This is pretty incredible. Â Shows what you can do nowadays with some creativity and relatively low budget and technology film making wise. Â If you are interested in uses for drones besides killing people this is a really good one. It’s a Czech skate video shot with a flying camera. I’d like to remix it with different music but the visuals are pretty stunning. Big up to the people who made this.
Death/Traitors is the work of Alex Heir and it is fucking sick. I went to his spot on Delphi last week to get inside the mind of the genius behind my favorite New York brand.
T: You grew up in Jersey going to Punk shows and talk about how you see band shirts as this kind of holy grail of authenticity for design- how did band shirts inform your work with D T.
A: My initial interest in wanting to learn screen print and make shirts was born from my love of record and t-shirt art, and I think my idea of what makes a good shirt design is still largely based off that. A good band shirt is not just a random t-shirt with an image on it, it shows your musical taste and interest in a larger subculture, almost like wearing gang colors.
T: Whether itâ€™s Japanese/Kanji characters that say Fuck Pigs, or your iconic Endless War Posters- you seem to hit an angle thatâ€™s 50/50 gothic vibes and anti-authoritarian anarchy. Is there any particular message that defines the brand?
A: I guess, as you said, â€œanti-authoritarianâ€ sums it up pretty well. Iâ€™m not trying to spread a political message or anything, but I feel pretty angry about the state of the country and the world right now, and that works itâ€™s way into my designs. I use the Anarchy symbol in the same way I use 666, Iâ€™m not a card carrying Anarchist or Satanist, but their symbols are a way to show what I am not.
T: While the 80 dollar t-shirt kids are gonna be happy to cop your gear at Mishka- you donâ€™t go to trade shows or play the street-wear game- whoâ€™s your ideal audience for this stuff?
A: An army of leather clad rockers wandering the wasteland in search of food and water.
T: Do you have any fashion inspiration in terms of brands? What music or other design is most inspiring?
A: Vivienne Westwood and Malcolm McLaren had a store in London in the 70s called a variety of things..Let It Rock/Sex/Seditionaries. They designed a lot of the clothes the first wave UK punks wore and it was the biggest influence to me when I first thought about designing clothing. Alexander McQueen, whoâ€™s work I also really admire, definitely took a lot from them.
Nowadays I get a lot of inspiration from old occult and religious art, Japanese woodcuts, horror movies posters. I saw a show of old CRASS zines and flyers from their personal collection a few months ago…that was really inspiring and contributed a lot to the way the most recent designs have looked.
T: Can you talk about your process a little bit- your screen are everywhere around the house and most of your gear is there well- can you talk about hand printing all of your own work.
A: Once I finish a design and am ready to release it, I will shoot the screen and print a few samples to shoot on a model for the website. I keep a stock of screens of all my current available designs, and for the most part custom print every order as I get it.
T: Since images can move so easily between mediums- from stickers, to shirts, to bags, to textiles to whatever- how do you think about not overwhelming your customers.
A: I design the graphics specifically for each piece…An image might look great on a shirt, but not necessarily work as a patch or sticker. I re use a lot of the same imagery…skulls, kanji, swords, etc…but will do a different composition depending on what Iâ€™m going to print on. Less is more very often…I prefer to only release a handful of shirts and a few other items every season The artwork is very personal to me, so I would rather have a smaller amount of consistent, quality work then a ton of mediocre items.
T: you started doing these amazing varsity jackets- can you talk about your more indepth approach on that process.
A: I was lucky enough to link up with a tailor here in NYC that helping me through the process of of getting these jackets made. I initially was getting them from China, but once I stumbled upon this opportunity to have the jackets made here I leaped on it. I get to choose all the materials myself, from the wool and sleeve fabric to the lining and snaps, and the overall quality is much higher. Of course the costs to produce the jackets is much more than if I had them made in China, but I think people will appreciate the quality and the fact that they are made in the USA.
T: Beyond the clothing line, can you talk about the label a little bit and your other screen printing work and how you manage the balance.
A: Besides Death/Traitors, I do commercial screen printing for other people under the name Funbot Press. The nice thing about working for yourself is you get to set your own hours and make your own schedule, but it also means you never really stop working. Unless Iâ€™m at a show or hanging out with friends outside my apartment, Iâ€™m always working on SOME thing, be it printing, designing for D/T, or making other artwork or music. Every day is different, but it usually is a combination of everything. I love what I do, at least most aspects of it, and I enjoy being constantly busy.
T: Anything else you want to include?
A: I will be showing some new pieces in a group art show entitled Input/Output opening Sat, Jan. 28 at Booklyn, 37 Greenpoint Avenue 4th Floor. booklyn.org And I will be showing more work at the Mishka Store, 350 Broadway, BK, on Friday, April 6.
