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1. Hostage - Roll

  • Published: 2010-08-14T10:03:04+00:00
  • Duration: 242
  • By Nightshifters
Hostage - Roll

Hostage - Roll (FREE EP - download the whole EP now!) http://www.nightshifterslabel.com/NS018/Hostage-Roll.zip Everyone knows that Hostage is an unstoppable music-making beast of legendary proportions pumping out hit after hit, week in and week out. And he’s been a busy, busy boy since his Radio 1 Essential mix earlier in the summer, playing alongside Annie Mac at the Manchester Apollo, Rockness Festival and he set the Arcadia Afterburner stage at Glastonbury ablaze -literally! Not to be restrained in the slightest, he’s back with 2 killer new tunes on this, his first free Ep on Nightshifters. With “Roll” we see Hostage shows us a slightly more subtle hand, well, that’s before the bass drops! With “The Ba$$” he’s back at his no-holds-barred-kicking-down-the-fucking-rave-door approach with one of the most ridiculous noise-bass drops you’ll hear this year. It’s massive!! With tracks this good, we had to pull together some remixes to make a nice tidy package for you so we asked Samo Sound Boy to turn on his Bubblin machine to bring you a bouncy dancehall flavored remix of the lead track while Figure takes the bass for a wobbly thrill ride. Nightshifters honcho Dj Donna Summer smacks you with some garage-flavored orchestral-rave to round out the set. That’s not a genre you see too often, now is it? - Nightshifters is built around a core group of musicians making big club tracks to get people dancing! Our sound is hybridized; you can find elements of B’more, Rave, Electro, Dubstep, House, Bassline, and maybe even some Drum and Bass in the mix. We’re an open-minded lot who are working hard to make your parties better. http://www.nightshifterslabel.com/ --- All Footage taken from: "Journey Into The Unknown" by Kerry Laitala get it on DVD here: http://www.othercinemadvd.com/experiments.html


2. MOBILE STRIKE playtime (directed by Patrick Boivin)

  • Published: 2016-12-23T01:56:06+00:00
  • Duration: 87
  • By Strob
MOBILE STRIKE playtime (directed by Patrick Boivin)

A spot for Mobile Strike that I just did with my friend: director Patrick Boivin. I was in charge of all the VFX, onset supervison (HDR 360 photo shoot, etc) and 3D animation. I used some assets (3d models and textures) supplied by Mobile Strike’s editor: Epic war (we just added some missile launcher to the chooper modeled by my helper Joseph Tran). Then I tracked all the camera movement in Blender with some help from my friend Joseph Tran. First time I used Blender in production and certainly not the last, it was amazing, smooth and stable to track with Blender. I did the rest with 3ds Max, V-Ray and PhoenixFD. Some explosion were done onset with real explosives and it was really cool to be there to see and hear that. It took us approx 2 weeks to track the cameras for the 18 shots since they were all blurry, full of moving stuff and pretty difficult motion. So not the kind of shots that can be track automatically. Then I spent another 2 weeks doing all the animation, smoke, fire and explosion simulations, lighting, rendering (I did the rigging for the tank in advance though). I then did precomps for director Patrick Boivin who did the final compositing himself, adding some details of sparks, debris, bloom and glare. Patrick is also playing the role of the father with his son Romeo. It was an amazing project to do, my only regret is that I didn’t get to meet with Arnold, who plays in most Mobile Strike spots, even though we can hear his voice at the end! Maybe next time. ;) *** Voici un spot que je viens de terminer avec mon ami réalisateur Patrick Boivin pour le jeu vidéo Mobile Strike. J’étais en charge de tous les effets visuels, supervision sur le plateau (photo HDR 360, scan 3D de certaines parties du set poureffets d’éclairage) et animation 3D.Les modèles et texutres m’ont été fourni par l’éditeur de Mobile Strike: Epic War (nous avoins seulement ajouté des lances-missiles à l’hélico modelisé par mon aide, Joseph Tran). J’ai traqué tous les mouvements de Caméra dans Blender avec un peu d’aide de mon ami Joseph Tran. Le tracking dans Blender fonctionne super bien surtout pour ce genre de shots: i.e. des shots très difficiles et qui se portent très peu au tracking automatisé. Blender était très stable et fluide pour ce genre de travail. J’ai fait le reste avec 3ds max, V-Ray et PhoenixFD. Quelques explosions ont été faites live sur le plateau et c’était très cool d’y assiter. Le piano a explosé dans une déflagration assez impressionante, par chance on nous fournissait des bouchons d’oreilles! ça nous a pris à peu près 2 semaines popur traquer toutes les 18 shots qui étaient toutes très blurrées, pleines d’objets qui bougent ou de fumée et débris et avec des mouvements assez complexes. ensuite j’ai passé 2 semaines à faire seul les animations, les simulations de fumée, de feu et d’explosion, l’éclairage et le rendu (j’avais fait le rigging du tank à l’avance). J’ai par la suite fait des précomps pour le réalisateur Patrick Boivin, qui a fait le comp final lui-même ajoutant détails d’étincelles, débris, lens flare et glow. Patrick a d’ailleur joué le rôle du père avec son fils Roméo. Ce fut un autre projet très excitant avec Pat et mon seul regret est de ne pas avoir travaillé avec Arnold Schwarzy (qui jouent dans plusieurs spots de ce jeu) même si c’est sa voix qu’on entend à la fin. Peut-être la prochaine fois! ;)


