Dmitry Krasnoukhov

 surrealist vaginas

YES! Thanks, delmiranda!

Famous album covers recreated with my socks

СВ Хутор — Big Echo mix (57.6 MB)

Сергей Хуторненко записал концептуальный гостевой микс для велосипедистов, уезжающих на природу. Новая композиция «Большая Радость» удачно расположена между горячо любимым редакцией quietstorm’ом «What You Won’t Do For Love» и дебютом Indian Wells.

Треклист:

John Maus — No Title (Molly)
Sonny and the Sunsets — Pretend You Love Me
A Flock Of Seagulls — Space Age Love SongSeagulls
Fax — Lights On
Hammock — Losing You To You
Gwilym Gold — Lust For Sale
Passion Pit — Carried Away
Lightships — Muddy Rivers
Christian Loffler — Pale Skin
Primal Scream — Over & Over
Beachwood Sparks — Forget The Song
Bobby Caldwell — What You Won’t Do for Love
СВ Хутор — Большая радость
Indian Wells — In The Streets
Gary War — Care Less
Superpitcher — Jackson

Улыбчивого и кучерявого Диму Осиповского можно узнать издалека, а его проект Ronkonkoma уже дразнят русскими Bombay Bicycle Club и Vampire Weekend.  Задорные летние песни с узнаваемым голосом и очарованием домашних записей — почему его ещё не носят на руках? Особенно приятно видеть, как друзья поддерживают Диму и его творческие планы, а дачный клип «If You Go I Go» выглядит идеалом неприлизанного летнего клипа без инстаграмовских фильтров. Так держать, ждём продолжения!

Скачать «If You Go I Go» можно на bandcamp.

Оказали влияние: The Beach Boys, The Surfaris, Dick Dale, Buddy Holly

 "A surf-rock/oldies inspired band with a new twist and shout."

Середина 60-х годов прошлого века. Соединённые Штаты Америки. До знаменитого Бритиш Инвэншена остаётся всего-ничего. Именно тогда сёрф-рок прибрал к рукам власть и господствовал в американских чартах. The Beach Boys, The Surfaris - это было их время.

Прошло уже более полу-века и что мы имеем сейчас? Best Coast, Surfer Blood, Wavves (продолжать можно ещё очень долго) - все наиболее яркие последователи сёрфа активно заводят романы с электроникой, зачастую, полностью растворяясь в ней, и теряя тот самый неповторимый шарм, обаяние и, быть может, самих себя. Скотт Вэнс - обычный парнишка из небольшого городка под названием Прово поступил иначе, кардинально изменив свою жизнь. Он продал свой ди-джейский пульт, и вместо этого прикупил парочку старинных гитар и Форд Гэлэкси 1963-го года.

All Tracks

Track List:

01 - Crimson Sky
02 - Heart Beat
03 - Suitcase
04 - What If I Disappear
05 - Come on over (demo)
06 - Laurra (demo)
07 - tuck in Her Web (demo)
08 - With you (demo)
09 -  Almost Love (demo)

Итак, что вы скажете на то, что нам удалось "раскопать" занятный сёрф-поп квинтет из Юты, который совершенно не желает гнаться за модой? Такого быть не может, говорите? Тогда знакомьтесь - The New Electric Sound.

Попробуйте представить себе старые-добрые нотки Бадди Холли (да-да, это тот самый "хипстер" из 50-х) Дика Дэйла и Битлов, вместе с драйвовыми современниками в лице, скажем, The Kooks и The Strokes. Другими словами, если бы Arctic Monkeys (или The Crookes) всю жизнь прожили в каком-нибудь захолустном американском городишке, взяли бы себе в вокалисты Майлза Кейна, то это звучало бы очень и очень похоже. Как раз тот случай, когда ёмкое определение "oldies" подходит как нельзя лучше (особенно это чувствуется в ранних демках).

Просто представьте, что это чёрно-белый снимок...

А само их имя действительно отражает всю суть музыки. Ребята играют так, как будто на дворе те самые времена, когда электро-гитары были ещё в новинку. Главной целью коллектива, по мнению Скотта, является возможность зашвырнуть вас куда подальше от угрюмой обыденности (желательно прямиком в 60-е) - беззаботное время, когда вокруг всё было куда проще и казалось в разы круче.

Facebook | LastFM | Official Page | Bandcamp

infinity-imagined:

The Andromeda Galaxy in Ultraviolet Light

SPACE YEAH!