The Embassy is the name of my weekly WFMU radio show. We broadcast at 91.1 FM in New York and 90.1 in the Hudson Valley, and of course we on the internets. You can stream last night’s show and check here for the playlist.
An album release party and free night of celebration in the heart of the heart of the country!
Click on the huge GIF to see the huge GIF in all its huge GIFNESS.
djs mothershiester and bent invite you to:
The 2nd Happy Hour installment of Africa is Not a Country features a special performance by Nettle. Led by DJ /rupture, this inter-continental project blends electronic beats, North African folksongs and percussion with avant garde noise. We’ll be celebrating the release of group’s new record — El Resplandor: The Shining in Dubai / iTunes / Amazon / Boomkat. “For this album, Nettle imagined a remake of Stanley Kubrick’s The Shining set in a luxury hotel in Dubai, U.A.E. El Resplandor: The Shining In Dubai is their soundtrack for that nonexistent film.”
Live DJ sets by bent and mothershiester through the night will feature Rock, Ska, and Punk anthems from Mozambique, South Africa, Kenya, and Nigeria. Jazz arrangements from Madagascar and Ghana. Soukous jams and Chaabi gems. Plus a glut of “pirated” Kenyan Pop mp3s that dj bent found while idly cruising the information superhighway.
Friday, December 2
1817 Columbia Rd. NW
7 to 11 pm
Nettle plays at 9pm!
enjoy drink specials of $3 beers, $5 wine and rail drinks, and delicious $5 appetizers at this brand new north african spot â€“ Marrakech Lounge.
plus hooka/sheesha for enjoyment on the veranda
Africa is Not a Country is an anti-colonial musical journey, using the dancefloor/barstool to deconstruct the idea of â€œAfrican musicâ€ as we rock out from Jo-burg to Cairo, from Dakar to Nairobi, with a quick lap around the islands.
To celebrate our ongoing monthly Sweat Lodge party series at The Cove in Brooklyn (next edition next Friday Nov. 4th! info below) and to give all you unfortunates who haven’t been able to attend yet a taste of the magic I’ve recorded a new DJ mix. Â It’s mixed live on Serato Itch which is something new I’ve been trying out – button pushing based DJing instead of vinyl control records – and I had a lot of fun creating it. Â There are some mistakes and in the spirit of human imperfection and because I’m too lazy to edit them out I left them in. Â It’s kind of representative of the drunk madness that goes down at Sweat Lodge anyway. Â Although I was not drunk when I recorded this I swear. Â The focus is on the Dutty Artz fam and catalog with a bunch of new and unreleased tunes and remixes from the crew. Â Enjoy!
1. Matt Shadetek – Sweat LodgeÂ ExorcistÂ Intro
2. Tod Dockstader – Electronic Pieces (8): Part 1
3. William S. Burroughs – Last Words With Ras I. Zulu
4. Dj Eridson, Mzee, Kampi Moto – Umoja  Â (Remix made Angola)
5. Nguzunguzu – Strut (Lamin Fofana Remix)
6. Floetry – Say Yes (Kingdom Remix)
7. Sorie Kondi – No Money No Family (Chief Boima Remix)
8. Atropolis – Mbria Funk
9. Contakt & Mayster – Korak
10. Contakt & Mayster – Korak (Matt Shadetek 3Ball Remix)
11. Don Omar – Danza Kuduro (DJ Rodriguez 3Ball 2011 Remix)
12. Joelito – Sickhead
13. Antony Santos – Vete (Uproot Andy Moombachata Remix)
14. Geko Jones & Reaganomics – Las cuatro palomas Remix
15. DJ Arafat – 5500 Volt
16. Cajmere – It’s Time for The Percolator (Chief Boima Coupe Decale Remix)
17. Kalup Linzy feat. James Franco – Rising (Cardopusher Remix)
18. Appietus – Miss Doctor (Secret Agent Gel Remix)
19. Maxwell D – Out The Window
20. Dubble Dutch – Mad Loopz
21. Gunselectah – Villa Ghetto (Matt Shadetek Remix)
22. Nguzunguzu – Timesup
23. Robzilla ft. Jahdan Blakkamoore – World Keeps Spinning
24. Luisa Maita – Lero Lero (DJ Rupture Remix)
25. Active Child ft. How To Dress Well – Playing House
26. ASAP Rocky – Peso
SWEAT LODGE PROMO VIDEO:
Filmed by Atropolis and edited by Erik Marika Rich:
[Image: From “Animal Superpowers” by Chris Woebken and Kenichi Okada; Woebken will be speaking at Thrilling Wonder Stories 3 at Studio-X NYC]
This Friday afternoon, Lindsay Cuff & I will be speaking at Thrilling Wonder Stories, a free 2-day event exploring the interdepedence between architecture and narrative from a variety of perspectives (architecture, cinema, sound design, comics, etc) as well as examining science and science fiction’s spatial impact on design. Emphasis on stories, emphasis on wonder. It happens simultaneously in London and New York.
