And something I never thought we would accomplish. How did the cover track 'Sometimes I Don't Mind' come together, and what did you find the most exciting about giving it the Bowling For Soup approach? This song came off an album that both the fans, and the band look back on with angst. But BFS wore this album out in the van.
And I always thought this song should have been huge. I sent the video to the singer of the band, Jason Navarro and asked what he thought. He said, "It's cute, Let it fly! You guys are doing a cover song every month for a year! The covers will be all over the place! From punk rock stuff that no one will recognise, to hit songs that will seem crazy for us to cover.
We have always had good luck with our cover songs. And in this world of streaming music, I just decided to embrace it! I am stoked for these things! You recently did a live version of Jaret Goes To The Movies as part of the 25th anniversary celebration! How did it go, and for readers who haven't checked out the podcast just yet, what can they expect from it? It was incredible! It was actually the second LIVE podcast. This one was Taimak from The Last Dragon. He was stoked about the format and fans of the band, the movie, and the podcast really had a blast!
I am hoping we can keep doing these for sure! The podcast itself is really fun. It is kind of like a radio morning show really! Only we talk about a movie that we watched that week, along with anything and everything else that we are thinking about! Touring wise, what have you been up to this year so far, and can you give us a couple of personal highlights from your time on the road? It is a busy year.
Co-headlining with Reel Big Fish at the moment. Our first leg, we had the band Nerf Herder on the tour with us. IT is pretty incredible to have a band that you have listened to for 30 years open for you!
So much fun! At this point in your career, how do you go about picking a setlist!? Well, there are certain songs that we HAVE to play. It can get difficult with short sets, because if we just played all the hits, it is like 45 minutes to an hour…And that is with no jokes! Which is the best part of our show to be honest. Rob coming into the band has been fun.
He comes up with songs that he wants us to play all the time. Keeps us in our toes and from getting in a rut! It's been ten years since the release of 'Sorry for Partyin'' Looking back on this album, what do you remember the most about putting it together?
We were in Austin for a month. It was like being in college! We had so much fun! We bought a barbecue grill and grilled every night. Worked long days and went to the same bar every night. I am stoked! Reading and Leeds was our first ever trip to the UK! So being there while celebrating 25 years is just amazing. We have some fun stuff in the works. I guarantee we will make headlines! Also, what do you remember the most from playing this festival for the first time?
I just remember an empty tent. And I thought, well, at least we got to come to the UK! We walked out on stage and there were people as far as you could see! Just bursting the tent! And we are still doing well in that relationship! What else can we expect to see from Bowling For Soup in ? Lots of USA shows. A cover song each month for free and original songs that will go straight to stream! All free! Then we come back to the UK in !!
It is busy, and I am old…But I still love it! Well in I was finishing up working on my book at by that point I had already been sitting in front of a computer screen for way too long and wanted to go out and see if what I was working on resonated with people in a live setting so I booked this 2 week long tour of the North East for these shows that were going to be a mix of reading from what would become the book and playing Against Me!
I asked Marc and Atom to come out and do the tour with me. Atom plays drums in Against Me! So we went out and did the tour and it was a lot of fun and as we were going I was like "this needs a name, we're a band, it's not Against Me!
The tour went great and after I suggested that we should try recording something just the three of us, because we were working really well together musically. So that following summer we went into Marc's studio and recorded like a dozen Mountain Goats covers, the Mountain Goats are one of my all time favourite bands. Recording the covers went really well too and I suggested that it would be rad to try recording an album of originals sometime.
I'm always working on songs and had been writing steady since the last Against Me! As was starting out we were all talking about working on a new Against Me! We laboured on like that for a little while under the premise that it was for an Against Me!
You know when Jason Newsted is on the outs and James and Lars are jamming with Bob Rock on the bass and they talk about the idea of Bob Rock just joining the band on bass? That's what happened here almost exactly, except we just kept running with the idea and it became its own band.
Touring wise, what have you been up to this year? That tour started off at SXSW which is always a spectacle of sorts. In May Against Me! Devouring Mothers just got back from an Australian tour a couple days ago and then up next Against Me!
It's been a busy and fun year. So, when did the initial vision for 'Bought To Rot' come about? I guess it was just a feeling of readiness that I had. They just had to go and had to go then or they were going to rot, the goodness was going to be lost. I didn't want that because I had worked so hard on them. I really had a strong and singular vision with the songs. I wanted to record them quick, track them live, and release them quick, and I wanted Bloodshot, a Chicago label in particular to release the album, and I wanted it to come out in November so I could throw a birthday party and have an excuse to go out on my birthday and I knew that this was what I wanted to do with , tour around playing the songs while working on a new Against Me!
It feels good to be uncompromising in vision. How did you get to the album title 'Bought To Rot', and what does it mean to you? Just what I said above. Like fruit and vegetables. You buy it, it sits there, if you don't eat it then it rots and you throw it away and all the goodness is wasted. I guess it's about wasted potential in general, so much wasted potential all around us and for what?
Also in being uncompromising with vision how does that effect the art? Wanting to release it how I wanted to release it, the sacrifices in commercialism that are made which curtail the potential reach of a project, I don't know if that makes sense, it's like here's another 14 songs to throw on the scrap heap of history, a lot of work went into them and then they're pressed on a record and it's all forgotten about eventually.
It's a very American feeling right now, rot. They're just phrasing it in a nicer way but I prefer my wording. I hate Chicago. I feel like this town was kind of jerky to me and not very welcoming when I first came here so I've made it a one person mission to damage the tourism industry here and dissuade people from ever visiting Chicago.
There's a running theme of displacement through out the album, questioning where you belong, trying to figure out your place in the world. A lot of references to hotels, places of refuge in transient living.
