Tami Tamaki, ‘Despicable’ (2016) video

28 January 2016

Berlin-based producer Tami Tamaki has dropped a new track and video, called ‘Despicable’ on January 27.

The song comes accompanied by a liner note on the Swedish artist’s YouTube account announcing “I made a pop song about a disgusting ex and I made a video where I’m making out with myself mmmm”. It features an EDM-style thrust with typically candid lyrics delivered in Tamaki’s signature autotune comparing said ex to a tumour and other similarly unfavourable adjectives over superclub sounding samples and a poppy chime beat.

The ‘Despicable’ video presents a diorama of tinsel and flower beds, and a sponge-y heart balloon being squeezed out of shape in a kaleidscope view of several Tamaki heads mirroring, and sometimes making out with themselves.

The video release follows the viral success of the artist’s 2013 track ‘I Never Loved This Hard This Fast Before’ that made the soundtrack of Ester Martin Bergsmark’s 2014 romance Something Must Break and recent performances in New York and London.

You can buy and download the track here. **  

Header image: Tami Tamaki, ‘Despicable’ (2016). Video Still. Courtesy the artist.

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David Kanaga – ‘DYAD – OGST Spins’

23 October 2013

Releasing his second video game soundtrack since 2011’s Proteus, David Kanaga will be dropping his soundtrack for the downloadable video game, Dyad, on Software, October 28.

A dyad comes in pairs in all its incarnations, across biology, music and sociology, and there’s no doubt that sound is imperative to the the mind-bending colours and shapes of Dyad that intensify the further you get in the game. Hence, music designed and produced by the Oakland-based composer presenting synced musical events with the hallucinatory action on screen.

See the a taster from the musical and visual polymath below. **

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Constant Dullart @ Moving Image Art Fair, Oct 17

15 October 2013

Ever the one to interrogate the globalised world through the lens of digital pixels, Constant Dullaart will be presenting his ‘Niagara Falls, Special Economic Zone PRC, HD VIDEO’ at this year’s Moving Image London, running October 17 to 19.

It’s based around ‘The Windows of the World’, a miniature theme park built in Special Economic Zone, Shenzen in 1994, offering a simulated view onto the rest of the world. All for a population of factory workers producing for a global market who might never otherwise set eyes on it.

See the Moving Image London website for more details. **

Header image: Constant Dullaart, ‘Niagara Falls, Special Economic Zone PRC, 1994’. HD video.

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‘Moving Image London’ running Oct 17 – 20

15 October 2013

Returning to the Southbank’s Bargehouse during  Frieze London, running October 17 to 20, contemporary art fair Moving Image London will be showcasing work by artists and film makers including Heta Kuchka, Karim Al Husseini, Constant Dullaart and Milica Tomić.

Conceived as a forum for engaging in “a unique viewing experience with the excitement and vitality of a fair, while allowing moving image-based artworks to be understood and appreciated on their own terms”. The event will feature a selection of single-channel videos, single-channel projections, video sculptures, and other larger video installations from across the globe.

See the Moving Image London website for more details. **

Karim Al Husseini, 'Dew Not' (2012).
Karim Al Husseini, ‘Dew Not’ (2012).
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Lauren Devine – ‘Try Sexual’

2 October 2013

An absolute banger from the new face of “trysexuality” Lauren Devine, where the ‘This is How We Do Dubai’ post-pop star takes the smoky-sexy vibes of ‘Just a Little Ready’ up a notch with this new track, featuring Nick Weiss‘ Nightfeelings and Adaron.

Pure hedonism and good fun, there’s a bit of the weird vocal pitching of artist and friend Ryan Trecartin‘s PASTA days and no sign of credits to past  collaborator Laurel Halo. As one of the few artist we at aqnb have on Google Alert, we can only eat, pray, fuck for an album. **

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A rundown of ‘LEAKED: The Internet Must Go’

20 September 2013

In an e-book by Metahaven the design and research collective asks, “can jokes bring down governments?” Perhaps, a better way of putting it would be to replace “governments” with “major corporations”; those capitalist puppet masters behind impotent governmental bodies who’d sold us out to the private sector or what Mark Fisher calls the “nebulous, unaccountable interests exercising corporate irresponsibility” in his Capitalist Realism. Of course, political satire as a subversive act, ridicule as a weapon against equally absurd oppressions, is nothing new. Except that all that is “political” becomes “corporate” and that is nowhere more apparent than in the debate surrounding the Tim Wu-coined concept of “net neutrality”.