3. Lucid - Closed Eye

  • Published: 2011-11-15T06:50:37+00:00
  • Duration: 298
  • By Nightshifters
Lucid - Closed Eye

Lucid - Closed Eye from “The New Reprise”, Nightshifters, NS024 Released Nov 15th, 2011 Video by Mark Brown http://www.markcharlesbrown.com Buy at iTunes: http://itunes.apple.com/us/album/the-new-reprise/id475343342 Juno Download: http://www.junodownload.com/products/the-new-reprise/1854221-02/ You know how people say things like “next level” and “you’re not ready”, but then you hear the tracks, and you’re like “well, I was ready and it’s just like 1 baby-step away from whatever’s current now”. But of course, very rarely, there is music that when you hear it you aren’t actually ready for, music so different that it brings about a fundamental re-evaluation of what you think is actually music. Well, guess what. We’re happy to announce the debut release by Lucid on Nightshifters. It’s so next level that you’re literally not ready. Lucid makes music that sits between a lot of different aesthetics. In some ways he has taken a lot of “future” sounds and ideas from a lot of different types of music and then processed them into something that’s for the club despite sounding completely unique. All the elements you’d expect are there, subby kicks, sharp snares, and few whooshing bits and a few fiery synths - but to be honest, they are all in the wrong place. This new sound, this new concept in music, is so fundamentally thrilling that we have to really watch when we drop it. “The New Reprise” is so advanced that you’re bound to get some funny looks, but what we’re saying is this: this shit fucking slays. Every track on this EP is a surprise. The collision of sounds and sub frequencies is constantly curious. The Ep starts off with Jumbo - an overdriven slammer with massive snares and mind-melting frequency-bends. “Togo” marches to its entirely own robotic drummer with flanged grunts and a brutal drop about half way through. “Closed Eye” has some rave elements convoluted through an intergalactic spectrum while “Shh” slides between Electro in a blender and a case of whiplash. “Drung” closes out the original tracks with one of the biggest and most confounding breakdowns you’ll hear this year. I mean, we can throw a bunch of words and genres together, but the reality is you’ll listen to this and realize how little you know. An Ep this good doesn't need remixes, but we have some pretty incredible ones for you anyway. Sam Tiba from the unstoppable Club Cheval crew drops perhaps his best tune yet with an incredible trans-dimensional remix of “Shh”. The Godfather of Baltimore Club Music, Scottie B, goes way the fuck out with a noisy remix of “Jumbo” that should have the club in full-pogo mode, and UK’s Norrit shows us a slightly warmer, housier version of “Jumbo” that we know will get a ton of play. We’ll say it again; Lucid’s “The New Reprise” is so next level that you’re literally not ready. - Nightshifters is built around a core group of musicians making big club tracks to get people dancing! Our sound is hybridized; you can find elements of B’more, Rave, Electro, Dubstep, House, Bassline, and maybe even some Drum and Bass in the mix. We’re an open-minded lot who are working hard to make your parties better. http://www.nightshifterslabel.com


4. Punk Rock

Punk Rock

Iggy Pop giving his thoughts on the term punk rock This small interview can be hear in the album Come On Die Young by the band Mogwai. And can be see in the Documentary : All tomorrow's parties (2009) , directed by Jonathan Caouette


5. Real Scenes: Mexico City

Real Scenes: Mexico City

Life in the Mexican capital throws up many obstacles, but as we found out in the return of our long-running film series, a small number of dedicated people are trying to build an electronic music scene in one of the world's most chaotic cities. Mexico City is one of the largest and most vibrant metropolises in the world, but its electronic music scene has yet to truly flourish. It's a city where vast inequality, crime and widespread corruption are everyday realities, and where nightclubs are largely reserved for the moneyed elites. For those who put music first, there are many obstacles—a lack of venues, a limited audience, very little financial gain. Whether you're putting on parties, releasing music or hustling for gigs, making ends meet is a constant struggle. But the issue also runs deeper. Malinchismo, which means a preference for the foreign over the local, is a term you hear a lot in Mexico City, and it spills over into all aspects of life. In dance music, Mexican fans and DJs will avidly follow artists from Berlin or London but pay little attention to national talent. The domestic scene therefore suffers, unable to develop an identity of its own. In our latest Real Scenes film we travelled to the colourful, chaotic capital to meet the people who are trying to make dance music work in Mexico City. We found a core community as dedicated, talented and passionate as any in the world.


6. 4. Building a Marriage Team

4. Building a Marriage Team

Nothing will change your marriage like becoming a true synergistic team where both parties are contributing to the success of the other! Too many people are so focused on getting what they need to be happy they create a “me against you” environment. But a true, loving marriage is one that encourages and empowers our spouse to discover and fulfill their dreams and calling. The greatest marriage teams are when both parties have the freedom and the help to become who they really want to be in Jesus. This is a must hear message for every couple you know. Share this with all your friends!


