One thing I've done one thing I want to do
Working on stop motion animation using acrylic paint. Not as happy with the second half, think the digital stuff is a bit kitschy. Using digital synthesizers and a 4-track I recorded Lily Talmers on. If you want more examples of work, looking through this Youtube channel there's like a 40% chance the video is mine.
One of my favorite shoegaze bands - the first song they play is all you really need to get the idea. About 4 minutes in is where they start going off. I don't think I have this much energy in my body or any spare guitars to smash but I love the whole cathartic explosion type of thing.
I also like the cathartic explosion kind of thing. It mirrors our emotional trajectories as humans, which often features gradual buildup leading to a sharp release of emotion rather than a sustained level of feeling. Using this kind of musical structure would work well for protest music as it more strongly encourages empathy within the audience.
ReplyDeleteI love the distortion of the mixing and the successive amplification of that distortion in your music. The visuals successively distort in relation to the chaotic sound, and it's super intriguing to experience.
ReplyDeleteI love the group's diversity in energy and their reliance on fast rhythms. I often have to let out my anger and rage through physical movement (and screaming if need be), so I relate to their expression. If I could play a guitar I would try my best to respectively shred it like that
I really enjoyed how well the video pairs with the sounds to create this chaotic and rampant piece within a cohesive idea. I love that you are embracing the harsher elements of music. There is such power in holding space for something that is uncomfortable for the listener. It would be interesting to bring that physical medium of paint into a performance setting. It could get messy but in all the right ways. Also PTBS is so sick.
ReplyDeleteIt's wild how the voice is so calm and serene but so drowned out by the distorted synth, I really like the dynamic it presents. The shoegaze band is crazy, the projections on the instruments, especially that noise around the 6 minute mark, really do well in underlining the audio with visuals.
ReplyDeleteI love this animation. I think it'd be really interesting to create live visuals with some loud music like APTBS. There must be a way to match the harmonic distortion of those guitars with visuals. I am super interested with live video manipulation, could be interesting to see how digital we can get in jitter or something like it.
ReplyDeleteI found your stop-motion acrylic very compelling. The number of still shots per second was slow enough for me to notice it was stop motion but not slow enough for me to really grasp any individual painting. The resulting motion of the figure was really incredible and the visual aesthetic paired very well with the audio.
ReplyDeleteThe shoegaze band you linked is wild! I have certainly not experienced anything like that live, but I can see what you mean by cathartic explosion.
I agree with Sky! The sharp and soft edges of the sound in your piece is quite intriguing. I also love the fact that I didn't notice the animation was a figure until at least 20 seconds in. The images were pretty consistent, yet there was still room for it to morph into something else.
ReplyDeleteThe textures in your piece are fantastic. I can see how they're related to your taste in music with the second video. That looks like so much fun-- like the whole thing starts bursting at the seams and completely lets off. This tapped into my inner emo thirteen-year-old self that was neck deep in Avenged Sevenfold and My Chemical Romance.
ReplyDeleteAnimation with acrylic paint is such a great idea; I have been attempting something similar with pencil sketches for a little while. There's something really enrapturing in your video; kind of like a silhouette and it beckons a feeling and your brain has to kind of fill the gap.
ReplyDeleteWatching the video you shared, for a moment it looks like they are using projection mapping on some instruments so it would be interesting to see how you could use both ideas to tell a story and project something onto the performance space, kind of adding another dimension.
Amazing work on the first piece. The audio is distorted yet harmonically rich and soothing to me.
ReplyDeleteI also love the idea of having emotional/cathartic explosions on stage in a live band. This happens so often in live performances where the audience is drawn in by their expectations of what's to come; when I was younger I would definitely find myself anticipating the next big "moment" when seeing a band live.
Agree with a lot that has been said about your piece already but I also love how you created this transitional physical artwork that otherwise could have just been one single painting and used your sound and this weaving texture to move through those transitions.
ReplyDeleteThere is indeed so much texture and nuance to the music in the animation, which are certainly also present in the visuals. And both have simultaneously organic and artificial qualities. I'm curious about your idea of the role of the voice. I felt like I wanted more time to aurally explore the feedback sounds and it pulled me away from that.
ReplyDeleteHi Michael - I was mostly thinking of the role of the voice as mirroring the role of some of the animations - while it had a very "analog" basis, a lot of digital manipulation and layering is happening. The voice is a solo singer/guitarist recorded with analog reverb and delay pedals into a tascam 4-track cassette - so for that purpose I considered it "analog." That would clash with the harsh clipping of the feedback in perhaps a more upfront way than the visual. That's generally the idea about it. I think if the piece was significantly longer it would be easier to let both have their place but I wasn't thinking too deeply when I was making it and felt 2 minutes long enough. Thanks for the feedback!
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