That’s the subject of the half-hour mockumentary LEAKED: The Internet Must Go, featuring “market researcher” John Wooley, who spends 45 days pursuing and interviewing some of the most notable US proponents of an “open internet”, including the likes of US Democrat Al Franken, former tech advisor to Obama Susan Crawford, Public Knowledge digital advocacy group and, of course, Wu himself, who are all subjected to the clueless questioning of the Wooley persona. He’s investigating on behalf of his corporate employers, namely Verizon, AT&T, Time Warner and Comcast –all major service providers pushing to monetise broadband speeds, by implementing a tiered program where content producers and consumers alike will be required to pay for ease of access to their information.

Dubbing it a “vision for a ‘faster’, ‘cleaner’ internet” Wooley explores and slowly becomes disillusioned by his corporate employers’ ends to data discrimination in an effort to maximise profits, eventually leading him to append the note “Also, I’m looking for a job — any leads would be appreciated, thank you” on his LEAKED: The Internet Must Go YouTube post. That’s because this idea of charging for speed of access is an issue, not just because it means denying access to basic infrastructures (Wu likening curbed connectivity to a public bridge, where Pizza Hut pays a sum to cross and make deliveries, while a smaller company who can’t afford the toll will be put out of business) but basic freedom of speech: “you shouldn’t think about ‘free’ in the sense of free beer, you should think about ‘free’ in the sense of free speech”, says Harvard academic and activist Larry Lessig,  illustrating the consequences of start up enterprises being forced to join bigger ones and toe the party line, in exchange for exposure. Appearances by Zip Car founder Robin Chase and Ricken Patel of global civic activist organization iterate that they might never have existed if not for a neutral internet.

Whether the internet is ever truly democratic is arguable, with a complex interaction of browser speeds, operating systems, issues of planned obsolescence –as illustrated by Nick Briz’ Prosumer Manifesto released earlier this year -and basic access to hardware coming into play. But, here, basic access to broadband and the impact it can have on the development of an entire region is illustrated by a trip to Southern US, where school children are forced to do their homework on a busy major highway dubbed “Death Hill” because it is a high spot for 3G connection speeds. That’s also not to say everyone should have a right to the pipes, built by companies providing the internet, but when a ban on any community-built broadband infrastructure is successfully implemented in several US states because “it was unfair to the ISPs”, without providing their own in its stead, for lack of a population to sell to, that’s when someone should be held accountable for the monopoly lobbied for by, what’s Eli Pariser calls, the “old media”.

It’s true that broadcast networks are also highly regulated (much to the chagrin of countless pirate radio stations) but as internet culture and our dependence on it becomes ubiquitous, particularly in ‘developed’ economies, a monetised program for rationing broadband speeds becomes an issue of limiting the rights of the individual to level of access: freedom of speech and movement becomes a privilege you have to pay for.

The idea of a liberal democracy is founded on the assumption that each and every one of us is born with the same rights and opportunities; that age-old (and rather optimistic) adage of a “level playing field”. As that “field” is transferred to the online domain and access to it costs money, there are a lot of people who will be competing at a huge disadvantage. And that’s a joke with some pretty serious consequences. **

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PAMI running September 19 to 22

13 September 2013

The third annual Peckham Artist Moving Image, aka PAMI, is running exhibitions and events in South London, over four days, from September 19 to 22.

Previews start on Wednesday September 18, followed by a special screening at Peckham Multiplex coordinated by Bold Tendencies‘ Harriet Blaise Mitchell and Joe Balfour. Works featured have been selected by associates of Lucky PDF, Flat Time House, Arcadia Missa, SLG, The Sunday Painter and recent aqnb interviewee Attilia Fattori Franchini of, and include those by Cécile B Evans, Jon Rafman and Jesse Wine among others.

See the PAMI website for more details. **

Header image: Heather Phillipson, ‘Still from A Is to D What E Is to H’, (2011). Film Still.

