Stadiums & Shrines

 

The tilde (~) is probably the most bird-like of all the characters in the written language. Just an observation, but the simple grapheme does suite this track, which soars between two vocal-centric songs on an EP and could almost go under-noticed in the full context of Die Young. Fortunately, visual artist (and Slow Motion alum) Lluís Panadès Julià saw every color and form it had to offer, and the rest we’ll let him set up:

“Dylan created such an inspiring and beautiful track which, to me, evokes simplicity, pureness, emptiness but fullness at the same time… just music as it sounds and its beauty, without words, many thoughts or meanings, so I tried to depict this visually, collecting the little bits of the world that catch my attention and my sensibility. I shot it in two places that play a huge role in my life, in how and what I communicate. London (where I have lived the last 3 years) and the island of Mallorca (my hometown). In the description I added a quote by Nathaniel Dorsky, an experimental filmmaker I really admire who influenced the making of this piece:

The more we are open to ourselves and are willing to touch depths of our own being, the more we are participating in devotion.’

Much more to see from Panaframe on vimeo, and hear from Happy Trendy at bandcamp.

 

Like most work connected to MONEY, “Nijinsky and Diaghilev in St. Petersburg December” shows up without much more than a quote (“Death is just an illusion – a high wall. It is not the end. There is no such thing as ‘the end’. It is the beginning.”), under what’s presumably another alias (KRAKEN), in a video-only state which somehow succeeds in pulling threads of isolation and tragedy using little more than untreated, re-purposed movie clips, and a piano. There’s always a few gaps left to be filled, like how “the greatest male ballet dancer of the 20th century” who eventually spiraled into schizophrenia, Vaslav Nijinsky, and his lover whose fear of the sea contributed to their relationship’s demise, Sergei Diaghilev, conceptually interact in the mix. But that’s the beauty of it.

And while we’re on the KRAKEN channel:

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Diamond Mouth Surprise, the “monthly night of writing music film pictures talking chanting dancing loving communing,” was held last Saturday in its usual high ceiling-ed apartment space in Williamsburg. One of four performances (which included Noah Wall sound-sculpting crystal glass frequencies, photos below), was the debut projection of Bill Gillim’s new Megafortress release (out 1/31 on Software) with a Grant Nitsch-made video for each song. The internet saw “Green Child” last week (via Pitchfork) and now “My Favorite Girl” today (via Dummy). The rest should arrive soon, and when it does, we recommend a full, start to finish viewing—it’s a gorgeous and cohesive series, and also quite expansive given the ingredients Grant limited himself to. My curiosity into his process grew throughout that show, and while the Kansas City native wasn’t present to ask, he was just an email away:

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