Fuck Art Let’s Dance

CocoRosie

The weather over in the UK is picking up so there’s a few things that need to be done: take scissor to denim and create new Summer shorts from old jeans; go on art gallery crawls with vodka and mixer surreptitiously blended in a mineral water bottle and do both of these things with head-phones on listening to sunny-sounding mixes . It’s like the Manchester equivalent of a reverse-tribal-rain-dance - folk out here occasionally ditch The Smiths and listen to optimistic music instead in the hope that the rain will stop and the sun will come out for a few minutes.

First up, Jesse over at Humili posted a mix entitled Fuck Art Let’s Dance. Good sentiment and great tunes, in particular Hot Chip’s laid-back promises in Over and Over never seem to get old:

Friend of EndTopic’s DisecoPodcast, Kikellamas, serves up a steaming hot cup of guitars, with a side-portion of beats, in mix form. After an introduction from sultry squeaky-voiced duo CocoRosie, there are cuts from Elliot Smith, Cat Power, Kings of Convenience and, amongst other mellow gems, Peter, Bjorn and John’s whistle-a-long classic Young Folks:

Our final choice is Avant-Avant’s La jeunesse mix by Jr. Tricolore de Numéro - it gets to the point almost immediately, this is marching music, building to a solid electro-ridden, four-on-the-floor groove within the first few minutes. Expect Hugg & Pep, Xiu Xiu, and Audion, climaxing somewhat unexpectedly (yet not inappropriately) with Severed Heads:

Published by Olly March 28th, 2007
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The Whitest Øye Alive

Erlend Ã?ye
Norway’s Erlend Øye has made some very special things with some very special people: conspired with Eirik Glambek Bøe to release two utterly accomplished Kings of Convenience albums (plus a KoC remix LP too), collaborated with a range of established electronic-producers on a solo album (Unrest) and created his own DJ Kicks.

Øye’s latest sonic venture is Berlin-based band, Whitest Boy Alive. With a stripped-down sound and constant Disco-infused grooves, Øye’s given the opportunity to strut a little more - although they’ve moved away from the feyness of Kings of Convenience, Whitest Boy Alive retain the heart-felt nature of Øye’s previous projects.

Entirely illustrated by LA-based Geoff McFetridge (amongst other things, he previously worked on the title-sequence for The Virgin Suicides), check out the promo for their latest single, Golden Cage. With it’s stark yet silly style and selection of spiky-toothed monsters, this line-drawn piece threatens to become a firm favourite.

Published by Olly March 27th, 2007
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Doll Faces

All is Full of Love - Bjork (Chris Cunningham)

Andrew Huang’s techno-sentimental visualisation of one robot’s human aspirations, Doll Face, in spite of its short length, is somewhat touching - the interplay between live-acting and digital production drawing focus to the fembot’s (virtual) dilemma.

Drawing clear inspiration from Chris Cunningham’s promo for Bjork’s All is Full of Love, it touches on this notion of pseudo-human/cyborg sensuality but perhaps crosses the boundary into bolder territory. There’s an undercurrent of post-feminist commentary, as the Gynoid learns and rapidly becomes emotional, as overt as this is, it’s not clear if this was Huang’s intention.

Moving on from speculating, Huang’s production work is impressive - having written the story, filmed it and even scored the Plaid-esque sound-track. It brings to mind Defunktion-favourites Pleix too, with the cyberpunk-influenced theme and use of 3D production techniques. After watching Doll Face, we recommend (re)visiting Pleix’s E-Baby piece.

Published by Olly March 26th, 2007
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New Music: The Donk Boys

The Donk Boys

Look to the Defunktion Audio Player (on the right) and click play to check out some new music, then read on to find out more about what your ears are loving.

Sweden seems to be quickly redefining its status as a purveyor of fine music - not content with proffering quality Chip Music and Metal,  there are bands and DJs spanning every genre emerging on to the global scene at an astounding rate. It’s no surprise then that The Donk Boys hail from that part of the globe, Malmö - southern Sweden - to be specific.

The boys have been collaborating since October last year, having found previous success solo. Martin Abrahamsson, aka Bauri, has released a deluge of tracks over the past decade or so and been featured on labels such as City Centre Offices and, more recently, Expanding Records. Thomas Jaldemark had his inaugural release on net label Thinner and, earlier this year, was featured on Norway-based techno label Lordag.

The music Thomas and Martin make as The Donk Boys is stripped-back, spiced occasionally with freakish sounds and utterly accomplished: both boys have been busy and both boys certainly know their techno. It’s almost painful not to groove along, their tunes are chunks of pure electronic chocolate - your brain unwrapping the glistening packaging before your body devours the moreish contents. It’s that damn yummy.

This is the beginning of something really good then - the live shows are causing a major stir over in Sweden and they have forthcoming releases on a couple of labels, including Kreatur Musik. It seems that The Donk Boys don’t need too much to keep them happy either, “Our plan is to do some more live shows, release a bunch of kick ass records and drink some beer .” So if you enjoy the live set on Defunktion, contribute to making The Donk Boys happy - all you have to do is catch their live show, listen to their records and buy them a beer.

Published by Olly January 31st, 2007
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Chocolate Jesus

My Sweet Lord

The title says it all. Artist Cosimo Cavallaro has recently managed the simple task of pissing off the Catholic Church. Simple because it’s really not too difficult to create offensive art, the real skill is in creating something that actually has some semblance of aesthetic appeal past the initial frisson of excitement one feels when viewing something that’s going to rile religious (or other) authorities.

It’s the medium in particular of Cavallaro’s piece that has drawn our attention - chocolate. This is nothing new in terms of artistic practice and Cavallaro himself has indeed experimented with food-stuffs as medium before: his cheese series featured works such as a Cheese Boot, Cheese Chair and a room covered in cheese, entitled rather cunningly, Cheese Room. Cavallaro tends to take things to extremes though, with his cheese series he ended up creating Cheese House.

Opening soon at LAB in New York, My Sweet Lord is a 1.8 metre suspended sculpture of Jesus in his traditional cross-pose. This, of course, is usual Church-based fare - you can find a depiction of a spread-armed Jesus at just about any Cathedral or Church around the world - except for the fact that Cavallaro’s is made entirely of chocolate. So, naturally, the Catholics are angry, speaking to the BBC, a spokesperson for the Catholic League said that the sculpture is, “… one of the worst assaults on Christian sensibilities ever.”

And consider the fact that Cavallaro is of Italian parentage! It just makes the whole notion of giant choco-effigys of JC so much more delicious for us and potentially harder to swallow for the Catholic Church.

So, is the Catholic League being a tad over-sensitive? Could this really be one of the worst assaults on Christian sensibilities ever. A Chocolate Christ at a small (but no less influential) gallery in New York? I don’t remember Tom Waits having so much trouble with his song of immaculate confection. It seems that as soon as Cavallaro gave visual form to this notion, it seriously affected the sensibilities of certain religious groups. I suppose one man’s food of the Gods is another’s blasphemy.

Perhaps this could be an emerging theme? If so, we can’t wait for Cavallaro’s Bacon Chief Rabbi.

Published by Olly January 31st, 2007
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