If you've only tuned in for parts of Dirty Projectors' decade-long run, it's entirely possible that you've viewed bandleader Dave Longstreth and his ever-evolving band line-up as a gimmick. After all, though Longstreth had been releasing music as Dirty Projectors for years, the band finally inched toward a critical mass in 2007 on an album that reinterpreted Black Flag's Damaged from memory. The album found Longstreth replacing Rollins' gruff bellow with alien, elastic vocals, anchored to the zigs and zags of West African guitar. Two years later, Bitte Orca used a trio of female vocalists-- mainstays Amber Coffman and Angel Deradoorian and newcomer Haley Dekle-- to bait often abstruse arrangements and hard-to-parse lyrics. When Questlove posted a backstage video of the Projectors performing an unplugged "When the World Comes to an End" after a "Late Night with Jimmy Fallon" appearance, internet commentators concurred that people simply shouldn't be able to sing like that. Between the intercalated harmonies, Longstreth's own sometimes-stringent tone, and his counterintuitive approach to guitar, Dirty Projectors occasionally could be reduced into a menagerie of eccentricities-- possible to enjoy, but sometimes difficult to internalize.

Swing Lo Magellan should help rectify that: The band's least ornate batch of songs to date builds upon Longstreth's most direct and identifiable lyrics ever. Which means that Dirty Projectors have upped their emotional and structural accessibility all at once. Culled from a batch of roughly 40 demos, these tunes explore vulnerability and vexation, sweetness and cynicism with more manageable musical complications than ever before. For instance, the gorgeous "Impregnable Question" finds the seam between Heart of Gold-era Neil Young and late-1960s Serge Gainsbourg; it's a love song between Coffman and Longstreth, her coos helping him to soften his voice above a warm acoustic shuffle. Over handclaps and a ragged, wrapping riff on "Dance for You", Longstreth offers one of his most intuitive and immediate hooks. There's gusto and playfulness here, too, from the way Longstreth clears his very-warped throat before launching into the first verse of opener "Offspring Are Blank" to the brilliant decision to record Coffman and Dekle mocking some of Longstreth's most impenetrable lyrics toward the end of the irrepressible "Unto Caesar". When he sings "Down the line/ Dead, the martyrs' morbid poetry," Coffman teasingly answers, "Uhh, that doesn't make any sense, what you just said." You want to be in the room with this band. 

There's also a folk-song seriousness at work on some of the standouts, especially the tragic "Just From Chevron". Structured so that Coffman and Dekle play the part of a Greek chorus while Longstreth sings the dying narrator's plight in soliloquy, the song is a fitting one for this year of Woody Guthrie centennial celebrations. Chevron-- or any company, for that matter-- has brainwashed its employee so that, as he lays dying due to their own mechanical failure, he needs his love not to know that he loves her but that his death is worthwhile, because it's part of the company's quest to power the world. A devastating fact in a field of general abstraction, it's as poignant and profound as anything Dirty Projectors have ever released. The title track works a similar mode, with its buttoned-up rhythm section holding steady alongside lyrics about the clutches of conformity and the liberation of self-reflection. "In the grid, aware their position," Longstreth sings, any possible scorn swallowed in genuine worry. "Unconcerned with intuition."

That's not to say that all of these arrangements are exactly intuitive. After all, this is still Dirty Projectors, and this is still an album whose first single, "Gun Has No Trigger", is an unnerved look at the way things might have been and whose rhythm doesn't shift once. The tricky meter that underpins "About to Die" is quintessential Dirty Projectors, as are the two-part harmonies bouncing against Longstreth's young-love paranoia. "Maybe That Was It" even inches toward psychedelic rock. Longstreth's falsetto comes refracted through a web of effects, providing a suitable counter for the Crazy Horse-like stumbling stagger and craggy electric lead. Even the straightforward Dirty Projectors are still a mighty complex unit.

Swing Lo Magellan is a confident step into the spotlight that neither depends upon public expectations nor shies away from them. It's well-made but certainly not over-produced, idiosyncratic and intricate but very rarely obtuse. But as compelling as these tunes and these performances often are, what's most intriguing about Swing Lo Magellan is the way it suggests that, even after a decade, we still don't know everything about Longstreth or his band. If, in the past, he or they sometimes seemed like a freak show, they come toward Earth just enough here to feel like a proper rock band working in service of songs about love and confusion, anxiety and celebration.