What are you supposed to do in a situation like that. You still have a right to exist and take up space. I don't know, the grass is always greener. How did 'Full Moon Fever' become such an influence for this album, and why do you think it has gone on to mean so much to you? Like I was saying how we recorded a bunch of Mountain Goats covers, well I had learned those covers when we were on tour with Green Day and I was kind of doing a character study on the Mountain Goats to be productive with down time on the road.
Well it was right after that when Petty passed away and I did that same thing with Petty after he passed, went back and learned a bunch of his songs, studied them, the way he would write and play. So that album had a huge impact on me as a kid. I realise that he was the same age as me when he recorded that album, 37 and it kind of got in my head, like that's what he did when he was 37, so what am I doing?
I wanted to test myself like he did. It goes a little deeper too though. I was sitting at home playing along to one of his records then and I was playing this old Jaguar that I never play because it's an antique and worth some money and I was like "oh this sounds so good like it could have been on the record" and then I slapped myself for being a dummy and realised I had bought the guitar off Stan Lynch who played drums in the Heartbreakers and that the guitar could very well have been around when they were recording all those seminal albums because it was that old and it was his and why not then?
But I started thinking how sad it must be to be a drummers guitar because you know then that you'll never be a guitar played on a record or played onstage and if you're a guitar that's got to be all you want in your existence and I realised how sad it was that Stan had never played the guitar because it was in perfect condition and had obviously never really been played since the 60s.
Then I bought it and stuck it under my bed and never played it either and that just played into the whole theme of the album, the idea that it was just rotting in its case under my bed. So I decided this was the album this guitar was made to be played on, this was what it had been created for.
Who produced 'Bought To Rot', and how would you say that they helped shape it? I mean there was no producer appointment ceremony, it's just kind of an unspoken thing. We're all pretty in line with the standards of tuning and timing when it comes to recording and we arranged all of the songs together before going into the studio.
Once we got there we all knew what we were supposed to do so the mics were set up and we were off to the races. I loved making this album. We did two songs a day. Every morning Atom and I would wake up and go run 6 miles then we would record all afternoon and into the evening really just going for perfect takes where nothing had to be corrected, it was all about the feel and running the songs until we just nailed one of the takes.
So satisfying. What was the hardest song on 'Bought To Rot' to put together, and why? Initially the intro and reintro before the 2nd verse had guitar soloing similar to what happens at the end of the song and I just couldn't figure out what to do with the soloing that was interesting enough for it to happen 3 times in a song.
So I was just sitting on the couch riffing when Ray, Marc's roommate walked by and said something like "Oh, just running some generic riffs? I realised that what I was doing was way generic and didn't need to happen so much, that just putting the solo melody at the end of the song made it more unique and palatable, it made it work. It was a slightly offhanded remark that provided the key in this situation. I guess I wanted to release it first just specifically because of the happy memories behind it and it was one of the first songs written for the album.
Against me! I was with someone special to me and we woke up that morning and then we all went and visited Bon Scott's grave, he's buried there. At the end of the road his cemetary's on there's a go-kart track, so after we hung out at his grave and said hello we went and rode go-karts, then we drove up to Freemantle and went to this incredible restaurant to have a Birthday dinner for James. Lots of drinks and laughs and after there was an amusement park across the street so we went and rode the ferris wheel and just ran around on the beach playing in the surf.
It was a really magical day and a great end to the tour, a great memory all around. Getting back on the plane the rest of the world was coming back into view and all the drama and hate in the news around Trump and it all just seemed like the apocalypse in motion and I felt guilty for having had such a great day but also I didn't want to feel guilty because I know how important it is to live a day like that to its fullest if you ever get the chance.
So I wrote that song to commemorate the memory. It seemed like a good first foot to start out on. I'm very genuinely excited. It was important to me that this album tour came to the UK and Europe. People had been asking about it online and I couldn't really explain how hard we've been working to make it happen and really it's thanks to teaming up with Frank Iero that we're able to. I respect Frank a lot and what he's been doing with his solo records and I think the pairing is really strong especially with Mobina Galore added to the bill.
I remember thinking that every older punk I saw must surely have been in one of the old UK punk bands I grew up listening to. It ends up being a much more lyrical, even sultry album although I'm still almost more intrigued by the partly-novel Strings 1 configuration. That's quite a distinctive ensemble. I thus found some of this material to be quite striking, and would be interested to hear more from a combination such as this — absent the ethereal pole which is obviously already played out for me.
Still, there's much to appreciate here, and from some new names. So this is actually the opposite of a followup to the previous Bohman-Northover pairing, and Thompson is less distinctive here than in much of his later work, but the addition of Jean-Michel Van Schouwburg still makes for a notable album. I was largely unfamiliar with Schouwburg although he'd e. One even ends up with the sense of a psychological fugue state at times, more so than the kind of Zen shift proposed by the CS quartet, in an album that does compete with North of Blanco for pure weirdness — even as it seems to run out of steam a bit, at least relatively speaking.
The result has a generally dramatic feel, including some lyric bits such as "chicken nuggets," but also develops a sort of surreal or dreamy vibe, sometimes more intricately in passages that I do find more intriguing , but sometimes seeming to be more of a spinning in place, i.
So the Brazilian album has a much more specific scope, but in some ways, a similar sense of drama, although likewise in fewer scenes Iwao had been cited as a Scarassatti instrument-making collaborator in the past, while it took me a moment to place Cyrino Koole was new to me, and I'd never really heard any of them before, although they do have various mutual collaborations documented online.
Figuring out who is making what sound can be quite a project for the intrepid Listen to Cyrino elsewhere, though, so as to have a fighting chance. What is inside or outside then? Another disputeAn icon used to represent a menu that can be toggled by interacting with this icon.