Lindsay & I will discuss our experience in Nettle, creating a speculative soundtrack for an unmade remake of The Shining, set in a luxury hotel in Dubai…
As Pitchfork announced on Friday – We’ll be releasing the new Nettle album on October 25, on avant-garde/experimental powerhouse label Sub Rosa! (Sub Rosa has been publishing quality weird for over 20 years, from archival material by James Joyce and Marcel Duchamp to albums by Pauline Oliveros, Luc Ferrari, and Tod Dockstader).
For this album, we imagined a remake of Stephen King/Stanley Kubrick’s The Shining set in a luxury hotel in Dubai, U.A.E. El Resplandor: The Shining In Dubai is our soundtrack for that nonexistent film.
I produced and arranged El Resplandor, working with musicians Abdelhak Rahal, Jennifer Jones, Khalid Bennaji, Andy Moor, Brent Arnold, and Lindsay Cuff. Artwork is by Emirati photographer Lamya Gargash, taken from her incredible Presence series documenting “unwanted houses and structures in the United Arab Emirates that have been abandoned or left for demolition.” Architecture writer and Studio X co-director Geoff ‘BLDGBLOG’ Manaugh gave us some mindbending liner notes.
What else can I say? I put a lot of time into making this album & I hope you enjoy it. October 25 is the U.S. date; it should reach shops in Europe about 2 weeks before that.
This Wednesday I’ll be at the Decibel Festival in Seattle, giving a free, all-ages presentation of my setup for concerts with Nettle (laptop/gear/instrument- and vocal-processing): real talk about strategies to make live electronic music more dynamic and flexible.
El Resplandor tracklist:
01 El Resplandor
02 Radio Flower
03 There Is a Hole in the Middle of the World Filled With Languages That Don’t Have Names
05 Empty Quarters
07 Simoom (Wasp Wind)
08 Red Masque Ticker
09 El Resplandor: In the Marsh
10 Shining One
11 Khalid’s Song
“Count C cemented his status in his West Kingston community, and in Jamaican music and cultural history, when he launched the Count C Sound System in 1947. Radio was nonexistent and, even when it did arrive in Jamaica in the late 1950s, few in West Kingston could afford either the box or the pay-as-you-go service. In times like these a sound man like Count C really was royalty. His was a small sound (a few horns and an over-sized, 5ft+ speaker, familiarly called a â€˜house of joyâ€™), but he was tough. Count C would never back down from a challenge, even when Duke Reid and the â€œbig dogsâ€ arrived on the scene.” – Soul Of The Lion
If you missed Josh’s perfect post on Count C earlier in the year- check it here.
It was an honor and privilege to be at 6 Wellington for Count C’s Nine Night. Skanking until dawn for one of the men who started it all.
Downliners Sekt – “All I Can Hear Now” from Meet the Decline [downliner-sekt, 2011]
This group prefers to leave their identities and backgrounds abstract. They have been described by reviewers as a group of unique â€œpossibly Spanishâ€ artists creating their own blend of electronic and rock music. All their work is available under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License for anyone to have and share freely http://downliners-sekt.com
If you ask nicely they will probably let you use their music in derivative works.
Last week, Portland, Oregon based musician Liz Harris, better known as Grouper released two separate incredible albums, Alien Observer & Dream Loss, wrapped together as A I A. Preview the striking Wurlitzer pulses and sweet drones title track from Alien Observer above. A I A is beautiful, strange, and unsettling; harsh, heavy drones & dark, delicate tones; songs about aliens and ghosts & loves lost and love yet to happen. Liz Harris also made a series of rare east coast live appearances, one of which was at Brklyn’s Glasslands last Saturday. Harris gave such a mesmerizing performance, the crowd was pin drop silent and so attentive you could hear the sound from the venue two doors down bleeding into Glasslands.
Harris describing her new albums: “Dream Loss is a collection of older songs, mostly written before a hard time. Alien Observer, for the most part, is made of songs recorded after that time. Each has a song that belongs thematically on the other, a seam stitching them together. Both albums… explore otherness. Being an other to one’s own self, to other humans; ghosts and aliens, both literal and metaphorical; and other worlds to escape to (beneath the water, in the sky). Thinking about people who have died…
The process of making these albums reacquainted me with what I want to explore in music: friction, exploration of something large and outside of me, describing and traveling to intangible objects and places, unseen movements and connections between people and spaces. Songs that move on their own, that have an autonomous monstrous quality, songs from another world.”