Secondly, considering that today is a bit of a special occasion for those who tend to frequent this little corner of the internet, I thought it’d be fun to celebrate by compiling a playlist of what are, in my opinion, the best ten videos posted to the site during this past year. Without further ado, I present…
9. LAMENTO by Joshua Catalano for John Talabot: “About ten seconds in I started smiling, immediately caught off-guard – in the most pleasing of ways – by this Joshua Catalano-created journey through a hard-lined, cell-shaded, abstract geometric landscape. The slightly muted palette compliments the loopy, minimal tech-throbs of John Talabot rather well – so much so that I’ve re-watched it a dozen times already.”
8. GOLEM by Patrick McCue and Tobias Wiesner: “My first thought after watching the attached was, ‘this could have easily been in The Animatrix,’ so prep yourself for some late-night, cerebral, sci-fi shit.”
7. Hide by Mathieu Bétard for Kris Menace: “A delicate mix of mirrored-and-repeating geometric ‘morphables’, rotoscoped figures and bizarre transitional touches where everything besides line, form and movement is swept aside. Just absolutely gorgeous stuff.”
4. I, pet goat II by Heliofant: “Oh shit. Do yourself a favor and prime your environment for an optimal viewing experience – lights down, full-screen and volume up – this gem deserves your undivided attention.”
3. Bye Bye Macadam by Dimitri Stankowicz for Rone: “The visuals in the attached sync up beautifully (both in timing and spirit) with Rone‘s deep, synth-driven, spaced-out sound. The net-effect is pure, distilled atmosphere…”
1. Evoking Spirits by Ori Toor for Kingdom Crumbs: ”[Ori’s] latest veers into new territory and I’m absolutely loving how he’s mixed in some representational imagery to compliment the usual assortment of evolving, fluid structures.”
I often implore y’all to watch the videos I post here ‘full screen with the lights down’. I think properly ‘setting the scene’ for any worthwhile experience is well, worth it, but in the case of the attached it’s an absolute necessity.
All the sounds in this film by Takashi Ohashi are syllables in the Japanese language but aren’t joined together with any formal syntax; there’s no meaning to discern whatsoever. The same goes for the animation, it’s just bright shape and form on a black field, a visual representation of how your eyes might interpret what your ears are experiencing.
I had a strange realization as I watched it. My initial reaction was “Yeah, that looks about right” but then, in the very next moment, I wondered why it looked right. What in my instinctual thought process is validating the authenticity of how these moving forms relate to the sounds my ears are hearing? Where is that process taking place in my grey matter?
Stranger still, I never had any doubts that you would have the same experience. The human mind is a deliciously strange and delightful thing to both observe and observe with. So yeah, maximize your wonder quotient by clearing out the distractions before clicking play, the extra effort is well worth it.
P.S. When you’re done here, be sure to give With My Umbrella – a music video by Takashi Ohashi we posted last August – a watch next.
“I’ll start a fire with sticks,
I’ll put it out with my fists,
I’ll swim across the sound.
I’ll build a house in the trees,
We’ll live wherever we please,
And never settle down…”
When Tommy Wilson submitted the attached for our perusal he wrote the following in the ‘Why is this perfect for The Tripatorium™?’ field: “It is an awesome music video, trippy and weird in the best way possible. Animation goes perfect with music. This is your bread and butter.”
Jonathan Seligson, a Brooklyn-based independent animator, conjured up a slew of bizarre, psychedelic visuals that simultaneously leverage all the dreamy atmospherics of Black Light Dinner Party‘s synthpop sound while maintaining a narrative structure the pays homage to the song’s earnest, simple lyrics. It’s four-and-a-half minutes of fantastic, sufficiently out-there late-night watchables which is just how I likes ‘em.
The bits are available in 1080p, too so get it loaded full-screen, dim the lights and turn the volume way-up. Enjoy!
Thanks for sending this our way, Tommy!
“Now when we kiss, I feel like physics are true;
The world, it spins; my body, begins with you.”
File under: LOLWAT
Credit is due to Z and Zak for the suggestion…thanks for writing in, guys!
I’m a rather outspoken fan of both Bonobo and Cyriak so when I found out that Ninja Tune recently facilitated a collaboration between the two I was pretty fuckin’ pumped…so much so, in fact, that I didn’t watch the attached til this morning. The end of last week had been pretty busy and the last thing I wanted to do was have the initial screening take place on a small-ass screen with some tinny earbuds delivering the audio.