7. Keane - Silenced By The Night - Upstairs At United

Keane - Silenced By The Night - Upstairs At United

This is unedited footage of Keane recording the song "Silenced By The Night" from their Upstairs at United session recorded on June 21st, 2012 and available exclusively on vinyl September 18th, 2012. This recording is volume 5 of the Upstairs at United recordings. Upstairs at United is a series of all-analog recordings recorded inside the historic United Record Pressing plant in Nashville, TN. All recordings were captured directly to analog tape under the leadership of mastering engineer Chis Mara of analog recording studio Welcome to 1979, then cut to 12” EP’s at 45 RPM. The records are presented in a Kraft-style packaging that highlights the authentic all-analog approach used in making these records, include session specific inserts with color photos from the recording sessions, and come in archival quality resealable poly bags. The purpose of the Upstairs at United series is to release outstanding music recorded in a classic all analog style, and to celebrate the rich musical and cultural history that’s taken place inside this 49 year old building. Established in 1949, the same year the 45RPM record was born, United Record Pressing is still the go to pressing plant for the industry from the biggest of big to four guys in a garage. The doors to its present location first opened in 1962. In response to a then segregated South, United created an apartment above the plant to host the record label executives and artists who were excluded from hotel accommodations due to the color of their skin. This apartment, now called the Motown Suite, is still intact and furnished in its original décor. Adjacent to the apartment is a large space solely dedicated to hosting record release parties and other events for labels and artists. Among the many, it’s believed that this room hosted parties for The Supremes, Smokey Robinson, The Cowsills, Wayne Newton, and a signing party for a 16-year-old Hank Williams, Jr. In addition to existing as a monument to our musical and cultural history, the space upstairs at United Record Pressing continues to host events for artists, labels, and other lovers of music. It is in this sacred space that the Upstairs at United series is being recorded. All recordings are engineered by Chris Mara and his analog studio Welcome to 1979 located in Nashville, Tennessee. All recordings were done live directly to ¼ inch analog tape using a sixteen channel vintage recording console and vintage microphones and outboard gear, with no overdubs, edits or audio sweetening. What you hear is music in its most pure form: the recordings capture the end product of the artists together in a single room, complete with all of the enthusiasm, spirit and soul that is the foundation for this great art form.


8. Darkstarangels ♛ Patgirl & Robin Beck Extreme Arts! Snippet "You are not alone" Snippet

Darkstarangels ♛ Patgirl & Robin Beck Extreme Arts! Snippet

Darkstarangels Patgirl. Work in progress. Robin Beck on Stars ♛. The song "You are not alone" got a really good flow and cool sister-feel ...Robin has don the Lead-Vocals. James Christian from House of Lords has done the background vocals together with Robin. Friends, Okay now, here´s a Snippet from the pre-production and a short brainstorming for the clip. You hear this song from the pre-production process. This final will be available on on the album Stars soon. Music & Lyrics ( Patgirl ). also with all original songs. Musicians: Drums by C. Enghardt. Keys M.Backert. Guitars ( Patgirl ) Music & Lyrics ( Patgirl ). Cam for CC. Amazing runway fashion. Production LMG Cut & Idea LMG and Silly Goose Production. © All the rights of the manufacturer and of the owner of this work reproduced reserved. Unauthorised copying, hiring, lending, puplic performance and broadcasting of this video prohibited. © LMG Extreme Arts & Silly Goose Production with Third Parties. Robin Beck,Patgirl,extreme arts,arts extreme,James Christian, Robinbeckrocks,Heartrock,Heavy Metal,Rockguitars,rockmusic,Rockn Roll,Fashion Show,Extreme Arts,Fashion Week,You are not alone,guitar-girl,guitar-shemale,leadguitars,instrumental rockguitar,guitar lady,high heels,fashion designer,catwalk model,lmg,Runway (fashion), Schumacher,Fashion (TV Genre),Make up-artist,Silly Goose Production,Soulmusic


9. MOVE LIVE on TOUR starring Julianne & Derek Hough!

MOVE LIVE on TOUR starring Julianne & Derek Hough!

Superstar siblings Julianne and Derek Hough will star in their own all-new dance production, MOVE LIVE ON TOUR, onstage across North America beginning May 28 through July, 2014. MOVE LIVE ON TOUR will be a complete stage production, with sets, costumes and a cast of talented dancers, with the Houghs headlining in solo, duet and group performances in styles ranging from ballroom and tap to salsa and hip-hop and everything in-between. According to Derek and Julianne, “No matter where we go in the world, the question we hear most from people is ‘when are you going to do something together?’ We feel that everything we’ve done up to this point has led us to creating this show and we can’t wait to share it with our fans.” The “Dancing With the Stars” champions conceived the show, which they are staging with Tabitha and Napoleon D’umo (Nappytabs), best known for their Emmy Award-winning choreography on “So You Think You Can Dance.” “We’re so thrilled to be working with Nappytabs – their creative energy is perfectly aligned with ours and we couldn’t dream of better partners to bring MOVE LIVE ON TOUR to life.” The pair, both of whom are also accomplished singers and musicians, promise musical surprises and special guest appearances in a show they describe as “a cross between a Broadway spectacular and the hippest, coolest dance party you’ve ever been to.” The Houghs and their MOVE LIVE ON TOUR troupe will also be going into local communities on the tour to engage local dance groups and non-profit organizations to include them in the whole “MOVE” experience in fun and unique ways, in order to encourage and celebrate dance. Tickets for MOVE LIVE ON TOUR go on sale Friday, March 21. For tour routing and to purchase tickets, go to http://www.moveliveontour.com. VIP packages will be available through http://www.VIPNation.com, giving fans the chance to purchase premium tickets, including backstage tours, pre-show parties and meet and greet opportunities with Julianne and Derek.


