Sometimes two (or in this case, three) of my interests intersect nicely…
Jack Dangers and Ellen Corrigan had one cat, a load of oversize vintage synthesizers, and a music library of more than 10,000 records to consider when they decided to build a new home in Mill Valley, California. It was a long haul, but not a long distance, to the finished result: a two-story structure with a standing-seam metal roof, nestled along a cascading hillside where their previous house once stood, with views of Mount Tamalpais to the northwest.
This version of Temple of the Weakening Sun is an abbreviated cut from my live show which you can see January 22nd at Bl_k Noise. Please forgive my technical ignorance regarding anything video, and even audio – I still have no idea what I’m doing. We hope you enjoy.
We researched high frame rate cameras that were cost effective and came up short. The only way to achieve what I was envisioning, without a compromising work around, was using the Phantom camera. The Phantom Miro is an interesting camera which turns a few seconds of footage into a few minutes. It shoots in 3 second bursts, making choreography and planning essential for a useful shot. Luckily the Phantom has onboard editing for heads and tails which helps with cutting the fat and saving disk space. While researching, most footage we came across of the Phantom was clinical, uninspiring and more or less used for experiments and tests – we wanted to create something that was thematic, stylized and story driven. Naturally, I drew inspiration from the world which my previous album artworks lived in, works by Sarah Sitkin (Heavy Mask, To No Avail), Kraw (Heavy Mask, Ritual), and Emilie Elizabeth (Instinct and Memory, Ritual) and expanded on it. The Metal piece, made by Hvnter Gvtherer, and cloak, made by Wulfka, were repurposed from the Instinct and Memory album artwork.
The music was created before any of the story was conceived or written down. I wanted to have the soundtrack create a story through its arrangements and overall mood. Because of the constant versioning up between music and picture, its drawn out process that required constant access to an editor. The tracks were composed using the TTSH and Cwejman S1 MKII with the Arturia Beatstep Pro. The Prophet 6 contributed some background textures and guitars were added after screening a few versions.
The shoot took place in Cape Kiwanda, Oregon over 2 days. A beautiful and deceptively dangerous place where five people died from accidents in the 8 months leading up to the shoot. Being a small crew of 3, we had to wear many hats behind the production. In general and with many exceptions, I was assigned to throwing the cape, Anj was behind the camera, and Francis scouted locations and acted as a general wardrobe / makeup artist. The first day was characteristically Pacific Northwestern with constant cold rain and overcast which obviously is not ideal for a mostly nude model and our gear. The locations didn’t help either for Zara, she was barefoot on slippery rocks, wet sand, mud and grass. Zara was incredibly patient with us, the weather, the wardrobe, and technical difficulties. She came over and watched the selects with us everyday and was quick to learn our unorthodox way of working.
Zak and I passed picture and music edits back and forth for a couple weeks and worked out something that flows very well in a live setting. After some debate we decided that the full length was appropriate for a live setting (where you’re forced to watch) but too long for a normal viewer in front of a computer and decided on a concise and impactful edit for the public. Anj worked on color correction. Francis rotoscoped a lot of details of out the shots like tattoos and piercings, or the climax shot. I tried to stay out of the way in post.
After considering several different physical releases to accompany the film, I felt that this was a learning experience to the many planned future endeavors and that getting the world to see Temple was more important than recovering costs. If you want to support, buy music or merch at my Bandcamp.
Created by Surachai, Anj Puglise, Francis Kmiecik, Zak Kiernan.
Metalwork – Hvnter Gvtherer
Wardrobe – Wulfka
Starring – Zara Luttrell
Happy new year everyone. LOOK AT THIS LINEUP. We’ve been working hard and against many odds trying to get the annual BL_K Noise show ready – and we’ve finally arrived. If you’re around the Los Angeles area that weekend, especially for NAMM – come out, hear amazing music, and most of all, lets have fun.
The 8th annual convention inspired event will present an amalgamation of Audio / Visual live performances from various corners of North America. Showcasing avante garde, left field and thought provoking sound, BL_K Noise’s musical program will focus on artists that implement video along with their sets for a full immersive experience. Every performer will be accompanied by expert content manipulators / creators. Oktaform, Effix and others will administer their high caliber compositions live. This will be a unique nightlife experience. Attendance very necessary.
Sunday January 22, 2017. 6PM – 12AM.
613 Imperial Street
Los Angeles, CA 90021
DEFUNKT & Soundsystem Cultures LLC are proud to present Hyperbole. Join us Saturday and Sunday night after the festival for after hours music and visual performances. Set times TBA. Powered by Funktion-One (Official).
>> Telefon Tel Aviv
>> Hitori Tori
>> Dylan Cameron
>> Trax Rebo
>> Rose Croix
>> Richard Devine
>> Acid Jeep
>> Trip the Light
>> Five Step Path
>> Kona FM
>> Secret Recipe Music
Single Day Pass – $20 / 2 Day Pass – $30
7115 Harrisburg Blvd
Houston, TX 77011
As a follow-up to the sold-out and critically acclaimed ‘A Constant Preparation For Loss’ EP, Moe Espinosa’s Hypoxia presents ‘Unwilling Suspension of Disbelief’, a two track EP containing improvised pieces of music captured in front of a live audience in two cities on two continents.
‘Distant Mystic’ was recorded in Berlin inside of a vast industrial hall that provides the perfect atmospheric environment to vaccinate melancholy in its melodies. ‘
‘Active Tension’ was recorded at the debut label showcase for BL__K NOISE. The performance was orchestrated in front of the very close audience from which Hypoxia draws influence.
This unpolished recording process embraces all the imperfections of improvisation and eschews any post production or overdubs. Single tracks are performed live with a Make Noise shared system modular synthesizer through a Strymon blue sky reverb pedal.
Like the first Hypoxia record, Hypoxia II was crafted 100% in Los Angeles, California with the artist’s hand in every step. This personal approach to bring art to fruition proves tedious and time-consuming – the transportation of the raw vinyl material from manufacturer to pressing plant in LA traffic, the hand-pressing of each record in a blistering lab, the design of artwork and packaging, the shipping each order received to the artist’s bandcamp page. Despite the toiling efforts, Moe feels this process is the most rewarding in sharing his work.
Some mornings, in a perfect world, you might wake up, have a coffee, finish meditation, and say, “Okay, today I’m going into the shop to work on a lamp.” This idea comes to you, you can see it, but to accomplish it you need what I call a “setup.” For example, you may need a working shop or a working painting studio. You may need a working music studio. Or a computer room where you can write something. It’s crucial to have a setup, so that, at any given moment, when you get an idea, you have the place and the tools to make it happen.
When you don’t have a setup, there are many times when you get the inspiration, the idea, but you have no tools, no place to put it together. And the idea just sits there and festers. Over time, it will go away. You didn’t fulfill it—and that’s just a heartache.
Made in collaboration with Sweet Justice Sound, Richard Devine, and SoundMorph, MECHANISM is a Steampunk inspired collection of gears, contraptions, metal, impacts, and of course: mechanisms. All captured with the Sanken C0-100k microphone