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☯l₫ Ұ☢Ü₦G – ‘FUBU & Versace’ video

31 July 2013

More blurred distinctions between practices from LA store Freak City with this soundtrack to their own range, by ☯l₫ Ұ☢Ü₦G, featuring production by Yung Orca that is all about ‘FUBU & Versace’.

On trend with appropriated logos and all things to twerk to, the store shamelessly appropriates said clothing labels and a musical style, in this lumbering ode to the material and the immaterial worlds, which -like music, advertising and art alike -are increasingly becoming the same thing, aqnb interviewee Babak Radboy‘s own Shanzhai Bienniale being another perfect example. See the video below, or download ‘FUBU & Versace’ from the Freak City website. **

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Ikonika – ‘Mr. Cake’ video

24 July 2013

It’s not like we haven’t seen it before, if not as a weird cross breed of 1986 Sega arcade game Out Run and The Sims, then at least in the New Media oeuvre of Cory Arcangel. Even so, we can’t get enough of the RGB colours and Namco fonts in British DJ Ikonika‘s ‘Mr. Cake’ video by artist Rob Walker, also responsible for the CGI in videos for the likes of Terror Danjah and Morgan Zarate.

The video comes in advance of Aerotropolis, coming out on Hyperdub, Monday, July 26, and is an ideal complement to the sometimes dark, sometimes glitch new album based around the weird limbo of air travel and the airport. See the video below. **

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Extreme Animals remix Miley Cyrus

18 July 2013

Extreme Animals have already defined themselves as masters of maximalist musical social critique with their recent RIP MCA LOUD AND UP CLOSE-THE MEGAMIX, dedicated to the San Diego fireworks mishap of 2012. This time, the epic fail comes in the form of Miley Cyrus’ terrifying ‘We Can’t Stop‘ video, featuring the ex-Hannah Montana contorting her slight frame into a twerk posture, while making out with a doll and being generally creepy.

‘ONLY GOD CAN JUDGE US’ is where Jacob Ciocci and Company dissect and draw out all the weirdness for this remix which, according to a recent tweet by Ciocci himself, ended up on a Buzzfeed mix, ‘37 Totally Bizarro Covers Of Miley Cyrus’ “We Can’t Stop”‘. There is just too much going on for us to digest right now, so you’ll have to see for yourself. **


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New Blondes video from Greg Zifcak (+1)

12 July 2013

Blondes’ entire new album Swisher is solid, and so is the YouTube stream by Greg Zifcak. Now, for the Brooklyn duo’s most sturdy beat driven track of the lot, ‘Elise’, the analogue video artist teamed up with friend and sometimes collaborator Will Rahilly for another diaphanous trip through the airwaves, except viewed through the glass and from an angle.

The two artists recently worked on visuals for the breathy computer disco of Safety Scissors together and Rahilly often works with New York neo-psych duo Prince Rama but if you do one thing today, we recommend you check out the latter’s website. **

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Janelle Monáe – ‘Dance Apocalyptic’ video

3 July 2013

The suit and coif has come off for Janelle Monáe‘s new video for ‘Dance Apocalyptic’ where she lets her hair down for a rollicking anthem. She’s no longer an emotionless android and now the vivacious “electric lady” of her upcoming album The Electric Lady, out on September 10.

Giving life to her alter ego and stature to her mimickry of Rock n Roll machismo, Monáe features at the centre of an all girl group, amongst a fan girl crowd. Pushing further away from the androgyne android to the macho she-male, it’s looking like her Afrofuturist leanings might be a thing of the past but we certainly hope not. See the ‘Dance Apocalyptic’ video below. **

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Greg Zifcak provides visuals for new Blondes stream

27 June 2013

NYC duo Blondes have a new record, Swisher, coming out on RVNG Intl, August 6. True to the name, it’s a sweeping escape into near-ambient electronics that nothing but a distant rhythm keeps grounded in the realms of dance. But what has us even more excited is the accompanying visuals by Greg Zifcak.