10. Brumcon 6 - New Year's Eve 2009

  • Published: 2010-05-30T16:17:07+00:00
  • Duration: 600
  • By SlyCat
Brumcon 6 - New Year's Eve 2009

Video filmed at BrumCon 6 which took place on New Year's Eve 2009. Only got 2 mins of fursuit dancing and the rest is fireworks. All sound is in camera as I think it's always best to hear the fireworks as well as see them. Again, many thanks to Rallicat & Rizzo for hosting another fantastic BrumCon house party, to YagFox for helping put on the firework show and provide all the lasers and things and finally to everyone who came and contributed to make it one of the best NYE parties I've been to. Be sure to check out Fairlight's brilliant video of the fursuit dancing - http://www.youtube.com/watch?v=jPZ03NZLisA Originally uploaded to YouTube on Sat 02 Jan 2010: http://www.youtube.com/watch?v=oldI8RIBXng


11. Take Away Show #93 _ BON IVER (part3)

Take Away Show #93 _ BON IVER (part3)

montmartre, paris, may 2008 images and edit by vincent moon sounds by dom ciekala & benoit furic produced by chryde for la blogotheque all songs available here: http://www.blogotheque.net/Bon-Iver,4255 http://www.blogotheque.net/Bon-Iver-Part-II,4267 long version _ http://www.vimeo.com/3382261 part 1 _ http://vimeo.com/11192076 part 3 _ http://vimeo.com/11193800 part 4 _ http://vimeo.com/11195572 part 5 _ http://vimeo.com/11196689 part 6 _ http://vimeo.com/11197531 We first suggested this idea just like we used to, hoping it would work because we so loved the artist. We just suggested that Bon Iver could play a private show, a Pocket Party in an apartment. We didn’t really know if we could trust that it would ever happen until one moment in May, when Nora and I met Justin for an interview in a small backyard. At the end of it, we mentioned what was on our minds. He immediately responded that this is kinda what he dreams of: that his album is meant to be played in front of small crowds, and that he was looking forward to it. We, too, were looking forward to it, and God knows how hard it all was. We had to reschedule everything at the last minute; there was another gig in competition with ours; Canal+ stole our initial date. But when you have faith, you end up under the porch of a building in Abbesses on a rainy Monday with Justin, Sean, Mike, and their tour manager, bonnets, and gear, waiting for the caretaker to come back and give you the keys to the Buxes’ apartment. We emptied the living room for the Pocket Party, and then spent an hour or so wandering with Bon Iver. Over the course of the afternoon, we thought over the best way to play—plain acoustic, without any amp. We brought them a melodica, a Glockenspiel; there was also Ethel’s little toy piano. Justin talked about walking among the audience, occupying the space. Then Vincent Moon arrived, and we left him alone with the band in the apartment. We had to go buy some beer. What you can see in these first videos, and what we understood that evening, is how thoroughly Bon Iver is now a band. How important young Mike, Justin’s student, and Sean, who went to Justin after a show and offered to accompany him, are in setting up the songs. Justin comes in to counterpoint Sean’s voice at the end of the first half of "Lump Sum", and Sean is the leader, even though he looks to Justin for approval and quickly defers to him before any major maelstrom. Flash back, however, to earlier in the day as they worked out their set. They first tried working with voices only, after Sean had talked about Grizzly Bear’s Take Away Show, about their a cappella performance of "Knife" in the streets. Justin asked his two pals to try the same thing on "For Emma". A ritornello on two octaves for Sean and Mike, accompanied by snapping for the rhythm: that would be just enough... Time does fly: thirty people were already waiting in the courtyard when we returned from our little shopping excursion. We couldn’t let them come up—we weren’t ready: Moon and Bon Iver were still shooting "For Emma" in Ethel’s bedroom. In the end, the band came to them... The three guys just popped in without us expecting them, and started singing this newborn version of "For Emma". It was a divine surprise. The band had already disappeared into the streets, but we were still flabbergasted. We had to make the audience come up and prepare for the show. But this is another story... And other videos... We already described the magic of this party. A magic that depended on its intimacy, of course; on the acoustics; but, above all, on the reciprocity. Between each song, Justin took a few minutes to talk to us, telling us how happy they were to be there, on that particular night, with such a small crowd. After the band entered the room by the balcony, playing “Flume”, they asked once again to be closer to the audience. We could see the sun’s rays slipping away and hear the noisy street, but we didn’t care—Justin was explaining that was how he wanted to play his songs. Perfect. That was how we wanted to listen to them. In order not to miss a second of the show, Vincent Moon’s cameras stayed on the whole evening. It would have been a shame to miss anything, indeed: each song was a real gem. Plus, Bon Iver gave us two covers: the Bowerbirds’ "Olive Heart" and a song by John Prime. But Moon was just like everyone else on that night: he didn’t want to do the filming only. He also wanted to be thrilled, to close his eyes and sway. So he abandoned his camera. It passed from hand to hand before Vincent took it back and moved gently among the people who were sitting while Justin performed "Wolves". The band invited us to sing along with them, as they do in all of their shows... To give you a more precise recap of the evening, we should have let a camera film the declining day, the ceiling light we switched off, the candles we put on the floor. When Sean and Mike left their chairs to let Justin sing “Skinny Love”, it was night-black. Afterwards, there were hugs, sushi, and some joints. Then we went down in the street. Liz Green was there; we sang in front of a carousel, on sidewalks, in the middle of the road, and then in a bar, where we got drinks. We can’t show you everything, though. We have to keep some things to ourselves, just next to the conviction that we’re going to organize other parties like this one. Thank you, Bon Iver. And thanks to those who were there. text by chryde