Cyriak’s visuals are gonna be kick-ass no matter what (Exhibit A) but this music video is especially nice because both his work and Bonobo’s sound are all about a steady layering-on. Each artist starts with small, simple and discrete atoms – a stripped-down drum part or short, simple video loop – and starts piling them on top of one another until the whole far-exceeds the sum of its parts. It’s the same ‘spirit’ that’s inherent to many other things I enjoy – electronic music, programming, nature and fractals just to name a few – so to have it distilled into one three-and-a-half minute dose is, well, thrilling. Art is just magic sometimes. Fuck yeah.
Even though I already knew about this one it was fantastic to open up the suggestion bin and find messages from Sam Lillard, Garrett and Mickey Gral ensuring I wouldn’t miss it. Thanks so much guys! Cheers!
It’s nice to see Anamanaguchi finally make a music video and they went all out for their maiden voyage, tapping long-time Tim & Eric collaborators Daniel Gray Longino and Eric Notarnicola to direct and a whole host of talented animators/artists to pitch-in on the visuals.
The ‘Guch aesthetic isn’t easily pidgeonholed and the surface comparisons that often get drawn between them and ‘video game music’ and/or 90s-kid culture are, from my point-of-view at least, missing the point of what they’re up to. A few months back Tycho wrote about why naked nostalgia grabs are typically unfulfilling and it definitely applies here:
“That’s the trick of nostalgia, and why yoking it is such a dangerous business. It’s never ‘as good,’ because it can’t be. ‘As good’ wouldn’t satisfy you, now, because you aren’t the person who was satisfied by it anymore, partly because of the satisfaction you felt earlier, but also because of every other force and beam and ray which is always operating on your aggregated being.”
I don’t get the sense that anything Anamanaguchi does is calculated and, even though their style (both sonically and visually) might appear to be borrowed from another decade, it feels inexplicably modern and wholly their own. This is goddamn party music and that shit never goes out of style.
I absolutely love the arcade/clique theme that underscores the whole video and super-dig the pixel art animation sequence that kicks off after Ary is blasted to Furblivion by the L4Z3R R4V3RZ (especially the cameos-created illustrations that run from 2:30-2:33).
Full-screen HD is a must. ENJOY!
posted by respondcreate on Jan. 08, 2013 in Videos | tags: anamanaguchi, animation, bizarre, cameos, colorful, daniel gray longino, eric notarnicola, good times, hd, horror, music video, nostalgia, paul robertson, pixel art
It appears Dimitri Stankowicz has been hard at work honing his solid-color-fill vector animation style since we first posted his entry into Björk’s Innocence video contest two years ago. The visuals in the attached sync up beautifully (both in timing and spirit) with Rone‘s deep, synth-driven, spaced-out sound. The net-effect is pure, distilled atmosphere so get it loaded in 1080p and strap your headphones on.
This one’s a treat and we owe Brandon Michael Azzarella a big thanks for sharing it with us on Facebook. Cheers, Brandon!
P.S. If you find that your taste in music tends to line-up with my mine then don’t hesitate to pick up the full-length album ‘Bye Bye Macadam’ is from, Tohu Bohu. It’s packed to the brim with the type of soaring, emotive electronica that’s pitch-perfect for late-night drives and contemplative lazy afternoon seshes.
posted by respondcreate on Jan. 07, 2013 in Videos | tags: animation, astronomy, atmospheric, black and white, dimitri stankowicz, electronic music, fantasy, hd, magic, monochromatic, music video, rone, trippy, vector, wormhole
File under: LOLWAT
Absolutely loving the spartan, monochromatic and tight-as-fuck animation in this Mathieu Bétard-directed music video for Kris Menace. It’s a delicate mix of mirrored-and-repeating geometric ‘morphables’, rotoscoped figures and bizarre transitional touches where everything besides line, form and movement is swept aside. Just absolutely gorgeous stuff.
If you enjoyed the attached then definitely give Chunkothy a watch next, I’m 100% positive you’ll dig it. Cheers!
posted by respondcreate on Nov. 21, 2012 in Videos | tags: animation, bizarre, black and white, electronic music, geometric, hd, kris menace, mathieu bétard, mirror, miss kittin, monochromatic, music video, rotoscoping, trippy, wizz
“I shuffle around the tectonic plates in my chest.
