The Flaming Lips: Turning Violent One of the Flaming Lips’ darkest works yet; the lyrics, instrumentation and video for “Turning Violent” are uncharacteristically reserved. Steven Drozd’s falsetto vocals and an oscillating bass synth lead you into…
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Tom Petty and The Heartbreakers: Into The Great Wide Open Opening their five-night residency at NYC’s Beacon Theater with a cover of The Byrds’ “So You Want to Be a Rock ‘n’ Roll Star,” Tom Petty and The Heartbreakers set the tone for…
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Time-honoured Italian disco DJ Daniele Baldelli is on the decks tonight at the MINI Paceman Garage in Milan. If you can’t make it down, this funky afro track will give you a taste of what he’s all about.
We’ve set up our Dezeen and MINI World Tour Studio at the space. You can watch our first video report, a tour around the city with Italian architect and designer Fabio Novembre here.
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by Daniele Baldelli appeared first on Dezeen.
This disco-infused dance track by French producer Aimedeuxhaine is another release by online label Curious Absurdities. Brimming with soulful melodies and funky bass-lines, L’Eau Tonne has been skilfully put together. The track seems even more impressive when you consider that Aimedeuxhaine is just 17 years old.
L’Eau Tonne is taken from an eight track EP called Somed, which you can download for free here.
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by Aimedeuxhaine appeared first on Dezeen.
Stan Douglas’s recent photographic work features dancers and refugees
Opening his 11th solo show at the David Zwirner Gallery in New York City, photographer Stan Douglas has once again assumed the persona of fictional photographer. His last show at Zwirner, Midcentury Studio, comprised a series of mock press photographs documenting the post-war period. For Disco Angola, Douglas is playing the role of a ’70s photojournalist in New York’s disco scene and the recently liberated Angola. From the geographically and culturally disparate communities comes a unique dialogue about liberation, self expression and dance.
The show’s eight pieces are arranged in pairs that face each other on opposing walls. Each of the pieces explores a particular “event”; as Douglas explains, an event is “not just something that happens, but something that happens that’s so unfamiliar, so strange, so horrifying that it challenges the nature of truth at the time.” Pairing disco scenes against revolutionary moments, the event and its ramifications are further dramatized.
“Capoeira” is a photograph of a circle of Angolans practicing capoeira—the Brazilian art form that marries martial arts with dance—and is hung opposite “Kung-Fu Fighting”, which shows a disco dancer performing moves learned from Bruce Lee’s pioneering films. Together, the images break down the close relationship between conflict and dance, as well as the kinship between recently liberated Angolans and members of the New York gay community. At its heart, Douglas sees the connection between the Angolan Civil War and disco as both blissful periods that were ruined by the outsiders—both in the form of photojournalists and curious “scenesters”.
Explaining a bit of the history that informs the work, Douglas mentioned the long and bloody civil war that preceded Angola’s Carnation Revolution. “New York, in the 1970s, was almost a third world state,” elaborates Douglas, seeing the similarities between the war and the scene in NYC. “The federal government was not interested in supporting it. It was almost bankrupt. The subway system was dangerous, the parks were dangerous. It was in this condition that the ‘Disco Underground’ first appeared.”
Douglas brilliantly employs contemporary costuming and props, successfully transporting the viewer in to the respective scenes. Many of the works are inspired directly by a found photograph or are composites of several sources that serve as inspiration. While Douglas shoots on digital and avoids mimicking the photographic appearance of the the era, the casting and art direction are fully convincing. By discarding traditional photography’s notion of the “decisive moment” and the time stamp, Douglas opens up the medium to infinite possibilities.
Disco Angola is on display at the David Zwirner Gallery starting tonight, 22 March through 28 April 2012. See more images of the exhibition in our slideshow.
David Zwirner Gallery
525 West 19th Street
New York, NY 10011
Images courtesy of the artist and David Zwirner, New York
After three years of anticipation, DFA’s Holy Ghost delivers a set of nu-disco classics with their debut EP, Static On The Wire. Dropping today, 18 May 2010, its slick, retro stylings go beyond the surface, capturing the dance-floor grandeur of Giorgio Moroder and Bobby O with “Say My Name” and “I Will Come Back.”
Nick Millhiser and Alex Frankel established their name as deejays and remixers, reworking tracks from Moby and MGMT to Phoenix. Having supported electronic musician The Juan Maclean, the two (bonafide perfectionists known to nerd out on their tons of gear and equipment) have fully developed their live act and the work paid off. We caught the Brooklyn-based duo performing for the first time ever this past weekend in the basement of Damon Dash’s TriBeCa studio for an intimate, sweaty crowd of about a hundred. With Alex on vocals and keys, while Nick attacked the drums like a machine, their show mixed the energy of a house party with the polish of experienced musicians—to awesome effect.
Catch Holy Ghost yourself when they tour with LCD Soundsystem this summer. Static On The Wire sells from iTunes and Amazon.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