12. HYPERBOUNCE II, Sat 21st April, Bar A Bar, 133 Stoke Newington Road

  • Published: 2012-04-05T01:41:04+00:00
  • Duration: 63
  • By Shaun Bass
HYPERBOUNCE II, Sat 21st April, Bar A Bar, 133 Stoke Newington Road

+++ Destroy Culture & Dungeon Bounce return to present: +++ ☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈ ♒ ∞ ♒ ∞ ♒ ∞ ♒ ∞ H Y P E R B O U N C E II ♒ ∞ ♒ ∞ ♒ ∞ ♒ ∞ ♒ ☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈ Acts performing on the night include: ∞ DUX CONTENT ∞ CRIM3S (DJ) ∞ ETCH ∞ DEFUNKTO (Vinyl Set) ∞ MILLI (Late Lunch) ∞ SICK BWOY (Long) ∞ FUCKED UP & FADED (Destroy Culture/Hyperlink) ∞ DJ BUMP N' GRIND (Dungeon Bounce/LDN Borough of Bass) ☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈ LOOKS LIKE: xxxxxx ☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈ HYPERBOUNCE™ returns to Bar a Bar, Dalstons newest dingey basement/ party den / place to be. Squeezing all the energy from our massive warehouse party into a smaller space, can only guarantee more vibes. ☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈ £5 b4 Midnight/£7 after Bar a Bar 133 Stoke Newington High Street Dalston London, N16 8BT (5 minutes walk from Dalston Kingsland station, nightbuses to/from central all night) Buses: 243, 149, 67, 76 Bus Stop: Amersham Road. ☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈☈ ∞ DUX CONTENT - Masters of the audio-visual, surreal weird and strangely uplifting. You wont see or hear another act like this. Brace yourselves. (http://www.duxcontent.com/) (http://soundcloud.com/duxcontent) ∞ CRIM3S (DJ) - London Witchy-Ravers, Crim3s take to the decks, expect everything from Witch House to Ibiza Classics. (http://www.crim3s.co.uk/) (http://soundcloud.com/crim3s) ∞ ETCH - Huge talent to watch out for in the up-coming months, his crisp 140 BPM Jungle productions are literally blowing our mind. Recently supporting Blue Daisy, big things await. (http://soundcloud.com/d9kabloowww) ∞ DEFUNKTO - Our new favourite Drum n' Bass DJ, sorry Nicky. Strictly Vinyl, old school dark side set. (http://soundcloud.com/defunkto) ∞ MILLI - Returning to hyperbounce, after a ridiculous set at the first Hyperbounce, is South Londons main man milli. ∞ FUCKED UP & FADED (Shaun Bass & Sick Bwoy) - The twisted individuals behind the Destroy Culture and Hyperlink parties! (http://www.destroyculture.biz/) ∞ DJ BUMP N ' GRIND - Head honcho at Dungeon Bounce, and one of the masterminds behind the infamous LDN Borough of Bass parties. Well known for his ability to get a floor moving. (http://dungeonbounce.tumblr.com/) (http://www.mixcloud.com/dungeonbounce) https://www.facebook.com/events/329816227080338/?ref=ts


13. Take Away Show #93 _ BON IVER (part1)

Take Away Show #93 _ BON IVER (part1)

