Amid the neo-rave/'80s clubwear and serious party frocks of London Fashion Week, C.neeon's designs stood out boldly from the black-and-khaki-clad pack. The runway show from C.neeon–a brand created in 2001 by Berliners Clara Leskovar and Doreen Schulz–featured a cavalcade of interesting clothes bearing striking, Bauhaus-inspired graphical prints in colors (muted rust, celery, chocolate brown) last seen on '70s macrame wall-hangings, or maybe in the work of Art Deco painter Erte. Read more »
If you thought Rush was geeky–with their hockey-hair mullets and myriad references to wizardry–then you haven't met fellow Canadian Owen Pallett. The 25-year-old Torontonian, who records strikingly original violin compositions and breathy vocals under the moniker Final Fantasy, attempts to "remodel fantasy fiction as a musical medium, and one that is satirical," he says. Central to Final Fantasy's aesthetic are '80s videogames, Lewis Carroll, and Gore Vidal's Duluth.
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In the '60s and '70s, if you had the phrase "A Tom Moulton Mix" tagged to your record, you probably had a hit. The former record-promotions-man turned-studio-engineer took classic funk, soul, and R&B artists to new heights with his patented brand of mixing. But when disco came around, Moulton blew everyone out of the water by literally inventing the 12-inch single–because his mastering studio was out of blank sevens. Read more »
Taking a break from a hectic tour schedule, Adam Miller has just returned from shooting videos in a Wisconsin forest with his group, Chromatics. Since they formed in 2000, the Seattle quartet has had an unusual number of personnel changes, but Miller seems unaffected by any of it. "I love everyone that I have ever played music with," he enthuses. "Chromatics is like a foster home for troubled musicians, and [producer/programmer] Johnny Jewel is like the director of the Make-a-Wish foundation."
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In the 1950s and '60s, American filmmaker Stan Brakhage stripped away every popular notion of "movie" and wrote poetry that danced. He deleted stories, characters, and even sound in nearly 300 of his films, leaving the viewer with only disjointed imagery. He treated the actual reels as art: leaving scratches, tears, and smears on negatives; taping twigs, leaves, and moths to film strips; and painting colors directly onto the film.
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