Category Archives: Madness
Base jumping and skydiving in some pretty breathtaking parts of the world. EPIC.
So I finally saw Lars Von Trier’s “Melancholia” the other night. Briefly, the movies tells the story of a two sisters whose constant head butting is suddenly overshadowed by a planet called Melancholia heading straight for Earth. The movie is split into two acts, Part I, entitled Justine (Kristin Dunst’s character), while Part II, Claire, named for Justine’s sister played by Charlotte Gainsborough. The movie overall was good, but took a while to reach its peak and peak my interest. While the first part moved rather slow, it contained one of the most striking parts of the whole movie: the opening sequence, which was quite simply, breathtakingly beautiful; its surrealness captivating and dynamic. The nearly 9 minute prologue (see below) shows the destruction of planet earth as impact with melancholia is realized, the few moments of panic (in the case of Claire) and tranquility (in the case of Justine) just beforehand, and the visualization of Justine’s dark and foreboding dreams. Part I is saved by good acting on the part of Dunst, who often angered me in her wedding day behavior towards her friends, family, and adorable husband (Alexander Skarsgard). We see her deteriorate in a matter of a day, which just happens to be the day of her extravagant wedding hosted by her sister and brother-in-law (Kiefer Sutherland). She becomes depressed, apathetic, and even nihilistic. This worsens over the course of part I and into part II. In Part II we really begin to see the whole picture, the theme of the movie fleshes out with the juxtapositions between Justine and Claire becoming clear. As Melancholia looms closer, predicted to either pass right by or destroy everything in sight, Claire becomes increasingly anxious, as Justine’s depression seems to be less debilitating. Claire is somewhat calmed by the reassurance of her husband that experts agree the planet will spare earth while putting on a beautiful show, but with little real evidence to back it up. Claire’s anxiousness reaches an all-time high, when her optimistic, in denial husband overdoses on her anxiety medication when they realize the planet is getting dangerously close, rather than receding. All the while Justine remains in silent acceptance, or even anticipation for doomsday. As a clinically depressed person, Justine “knows things”. In other words, she is an enlightened individual whose knows that the destruction is eminent and that yes, it will destroy all that we know around us no matter what. But she sees what Claire fails to; that in the destruction of all that is physical and material, the meaningless, therein lies meaning in what cannot be destroyed. And this is what we witness in the final moments of the film, as Claire, Justine, and Leo (Claire’s young son), as they’ve joined hands underneath a fortress of wooden sticks that will protect their spiritual bond from anything.
One of Brainfeeder’s newest signees, Martyn recently came out with his debut record, Ghost People. Check out this tripped out music video, directed by Komx-om-Pax, for Viper.
A brief history of mankind according to a theory that apes at one point ate shrooms which doubled the size of their brains in a mere 2 million years, aka making us awesome today. This is actually an intro to a Comedy Central pilot, Thunderbrain…woulda never guessed that. It goes hard. #THINK!
Well, it was that time of year again. I’m talking about New York’s own, major electronic music festival, the EDC of the East: Electric Zoo. Yes, it took me this long to finally get around to writing about it because I’ve been recovering. Let’s just say three days is a long time to be raging, and I barely made it through. Due to some unforeseen circumstances, my Days 2 and 3 were cut short, therefore this write-up isn’t exactly complete, as in honest to who, in my opinion were the best performers simply because I could not see nearly all of them. From what I did see however, EZOO was back, bigger, and better than ever. From the organization of the actual event (remember those terrible bus lines last year?), to the actual acts, the Zoo fucking brought it. My Day 1 started off strong, arriving just in time to catch some of Bart B More’s set. This Dutch kid didn’t care that his was spinning for a meager crowd, he still gave us plenty of bass to soak up. He dropped his popular tunes like Listen to This with Harvard Bass and also featured some of his new tracks off of his and Harvard Bass’ upcoming EP, The Ones, dropping next week.