montmartre, paris, may 2008 images and edit by vincent moon sounds by dom ciekala & benoit furic produced by chryde for la blogotheque all songs available here: http://www.blogotheque.net/Bon-Iver,4255 http://www.blogotheque.net/Bon-Iver-Part-II,4267 long version _ http://www.vimeo.com/3382261 part 1 _ http://vimeo.com/11192076 part 3 _ http://vimeo.com/11193800 part 4 _ http://vimeo.com/11195572 part 5 _ http://vimeo.com/11196689 part 6 _ http://vimeo.com/11197531 We first suggested this idea just like we used to, hoping it would work because we so loved the artist. We just suggested that Bon Iver could play a private show, a Pocket Party in an apartment. We didn’t really know if we could trust that it would ever happen until one moment in May, when Nora and I met Justin for an interview in a small backyard. At the end of it, we mentioned what was on our minds. He immediately responded that this is kinda what he dreams of: that his album is meant to be played in front of small crowds, and that he was looking forward to it. We, too, were looking forward to it, and God knows how hard it all was. We had to reschedule everything at the last minute; there was another gig in competition with ours; Canal+ stole our initial date. But when you have faith, you end up under the porch of a building in Abbesses on a rainy Monday with Justin, Sean, Mike, and their tour manager, bonnets, and gear, waiting for the caretaker to come back and give you the keys to the Buxes’ apartment. We emptied the living room for the Pocket Party, and then spent an hour or so wandering with Bon Iver. Over the course of the afternoon, we thought over the best way to play—plain acoustic, without any amp. We brought them a melodica, a Glockenspiel; there was also Ethel’s little toy piano. Justin talked about walking among the audience, occupying the space. Then Vincent Moon arrived, and we left him alone with the band in the apartment. We had to go buy some beer. What you can see in these first videos, and what we understood that evening, is how thoroughly Bon Iver is now a band. How important young Mike, Justin’s student, and Sean, who went to Justin after a show and offered to accompany him, are in setting up the songs. Justin comes in to counterpoint Sean’s voice at the end of the first half of "Lump Sum", and Sean is the leader, even though he looks to Justin for approval and quickly defers to him before any major maelstrom. Flash back, however, to earlier in the day as they worked out their set. They first tried working with voices only, after Sean had talked about Grizzly Bear’s Take Away Show, about their a cappella performance of "Knife" in the streets. Justin asked his two pals to try the same thing on "For Emma". A ritornello on two octaves for Sean and Mike, accompanied by snapping for the rhythm: that would be just enough... Time does fly: thirty people were already waiting in the courtyard when we returned from our little shopping excursion. We couldn’t let them come up—we weren’t ready: Moon and Bon Iver were still shooting "For Emma" in Ethel’s bedroom. In the end, the band came to them... The three guys just popped in without us expecting them, and started singing this newborn version of "For Emma". It was a divine surprise. The band had already disappeared into the streets, but we were still flabbergasted. We had to make the audience come up and prepare for the show. But this is another story... And other videos... We already described the magic of this party. A magic that depended on its intimacy, of course; on the acoustics; but, above all, on the reciprocity. Between each song, Justin took a few minutes to talk to us, telling us how happy they were to be there, on that particular night, with such a small crowd. After the band entered the room by the balcony, playing “Flume”, they asked once again to be closer to the audience. We could see the sun’s rays slipping away and hear the noisy street, but we didn’t care—Justin was explaining that was how he wanted to play his songs. Perfect. That was how we wanted to listen to them. In order not to miss a second of the show, Vincent Moon’s cameras stayed on the whole evening. It would have been a shame to miss anything, indeed: each song was a real gem. Plus, Bon Iver gave us two covers: the Bowerbirds’ "Olive Heart" and a song by John Prime. But Moon was just like everyone else on that night: he didn’t want to do the filming only. He also wanted to be thrilled, to close his eyes and sway. So he abandoned his camera. It passed from hand to hand before Vincent took it back and moved gently among the people who were sitting while Justin performed "Wolves". The band invited us to sing along with them, as they do in all of their shows... To give you a more precise recap of the evening, we should have let a camera film the declining day, the ceiling light we switched off, the candles we put on the floor. When Sean and Mike left their chairs to let Justin sing “Skinny Love”, it was night-black. Afterwards, there were hugs, sushi, and some joints. Then we went down in the street. Liz Green was there; we sang in front of a carousel, on sidewalks, in the middle of the road, and then in a bar, where we got drinks. We can’t show you everything, though. We have to keep some things to ourselves, just next to the conviction that we’re going to organize other parties like this one. Thank you, Bon Iver. And thanks to those who were there. text by chryde


