Honestly, BPRM (as I’ve just labelled it) is my new favourite audio-visual subculture. It combines rural/suburban landscapes with sounds that feel like your brain on a come-down (with a few fading bubbles of euphoria fizzing round the edges). The first two also whack in a healthy dose of text-based rave nostalgia. What’s not to love.
Earlier in the week I stumbled across this amazing video for the incredible Bicep track Glue:
Love. Love. Love. So many of my favourite things in one place. Congrats to Joe Wilson, and the team at Topsafe.
It made my mind wander back to this belter of a video from Erol Alkan from a few years ago. A Hold on Love. Massively smiled at this story all over again. Nice work Daniel Brereton (check his site, there’s lots more music vid goodness).
Then, tonight I came across this from Bibio – Phantom Brickworks III (Edit), from the new album Phantom Brickworks.
Any other examples of the genre spring to mind? Please add in the comments below.
This looks totally epic! (In a muso-nerd fashion). The joy of seeing a ‘mature’ Soulsonic Force knocking out Planet Rock brought a massive smile to my face. Not sure when we’ll get to see it. 808 played at Sheffield Doc Fest earlier this month, so it can’t be long to wait…
I did a talk the other day at Here London. I had a truly lovely time. The other speakers were all – without exception – amazing, talented, interesting and passionate. I felt spectacularly un-worthy.
I whanged-on about what I reckon might be wrong with the world of ‘advertising’. (The same thing may also apply to other types of commercial creativity. It’s just that advertising feels like the canary in the coal mine of fucked-up-ness).
In one bit I drew an odd parallel between nightclubs and communication. And how, in the good old days, you’d have moments when a big tune dropped. And you’d get a reaction like this:
But now there’s so much music out there, no-one ever plays the same tune twice, for fear of appearing out of date. Everyone wants to be cutting-edge.
And it doesn’t come much more contemporary than DJ Anklepants. Seen below performing a set for Boiler Room in Berlin. You might notice that the crowd do not seem to be experiencing outpourings of ecstasy, there’s just a strange sense of bewilderment.
I’m not saying there’s not a place in the world for DJ Anklepants and his animatronic cock-nose (I’m actually a closet fan).
But there’s too many people in our industry spending too much time worrying about appearing unique, innovative, and disruptive to their peers. Instead of focussing on making things that are actually great, and might one day be seen by a actual real people.
I suspect that the current spate of ‘innovative’ advertising exists because it’s harder than ever to make a dent in mainstream culture. And perhaps it’s also why so many of these projects end up immortalised as: ‘look how what we did really moved people’ videos.
You know the videos I’m talking about. The ones where a brand does something surprising (typically on a sunny day, and often in a town square, or equally universal venue). We see people looking thrilled, entertained, helped, inspired, weeping, or whatever.
And we can’t help but think to ourselves: “Look! Real people, being emotionally touched by an advert”.
We’re all suckers for these images of collective joy. Because we spend our time glued to screens, physically separated from each other, these ‘experiences’ appear tantalisingly ‘real’ and joyful.
Especially when most of us struggle to imagine the feelings that people experience individually at computers or on phones around the world when we do something that appears on a screen.
So instead we make ‘happy people’ videos. To remind us that people really really love advertising, in all it’s glorious forms. And, because the video makers are experts in making stuff look great, we can’t fail to be impressed by how innovative, clever, and genuinely touching the work looks. But it’s also impossible to see what’s actually going on.
If the cameras were fixed, and the footage was honest and unedited, I suspect that much of today’s celebrated advertising work would capture audiences as bewildered as a bunch of clubbers faced with DJ Anklepants.
We’re at a unique moment when it’s possible to engage vast quantities of people on massively exciting platforms. And it’s up to us to use those platforms to reach people in meaningful and lasting ways. So let’s not be suckered by the shiny happy people enjoying mini-spectacles in the sun. Let’s stop faking togetherness and get some more Hardcore Uproar on the go instead.
WIL3D is one of my favorite things of all time, and having the warped mind behind it working for the same company is beyond thrilling!
So like a proper fanboy I sent Rajeev a message of love and admiration. Rajeev send a nice message back, and pointed me at a recent project called Nice2HackYou which is also for a band, and also mind-bendingly awesome.
I installed the Chrome Extension and held my breath. Thankfully I installed it on a ‘clean’ machine. So I’ve got very little Fox News or other disgusting items in my browser history…
Mixed groups of arab adolescent men, african women, eastern european families with childeren and elderly people all participated in what resembled an unfamiliar wedding party. Each new song that was played introduced a different traditional or less traditional dance to the floor, which was then interpreted by the others, or simply denied in favour of cheerful improvisation.
It’s been a long time since I’ve posted a mix (seems to be a recurring theme). Anyway here it is. I recorded it 6 weeks ago so it’s doubly lame that it’s not been online until now, and explains why it’s called July and I’m posting it in September. Doh.