You know I gave it all, try to match our continents;
To change seasonal shift, to form a mutual core.”
You guys remember SOLIPSIST, right? (If you have no idea what I’m talking about, drop what you’re doing and go watch it immediately.) It’s easily in the top five of my ‘Favorite Pieces of Internet’ list for 2012 so I was SUPER-PUMPED to discover (via Sam Lillard) that its creator, Andrew Huang, directed Björk‘s latest music video.
The two are a natural fit: His craft-material-as-biology approach pairs well with both her nature-as-allegory lyrical tendencies and always-out-there visual style so it’s no surprise that this collaboration thrums with a primal, living energy.
The bits are available in 1080p, too so don’t hesitate to load this thing on the biggest display available. ENJOY!
P.S. Our Bjӧrk feed is pretty rad.
“When you don’t know what you want,
You just repeat yourself again;
In the end, you just repeat yourself again.
When you don’t know who you are,
You dig yourself the hole you’re in.”
Another stunner from Gotye, y’all…this time with visuals by Saiman Chow. Grab your headphones, dive-in and enjoy.
A big thanks is due to Colton for the heads-up! Cheers!
“Where do all these melodies come from?
Where do all these melodies run from
to then find solace in sun, son?
Honestly? I’m stumped.
All I know is somehow when I’m stuck,
Maybe it’s dumb luck, I give up;
I’m just as dumbstruck.”
Steve first sent us this video in the spring but, truth be told, I didn’t take the time to really dive in and pay attention to what was going on until a few days ago. Don’t make the same mistake.
I never really caught on to what the song was about because I was too fixated on the visuals. For whatever dumb reason I tend to not like when shot footage and animation are combined unless they’re seamlessly mixed together. That’s certainly not a rule, just a general prejudice rooted in the sticky cellar of my psyche. When I was a child I used to separate my food into neat little piles; the stuff I liked least was eaten first and, when it was finished, the next mound in the hierarchy of flavor was tackled until my favorite was last on the plate. It sounds dumb now that I’m typing it out but, at the time, this behavior seemed perfectly logical. I was a little obsessed by the process to the point that I’d have a mini freak-out if different foods touched each other.
To enjoy something on it’s own terms is, to me at least, fundamentally satisfying. I find that both sobriety and intoxication are agreeable in their own way but to be either one or the other for too long a span of time spurs a vague discomfort as each plays an integral role in calibrating the poles of my consciousness.
Yin and yang, bruh.
So, separate and tackle in turn. If shot footage and hand-drawn animation are fused into one film, why wouldn’t you want to make the finished product look as homogeneous as possible? You know, invest the necessary time and attention to do a proper blend; apply some craft ‘n shit. This is probably why I glossed over the attached when I first saw it. But I didn’t dismiss it...how could I? Mr. Steven Smith himself made it for goddamn Stones Throw and, seeing as I’m a big fan of both, decided to tuck it away and return later. On a recent trip to the Midwest I did just that and, away from the pressures of work, had time to properly marinate in what was going on.
Anyways, the song is about the creative process and – even though Homeboy Sandman is specifically referring to his methodology for writing rhymes – the themes he covers are pretty universal to anyone who makes things. At it’s core, creating something is a frustrating mix of volition and luck. You’ve got to do what you can to get the ball rolling but ultimately, what’s going on isn’t completely within your control. It’s haphazard and messy and inexact and – for beings whose evolutionary success depended primarily on an ability to exert dominance over the surrounding environment – supremely frustrating.
“I think ‘What is this melody meaning to me?’
The answer might come in a week.
The answer might come immediately.
What is the recipe?”
Lyrically, it’s a tightly-packed, mad, stream-of-consciousness tumble and the accompanying grab-bag of colorful, whacked-out visuals heighten the sense of anticipation for what he’ll say next. It took me until the ninth or tenth viewing to finally notice that the only shot footage is of Sandman’s head, the physical case for an internal universe of grey matter that simultaneously contains both the hindering, fickle spontaneity of his creative muse and the honed mastery of language that eventually liberates and externalizes it.
At that moment everything shifted; the heterogeneous, sharp-edged contrast of the visuals morphed from the thing I didn’t like to my absolute favorite part. Maybe you’ll like it, too?
“Go on: bury me,
under stone or under sea;
Silent picture, keep the fishes company.