In a society of by-the-second news updates and endless information all the time, it's strangely reassuring to feel as if a songwriter who's been endlessly interrogated, analyzed, and publicized is still something of a stranger. Longstreth himself seems to serve as the narrator of "Dance for You", an ebullient account of an odyssey for a grail that exists but has yet to be found. "There is an answer," reckons Longstreth, his voice rising optimistically over film-score strings. "I haven't found it/ But I will keep dancing until I do." This far into a career, that's a good thing not only to hear a songwriter sing but a mantra to hear him create by, too.

Track List:

01 Drift Dive
02 Endless Ladder
03 Crest
04 Zelda

Наконец-то, лазурное и такое манящее, морское приключение от бруклинцев The Antlers доступно у нас в блоге одним из первых в сети. Не упустите шанс окунуться в ласкающие слух музыкальные волны Undersea EP. За неимением множества интригующих новинок в июле, данный релиз, не смотря на свою скоротечность, является одним из главных событий. Восхитительно.

(The Old Reader team, finishing a milestone on a Saturday night)

This is another happy announcement — we closed milestone 1.5, which means that The Old Reader now has the following features up and running:

• List view;
• Folders view (with counters);
• New landing page and a privacy policy;
• Facebook approval for timeline sharing;
• Better performance: optimized tables, revamped feeds fetching, some operations running on the background;
• Atom feeds bug fixed;
• Tiny userpics;
• Resharing your friends posts.

Things we are currently working on:

• New (but still simple) design and style;
• Mass-editing of RSS feeds;
• Bookmarklet;
• More sharing options;
• Search filters;
• Post tagging;
• Read It Later (Pocket) integration;
• Brushed up mobile versions.

We have also added one more server and are happy with the project so far — it is something we have done from scratch by ourselves (with friends’ help) and now new tasks, things to manage, bugs to deal with, user feedback to consider and milestones to reach are getting are more and more challenging and interesting. We now have to deal with with scalability, performance optimization and interface issues and we are excited about that.

Thank you for being with us.

I can't be certain of what Kanye West and Diddy actually do during all those Paris excursions, but I think Sébastien Tellier is the type of Frenchmen they envisage themselves hanging out with. An egomaniacal lech with a Jesus beard and a God complex, Tellier is a European pop curiosity whose work runs from loungey easy listening to dance-pop (his last and best album, Sexuality, was produced by Guy-Manuel de Homem-Christo of Daft Punk). In my cobblestone Euro-dreams he's basically a bug zapper for models and fancy drugs. In reality, he's a publicly celebrated national artiste, someone strange and finicky enough to draw constant comparisons to Serge Gainsbourg, though Gainsbourg never had a corporate doppelganger as fitting as American Apparel, which sold Sexuality in its stores (pun intended).

All of this would make Tellier a particularly hairy thorn if his records weren't so sublime. Like Pete Doherty or any other character whose reputation threatens to overwhelm his music, it's hard to remember that at some point Tellier sits down with a guitar, or a keyboard, or a sampler, and writes songs. More often than not, those songs are good. My God Is Blue is Tellier's fourth album. He still toes the line between pop and dance, this time grabbing disco's haughty string arrangements and stretching them over fun, pompous balladeering. The album is a great reminder that stoopid and stylish make great bedfellows.

Tellier has spit-shined a tale about how Blue is a reflection on dreams and, if we listen and think hard enough, it will advance our inner consciousness. His penchant for grandness and self-promotion notwithstanding, I advise against taking Blue quite this seriously. It's a lovely diversion, though, full of floral arrangements that cross-hatch against Tellier's breathy, competent baritone. He isn't as tuned-in musically as Gainsbourg-- who groped art-rock, funk, and reggae-- but he's similarly adept at using his force of personality to bring the best out of his collaborators. Blue was produced by Ed Banger mainstay Mr. Flash, and it's easily some of the most succulent and attractive music to come out of that camp in years.

The productions shine, mixing taut electro rhythms with those swirling strings. There's a sense of scale to the album that is really attractive; all of Blue's pianos are grand pianos. The marvelous "Russian Attractions" sounds like Lex Luger remixing early Scott Walker; if it's not soundtracking the Criterion edition of Eastern Promises in 2020 I'm pocketing my $32. Lead single "Cochon Ville" is a busy space disco more committed than anything we've heard from Lindstrøm of late (a single-only remix by fellow Parisian Brodinski absolutely knocks). "My Poseidon" is a film score twisted into dark pop delirium. 

