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literaryjukebox:

The world is blue at its edges and in its depths. This blue is the light that got lost. Light at the blue end of the spectrum does not travel the whole distance from the sun to us. It disperses among the molecules of the air, it scatters in water. Water is colorless, shallow water appears to be the color of whatever lies underneath it, but deep water is full of this scattered light, the purer the water the deeper the blue. The sky is blue for the same reason, but the blue at the horizon, the blue of land that seems to be dissolving into the sky, is a deeper, dreamier, melancholy blue, the blue at the farthest reaches of the places where you see for miles, the blue of distance. This light that does not touch us, does not travel the whole distance, the light that gets lost, gives us the beauty of the world, so much of which is in the color blue.

[…]

Blue is the color of longing for the distances you never arrive in, for the blue world.

Rebecca Solnit in A Field Guide to Getting Lost.

Song: “Blue Light” by Mazzy Star

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'Miracle' by Kimbra

Kimbra is next level.

likeapairofbottlerockets:

Killer Mike is fucking awesome.

(via oohbrilliant)

'Chinatown Style' by HTRK

I wish more music videos were like this. Directed by Nathan Corbin and Tony Lowe. (NSFW)

'Outskirts' by Bob Welch

I can never listen to this just once. It’s 50 times in a row, or nothing. Bob Welch was a former member of Fleetwood Mac who split before Lindsey Buckingham and Stevie Nicks made waves. His first solo album came out in 1977, the same year as Rumours, but even at the risk of being eclipsed by his former band, French Kiss went on to reach platinum status. “Outskirts” is good enough to justify those sales alone. It’s a sassy strut of a number, sharp-toothed riffs atop sinister tales of outlaws and murderers on the run; it sounds pre-built for gritty urban exploitation flicks, or ominous nights on the prowl.

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I don’t approach a film with an idea of making it about a certain theme. Personal experiences or figures or constellations of individuals are what interest me. Journalists have to condense these things and write about them in a catchy way, but that’s not how art works. Most catchy phrases are generalizations, because that’s the only way. The minute something can be described with a single term, it’s dead artistically. Nothing living is left, and there’s no reason to watch the film. That’s always the problem with an artistic statement and an article about it. When you watch a film without any prior knowledge, it’s much more contradictory and complex. Amour involves a thousand different things, and when I emphasize one of them, I reduce all the others.

'Body Betrays Itself' by Pharmakon

Pharmakon’s eviscerating aural assaults are a destructive force. She tore into every fibre of her being for last year’s Abandon, shredding vocal chords and spewing bile as if to purge all forms of her corporeal existence. If Abandon was ultimately about rejection, what happens when you no longer have the choice? What happens when the very body you thought you controlled begins to reject you, instead?

This question is central to Margaret Chardiet’s upcoming release, Bestial Burden. It was recorded in the wake of a severe health scare earlier this year which resulted in major surgery and a fairly intense recovery period. "I felt a widening divide between my physical and mental self. It was as though my body had betrayed me, acting as a separate entity from my consciousness," she writes.

The first single is as chilling as you’d expect, a despairing mix of industrial clangour and funereal drone. The rhythmic dirge at its core sounds like a heaving, heart-shaped machine on the brink of utter collapse.

In giving voice to the horror of the body, Pharmakon picks up where one of my favourite albums left off. Delìrium Còrdia, released in 2004 by noise/metal group Fantômas, was similarly inspired by a series of medical photographs depicting open body surgery. Included in the liner notes is a modified quote by Dr. Richard Selzer. It reads: "Like the surgeon, the composer slashes open the body of his fellow man, removes his eyes, empties his abdomen of organs, hangs him up on a hook holding up to the light all of the body’s palpitating treasures sending a burst of light into its innermost depths."

The quote was originally about photographers; perhaps sensing an artistic kinship, Fantômas adapted it to say “composer.” Chardiet can relate all too well.

worldclassdiscoclub:

Paulo Guererro - Sueños Sencillos (T2MM Edit)

Avoid swaggering or any other confident behavior that suggests you are not completely subjugated.

yvynyl:

Freelove Fenner - Girls from Hampton

Goddamn I love these Canadians. 

freelovefenner:

fixturerecords:

The latest Freelove Fenner film clip is an Artemis-approved affair, shot by the band on Super-8. Slip into your chiton, take a drink from this earthen pot, and then wait for the visions to appear. “Girls From Hampton” appears on their Do Not Affect A Breezy Manner LP.

We had a good time making this film clip.

Here are the actors (Jane L Kasowicz and Tessa Smith) taking five in their ancient Lacedaemonian Chitons. They are the best.

Viola (2013) dir. Matías Piñeiro

Relationships deepening, pivoting, chancing upon new light, all in the space of a 60 minute daydream. An Argentinian echo of Éric Rohmer, just as finely attuned to the yen of modern romance. Patterns and rhymes that reveal true intentions of the heart. Everyday souls gaining levity in the smallest of ways. The most autumnal colour palette since Spike Jonze’s Her. And at the end of it all, as put best by A.O. Scott, "You have been privy to a series of seductive, ephemeral moments, drawn into the eternal rhythm of youth."

The rules for a movie night (via Gilmore Gags)

The universal guide to moviegoing etiquette, from role model/life coach Lorelai Gilmore.

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