Next, I was excited to see Feed Me, but after a few minutes I grew bored and headed over to the Main Stage to catch Rusko. Rusko churned out much of the same that he did for IDentity Festival last month, but I still enjoyed it. Afterwards I mulled around the crowds and grass areas, enjoying watching all drugged out ravers and bridge and tunnel bros dance like retards (not saying I wasn’t either, the dancing part I mean). I thought I’d check out SebastiAn since I am in love with his remix of the Kills’ Cheep & Cheerful. Unfortunately, he mostly just stood there with a cigarette in his mouth and doing some weird shit with one of his arms in the air. No SebastiAn, I will not bow down or salute you unless you deserve it. I then went “set surfing” as I like to call it because so many acts I wanted to see were playing at the same time. As the sun set, I headed once again back to the main stage to electronic super legend, Moby. Wow is all I gotta say. I had no idea Moby went that hard. Let’s be real, when I picture Moby all I see is his calm facial expression, his lack of any facial hair, and those glasses; oh and also Porcelain is playing in my head. But then when you think about, Moby has been making electronic music since I was born, changing, improving, and adapting his style to current tastes and such. I didn’t really recognize any of the songs, but he did play tracks by some today’s big names like Avicii, AC Slater, Tommy Trash, and Afrojack. I was sad to leave his set early, but the festival must go on.
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Active Child’s debut album, You Are All I See was released on Tuesday by Vagrant Records. Active Child, aka Pat Grossi is known for his harp-based and synth-heavy tracks, as well as his distinct falsetto. Grossi’s 2010 Curtis Lane EP debuted to impressive reviews and a 7.7 rating on Pitchfork. On You Are All I See, Grossi brings the familiar sounds of his harp, synths, and heavy drums beats, but brings a more mature sound as well. Where Curtis Lane had been driven mostly by his haunting vocals and dancey beats, this new release is toned down and more rooted. Grossi doesn’t try produce dance tracks that sounds more like their caught between a ballad and a 80s hit, he sticks to what he’s great at: his instrumentation and composition. The tracks on You Are All I See hover around the topic of love, the loss of it, and confession. I don’t think it would be cliche to call Grossi a hopeless romantic because he admits it himself; when speaking about track, “See Thru Eyes” he says “I will never forget that morning, waking up next to her. The sun pouring in the giant windows of my studio apartment…She was my obsession.”
The two singles so far, “Hanging On” and “You Are All I See” are some of the best, if not the best songs on the album. “Hanging On,” one of the speediest songs of them all (along with “Playing House” featuring How To Dress Well) is a perfect example how emotionally charged and raw the whole LP is, as he sings (“Touch me and then turn away/ Put your hands into the flame/ Tell me if you feel this pain/ ‘Cause I don’t want to be a ball and chain”). The song peaks with strong harp and bass lines, and vocal melodies, and tones down at points reduced to just Grossi’s falsetto and harp. “You Are All I See” remind me of “She Was a Vision” on Curtis Lane and is Grossi’s attempt at convincing the girl he loved that she was all he needed. It does a pretty convincing job with slow vocals, synthed-out percussion and alternating slow and fast harp lines. Another great track is “Johnny Belinda”, supposedly conceived while watching the TCM on mute, features an amazing, albeit profoundly sad bridge around 2:50; Grossi’s favorite part of the entire album. It makes sense that this song is born out of watching movies because it is so epic sounding it seems to belong on a soundtrack to a black and white war movie.
Active Child’s debut is all about this girl that he so desperately wants to be with, but to the audience it could be their own story. It is incredibly personal and I don’t think it would have been as successful if it wasn’t. It enthralls you, and I really wonder if he got the girl in the end! I have only listened to the album a handful of times since the clock stroked midnight this morning and I downloaded it, but I can tell you it is a beautifully and artfully crafted album. It doesn’t contain the happiest of tunes and moods, but it’ll definitely suit you if its a rainy day or if your struggling in a relationship. You can pick up the album from iTunes for just $7.99 or stream the whole thing here. Enjoy.