14. Dr.Nojoke - Stumbling | official video by Sary Sehnaoui-Hear

Dr.Nojoke - Stumbling | official video by Sary Sehnaoui-Hear

FALLING & WALKING is a conceptual, danceable, interdisciplinary album project by dr.nojoke around the topic "moving" in collaboration with diverse international artists and Sleep is Commercial. 11 music tracks, 11 music-videos, 11 video-artists, 5 poems/texts and 1 painting Music: Dr.Nojoke Video: Sary Sehnaoui-Hear Label: Sleep is Commercial Cat#: SICX008 Sary Sehnaoui- Hear - The movement of sound HEAR made movement his motto. The movement of sound. The notes of his music are moving, they travel through time and space. A bit like him. HEAR was born in Lebanon, studied in Canada, lives in Berlin and speaks French. He followed classes in movie production, geology, modern dancing and space travel. He shot movies – several remarkable short films – before becoming a DJ and an electronic music composer. So a human course can be summed up in a few lines. But this outline always hides smaller stories, be they foundation or trauma, funny or tragic. These smaller stories are the foundation of a lifetime .A simple drum and saxophone tune he heard in a ghost train amid fake skeletons when he was 3, and there it was: music had entered HEAR's life. He didn't know then, that he was going to be haunted for life… His open-mindedness led him to study various aspects of the movie industry. At the same time his passion for music made him sneak into clubs at a young age, quickly messing with turntables & cdjs, launching parties (Made in Montreal), becomes resident DJ (at the Basement in Beirut, then at the Salon Daomé in Montreal), play music in festivals (such as Mutek or Piknik Electronic & Igloofest), and eventually compose his own music. This passion is expressed in places and situations that tell of the man’s curiosity: a circular apartment providing almost professional acoustics; marathons of sound where music is played non-stop over several days; music played by minus 30 degrees Celsius or on rooftops or boats in New York; recording sessions in a former Stasi building or in clubs in Berlin or in San Francisco. HEAR adapts to music as much as music adapts to him. He expresses music through all sorts of machines & records, old or new. He can wait many years to get a limited edition, for he sees music as a partner – He is ready to be patient for music, so much as to sleep in his recording studio. Dialogue is endless between them – a sound and visual dialogue, for notes are, they move and fly, and eventually they are shared with everyone. Small stories built up the big one. In both cases, Hear, is always on the move, he is driven by life – a nice recipe for creation. Already 12 years as a DJ, an album out on Archipel and several singles, a vinyl with Move D, and loads of upcoming projects. HEAR is moving fast, taking sound along with him. Written By Manuel Ben Guigui www.vimeo.com/eyehearprod www.djhear.com


15. Glitter App

  • Published: 2013-02-28T20:41:04+00:00
  • Duration: 90
  • By Glitter
Glitter App

Glitter is an app that aims to speed and improve the way casting agencies, producers and clients work together. It's an online platform that helps agencies, producers and clients work together by concentrating all casting communication & content in one centralized location: the cloud. Casting agencies are crucial to modern advertising, supplying them with quality actors and models to represent brands on today's broad meda spectrums. However, there are no tools to streamline & simplify the workflow and enable all parties involved to work together online. Glitter aims to change that by creating a tool that saves time & money, while helping producers & casting agencies find new partners in the industry. Help us take Glitter to the NEXT Berlin Start-up Pitch in April 2013. To qualify, we need to be among the Top 30 most voted start-ups by March 29th. Vote for us with your facebook account at http://nextberlin.eu/pitch/glitter/ Visit http://glitterapp.com/ for more info. We'd love to hear from you.


16. 31 MInute Calls - Booking Your Holiday Season (Kendra Schmit)

31 MInute Calls - Booking Your Holiday Season (Kendra Schmit)

Offering these parties is not only fun but an effective way to book your holiday season. Hear from Executive Director, Kendra Schmit, on how to make sure hostesses understand that holiday partying is fun, festive and simple because you will take care of the details and help them all along the way!


17. Bella Springs Wedding Film Highlights // Lindsey + Tom

  • Published: 2013-12-18T12:57:56+00:00
  • Duration: 388
  • By When It Clicks
Bella Springs Wedding Film Highlights // Lindsey + Tom

The power of words should never be forgotten. After all, words are what shape the most powerful and meaningful stories of our lives. So when a couple chooses to give the gift of words to one another on their wedding day, it can make what is already a special day that much more beautiful. We had a great time traveling out to the scenic Bella Springs near San Antonio for this great couple and many of their friends and family who (though a bit chilly outside) made every part of Tom and Lindsey's wedding day so warm and wonderful. It's stories like this that continue to ignite the passion for what we do. Giving couples not just a beautiful set of images or scenes from the day, but incorporating as MUCH natural and real audio moments from the day. We believe this is so important to every film we shoot, I mean think about it...won't it be great for their grandkids to be able to hear every word that flowed from this couples' hearts on their wedding day? Still gives me chills thinking about it! Many thanks to the following vendors: Wedding Film - WhenItClicks Films and Photography Wedding Photography - BlueFire Photography Ceremony and Reception - Bella Springs Wedding Planner/Coordinator - Brenda Sealy Hair/Makeup Artist - Simply Serene Salon Florist - Especially Yours Rentals - Parties By Design Cake Artist - Lisa's Cakery Band - Waylon Pierce Song licensed with permission by Marmoset Music Director/Lead Cinematographer- Daniel Estrada Camera 2 - Joey Martinez


18. Projector

  • Published: 2013-08-16T10:54:48+00:00
  • Duration: 120
  • By mark sheldon
Projector

The principal object in this image is our old family projector. It belonged to my father, long since deceased, so it possesses one narrative that is forgotten. But it also has another that it communicates to me. The fact that it belonged to my father gives it contagion, increasing its value. This prompts a refection on the value of inherited objects passed from person to person through history. The movement in this image is of the projector projecting a silent, black and white Keystone Cops movie back onto itself, inspired by the concept of objects either projecting narrative onto our memory, or of our ability to project a memory onto an object. The Keystone Cops movie was bought to show as the entertainment at one of my early childhood birthday parties. I remember clearly how we all sat on the floor and waited expectantly as the lights went out and the projector whirred into life - the only sound you could hear was of the motor running and the film flickering through the gate. Despite its dated content the film enthralled us all as we watched it in our own private cinema, over and over. The Projector will connect with its audience by prompting their own memories of film projectors to be activated ready for reflection. It is the absence of any sound that enables the imagination to create its own sound track as part of this process.