Tellier navigates through this stew with a surprising grace that we can reasonably say is his finest attribute as a singer. Singing in a combination of French and English, he's warm and likeable on album opener "Pepito Bleu", brash and dramatic on "Russian Attractions", and tender on "Draw Your World". Blue is Tellier delving deep into his inner self, and it makes total sense that he would reflect that in grand, arching vistas. 

This, of course, makes Tellier an eminently un-relatable character. When his songs sink into froth-- see the exasperating, Pink Floyd-by-way-of-Phil Collins album closer "Yes, It's Possible"-- there's little to salvage. An accompanying website, L'Alliance Bleue, purports to free minds under the musical guidance of Blue and exposes Tellier (again) for what he's always been: a really savvy marketer. But he's a really savvy marketer with songwriting chops and absolutely zero fear. For the most part, I'll buy what he's selling.

Try Git

Today we're launching a unique and easy way, in the format of a Code School interactive course, for new Git and GitHub users to try both the tool and the service without a single bit of software installation.

If you know of a developer, designer, or other knowledge worker that would benefit from using Git but that hasn't made the leap just yet, send them over to try.github.com when they have a spare 15 minutes.

Made from 100% real Git and GitHub

This site even interacts with GitHub via OAuth and will push your resultant tutorial repository to your GitHub account as a repo named try_git.

Pairs with Intro-to-Git Videos

If you are interested in a matched set of introductory Git videos, check out the video page of the Git SCM site too.

at the time of this posting, scientists at cern are holding a press conference on their findings of a particle consistent with the behavior of the higgs boson, a particle that has plagued researchers for i don’t know how long, but i do remember making jokes about it as a kid, if that tells you anything about my childhood

so what’s so important about the higgs boson? well, this is chainsawsuit so forget it, but it’s really interesting

the leading theory is that the particle contains a girl’s phone number (ha ha, take that nerds)

Inspired by street performers and the busking community, the Public Resonance project aims to establish a deeper connection between people and objects, architecture and other natural elements. The portable percussive tool-kit includes an amp an wooden clamps that can be attached to any object. Each object produces it’s own unique vibrations and sound, allowing the player to experience an audio connection to otherwise “silent” objects that before were merely seen or felt.

Designer: Samuel Weller

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(The Sound of Silent Objects was originally posted on Yanko Design)

Related posts:

1. Silent Energy
2. A Silent Alarm Clock
3. Light, Deadly and Silent

Greta Garbo poses for her portrait while on the set of Mata Hari (1931). The actress was a favorite of MGM studio photographers because she was able to hold still during long exposure times.

In Hollywood Movie Stills: Art and Technique in the Golden Age of the Studios, Joel W. Finler takes an in-depth look at the role of on-set photographers during the “Golden Age” of Hollywood. Covering the height of movie still photography, from 1910 to 1960, Finler explores the various responsibilities of studio photographers, which included shooting not only film sets and portraits of movie stars, but also the fashion trends, social scenes and economical changes of Hollywood. The book celebrates an often overlooked type of photography and is filled with many beloved stars from this time, such as Audrey Hepburn, Marilyn Monroe, Cary Grant and Clint Eastwood, who are shown in costume as well as relaxing on set. This new edition of Finler’s classic book, which was originally published in 1995, includes 30 new photographs.

Hollywood Movie Stills text copyright © 1995, 2008, 2012 (Titan Books) by Joel W. Finler. All rights reserved. All photographs used in the spirit of publicity, criticism and review.

Marlene Dietrich sits for a unique portrait that features both the starlet and the photographer (Shanghai Express, 1931).

One of the most well-know movie stills from the era featuring Clark Gable and Claudette Colbert from It Happened One Night (1934).

Infamous couple and co-stars Richard Burton and Elizabeth Taylor rehearse a scene with director Joseph L. Mankiewicz during the filming of Cleopatra (1964).

Known for his classic good looks and impeccable style, Cary Grant poses while on set (circa 1930s).

Humphrey Bogart and Ingrid Bergman pose for still scenes and production shots on the set of Casablanca (1942).

The two leads of Funny Face, Audrey Hepburn and Fred Astaire, pose with Anita Ekberg, who is visiting the set (1956).

Sophia Loren photographs co-star Tab Hunter on the set of their movie That Kind of Woman (1959).

Marking the end of the silent film era, MGM records and films the iconic lion roar that now appears before all of their movies (circa 1920s-1930s).