There is little else for me now…
...but I will find my way,
out of the dark some day,
into a crimson, yellow sun.”
Been itchin’ to post this one since last Wednesday when I first saw it pop-up in Mr. Lotus’ twitter feed. He’s got a new album, Until The Quiet Comes, set to drop on October 1st and made the brilliant decision to hire Sir Cyriak to create a video to promote it’s release.
It’s a true collaboration and exactly what you’d expect when creatives of this caliber combine their unique skill sets. The tune itself fuses together two of Flying Lotus’ fortés: sterile, machine-pulsed-and-stripped-down beats and his trademark spacey, rambling, warm-and-jazzy tones. Cyriak takes that contrast and runs with it, creating a world populated with regiments of single-purpose robots that is forever changed after one of them spontaneously evolves, trading in its initial programming for a more familiar-to-us set of survival-of-the-fittest, kill-or-be-killed instincts. The video escalates in typical Cyriak fractal-fashion, progressing in complexity from the micro to the macro until everything-is-everything and then back again. Word.
It’s a treat, y’all. ENJOY!
“You know I never want to let you down,
It cuts me up to see you sad.
And I wish that I could undo what I’ve done;
Give back the faith in me you had.”
Another day, another fantastic music video for a tune from Gotye’s Making Mirrors. This one’s packed with playful, surreal hand drawn visuals (directed/animated by Gina Thorstensen and Nacho Rodriguez with help from Giulia Bellunato) that do a great job fleshing out and exploring the themes of regret, longing, identity, forgiveness and hope presented in the song.
As alluded to above, we’ve posted loads of great music videos from Making Mirrors to the site that can be conveniently accessed via our Gotye feed. Happy browsing!
posted by respondcreate on Sep. 19, 2012 in Videos | tags: animation, bizarre, colorful, ethereal, gina thorstensen, giulia bellunato, gotye, hand drawn, hd, love, music video, nacho rodriguez, surreal, trippy
it’s multi-versal; pages and journals.
My journey here is ended soon –
we blow eternal.
My mind expands
with widening strands
of indigo and purple.
This music’s not commericial,
We’ve been watching Ori Toor make shit since first discovering the ‘unofficial’ music video he created for Animal Collective’s Lion in a Coma. Since then he’s made a few more and each exhibit his distinct ‘stream of consciousness’ style of staggered-and-repeating organic, undulating shapes. Ori’s approach has subtely shifted in each of them but they’ve all, for the most part, remained abstract studies in colorful form. The attached, his latest, veers into new territory and I’m absolutely loving how he’s mixed in some representational imagery to compliment the usual assortment of evolving, fluid structures.
It’s my favorite Ori-joint yet and easily an ‘instant classic’ of the site…it’d be a crime to watch this in anything but full-screen HD. Oh and a nice pair of bass-friendly headphones is a must, too; Kingdom Crumbs knows how to properly fatten-up the bottom end of their kicks and basslines and you’ll want to rattle-and-bathe in each one.
Speaking of which, I picked up their eponymous album this morning and have been listening to it while I cobble together this post. It’s thoughtful, positive, mellow, rambling-in-a-good-way hip-hop undergirded by some spacey, out-there synthesizers and easily worth the ten bucks in iTunes. If you’re strapped for cash, head over to Bandcamp and name-your-price; even the most frugal of budgets can accommdate a few cents, right?
“And you gave me love
When I could not love myself
And you made me turn
From the way I saw myself
And you’re patient, love
And you help me help myself
And you save me,
You save me, you save me…”
Click here for some moar Gotye goodness on The Tripatorium™.
Takashi Ohashi‘s animation in this music video for cokiyu reminds me of both bleeple’s 2D moving collages and Ori Toor’s layered undulations. They all share a foundation of smooth, psychedelic abstraction but Takashi’s shapes veer away from pure form to conjure an alien landscape of playful, swimming organisms. It’s smooth-as-fuck, too – clearly he sweats the details, something I always appreciate.
Speaking of which, I’m a big fan of the ‘color-echo’ effect that makes it’s first appearance from 1:41-2:06, reappears at 2:47 and spools up to a crescendo from 3:17 to 3:47. It probably looks good on your phone, sure, but it’s one of those bits of subtle animation that’s magic on a big screen in a dark room so, if you’ve got access to a similar environment, I suggest you experience it there.
P.S. If you’re diggin’ this, definitely watch Chunkothy next.