19. Take Away Show #93 _ BON IVER (part6)

Take Away Show #93 _ BON IVER (part6)

montmartre, paris, may 2008 images and edit by vincent moon sounds by dom ciekala & benoit furic produced by chryde for la blogotheque all songs available here: http://www.blogotheque.net/Bon-Iver,4255 http://www.blogotheque.net/Bon-Iver-Part-II,4267 long version _ http://www.vimeo.com/3382261 part 1 _ http://vimeo.com/11192076 part 3 _ http://vimeo.com/11193800 part 4 _ http://vimeo.com/11195572 part 5 _ http://vimeo.com/11196689 part 6 _ http://vimeo.com/11197531 We first suggested this idea just like we used to, hoping it would work because we so loved the artist. We just suggested that Bon Iver could play a private show, a Pocket Party in an apartment. We didn’t really know if we could trust that it would ever happen until one moment in May, when Nora and I met Justin for an interview in a small backyard. At the end of it, we mentioned what was on our minds. He immediately responded that this is kinda what he dreams of: that his album is meant to be played in front of small crowds, and that he was looking forward to it. We, too, were looking forward to it, and God knows how hard it all was. We had to reschedule everything at the last minute; there was another gig in competition with ours; Canal+ stole our initial date. But when you have faith, you end up under the porch of a building in Abbesses on a rainy Monday with Justin, Sean, Mike, and their tour manager, bonnets, and gear, waiting for the caretaker to come back and give you the keys to the Buxes’ apartment. We emptied the living room for the Pocket Party, and then spent an hour or so wandering with Bon Iver. Over the course of the afternoon, we thought over the best way to play—plain acoustic, without any amp. We brought them a melodica, a Glockenspiel; there was also Ethel’s little toy piano. Justin talked about walking among the audience, occupying the space. Then Vincent Moon arrived, and we left him alone with the band in the apartment. We had to go buy some beer. What you can see in these first videos, and what we understood that evening, is how thoroughly Bon Iver is now a band. How important young Mike, Justin’s student, and Sean, who went to Justin after a show and offered to accompany him, are in setting up the songs. Justin comes in to counterpoint Sean’s voice at the end of the first half of "Lump Sum", and Sean is the leader, even though he looks to Justin for approval and quickly defers to him before any major maelstrom. Flash back, however, to earlier in the day as they worked out their set. They first tried working with voices only, after Sean had talked about Grizzly Bear’s Take Away Show, about their a cappella performance of "Knife" in the streets. Justin asked his two pals to try the same thing on "For Emma". A ritornello on two octaves for Sean and Mike, accompanied by snapping for the rhythm: that would be just enough... Time does fly: thirty people were already waiting in the courtyard when we returned from our little shopping excursion. We couldn’t let them come up—we weren’t ready: Moon and Bon Iver were still shooting "For Emma" in Ethel’s bedroom. In the end, the band came to them... The three guys just popped in without us expecting them, and started singing this newborn version of "For Emma". It was a divine surprise. The band had already disappeared into the streets, but we were still flabbergasted. We had to make the audience come up and prepare for the show. But this is another story... And other videos... We already described the magic of this party. A magic that depended on its intimacy, of course; on the acoustics; but, above all, on the reciprocity. Between each song, Justin took a few minutes to talk to us, telling us how happy they were to be there, on that particular night, with such a small crowd. After the band entered the room by the balcony, playing “Flume”, they asked once again to be closer to the audience. We could see the sun’s rays slipping away and hear the noisy street, but we didn’t care—Justin was explaining that was how he wanted to play his songs. Perfect. That was how we wanted to listen to them. In order not to miss a second of the show, Vincent Moon’s cameras stayed on the whole evening. It would have been a shame to miss anything, indeed: each song was a real gem. Plus, Bon Iver gave us two covers: the Bowerbirds’ "Olive Heart" and a song by John Prime. But Moon was just like everyone else on that night: he didn’t want to do the filming only. He also wanted to be thrilled, to close his eyes and sway. So he abandoned his camera. It passed from hand to hand before Vincent took it back and moved gently among the people who were sitting while Justin performed "Wolves". The band invited us to sing along with them, as they do in all of their shows... To give you a more precise recap of the evening, we should have let a camera film the declining day, the ceiling light we switched off, the candles we put on the floor. When Sean and Mike left their chairs to let Justin sing “Skinny Love”, it was night-black. Afterwards, there were hugs, sushi, and some joints. Then we went down in the street. Liz Green was there; we sang in front of a carousel, on sidewalks, in the middle of the road, and then in a bar, where we got drinks. We can’t show you everything, though. We have to keep some things to ourselves, just next to the conviction that we’re going to organize other parties like this one. Thank you, Bon Iver. And thanks to those who were there. text by chryde


20. 4K Crackling Birchwood Fireplace

4K Crackling Birchwood Fireplace

Enjoy everyone's favorite Fireplace now for the first time in UHD 4K! Hear the snaps and crackles as the wood begins to ignite from the start all the way to the end of the fire. See details of the Fireplace close up like never before in crystal clear video. Great for parties, get-togethers, meetings, or just a romantic night at home with a loved one. 60 Minutes