As former member of Bay Area’s Eats Tapes, Zifcak takes his analogue fetish to new levels of exploration, creating these gauzy neon dreamscapes, thus maintaining his close association with other staunchly lofi visual artists like Aurora Halal. Listen to the Swisher album stream and see Zifcak’s work below. **

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Stellar OM Source ‘Polarity’ video

20 June 2013

After years of floating in a coma of ecstatic trance and washed-out effervescence, a bizarre utopian simulation obscuring its Ballardian undertones, Christelle Gualdi’s (aka Stellar OM Source) sound gives way to debauched rhythm, grounded in physical limitation.

As the first track on the album, Joy One Mile, released on RVNG Intl, June 10, it’s only fitting that ‘Polarity’ should get the first video treatment, directed by the artist herself. This one features bathers, lots of makeup and a swimming pool, which is a fairly apt reimagining of the submarine sonic elements of the track. Gualdi follows up the release with a European tour dates announcement, including MoMA PS1’s Warm Up and Unsound in October. See below for details. **

07/05/13 – Mediamatic Fabriek – Amsterdam, NL w/ Maxmillion Dunbar
07/06/13 – BAR – Rotterdam, NL
07/26/13 – Norberg Festival – Sweden
08/24/13 – MoMA PS1 Warm Up – New York, NY
08/31/13 – Flussi Festival – Italy
09/27/13 – Halles-St-Géry – Brussels, BE – w/ Kassem Mosse, Kelpe
10/04/13 – Berghain – Berlin, DE – w/ Oneohtrix Point Never
10/19/13 – Unsound – Krakow, PL

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BiS premieres Tornado Wallace track

19 June 2013

Signing to New York based Beats in Space, Australian producer Tornado Wallace (aka Lewie Day) presents Desperate Pleasures. Also home to LA’s Secret Circuit, the label released the 12-inch on June 18 and DJ/BiS-founder Tim Sweeney premiered it on air, which you can see below.

Featuring three tracks from the veteran producer, artwork by Californian artist Steven Harrington and and a tri-colored, Day-Glo splattered vinyl, the record is not only a collector’s fantasy but reflects the oxymoronically cosmic grounding of Day’s kraut, post punk and house influences. Brooklyn’s Will Work For Good, who design for a range of independent labels, including RVNG Intl, was also in charge of the packaging. See the new video below and the Beats in Space website for more details. **

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Theodore Darst’s The-Drum trailer

14 June 2013

The beauty of new media is that it is amenable to almost anything. That’s why, between the spiritual speculations of the Eternal Internet Brotherhood and the analog interrogations of the digital in LOSSLESS Theodore Darst helped create this album trailer with Chicago duo The-Drum.

In anticipation of duo’s Contact album out on Audraglint Recordings, June 25, it features graphics from Darst, as well as Omega Point and Logan Owlbeemoth and runs through the 11 track listing of the upcoming double-vinyl album, inspired by dystopian sci-fi. Needless to say this is pretty great, particularly the textures of the moving 3D graphic sculpture that follows ‘HORIZON’ at two minutes. We are sufficiently seduced. **

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Epic new video from Anna von Hausswolff

13 June 2013

Ceremony is certainly an apt title for Anna von Hausswolff‘s latest record. Mostly composed on an organ and charging through the earthly spirituality of a Paganism underscored by a sort of contorted religiosity, the album, out on City Slang Monday, June 17, is a compositional epic wrought with emotion. Hence, the dark liturgy of human sacrifice in this near-nine minute video of ‘Deathbed’, created by sister and fellow performer and visual artist, Maria von Hausswolff, and featuring all manner of natural scenery, blood and insides. It’s a primal expression of an artist that echoes the raw heresy of PJ Harvey and romanticism of Anna Calvi. See the video below and stream the album here. **

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Slava – ‘Girl Like Me’

11 June 2013

It would appear that nothing is off limits for NYC-based, Moscow born producer Slava. As an artist and programmer who is as informed by Britney Spears as he is Chicago footwork, the trained jazz guitar player-come-frenetic dance DJ explored perversion in all its multiplicity in this year’s Raw Solutions, out on Software in April. But as if sexualised sound bytes and eloquently phrased pop misogyny wasn’t enough for Slava to illustrate just how truly surreal modern culture is, here he’s dropped this rattling depiction of two teens, suggestive of siblings and their very guilty pleasure for ‘Girl Like Me’ directed by Eugene Kotlyarenko. Watch at your own risk. **

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