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But actually the New York without the television is more mysterious, because we’ve already been there and nobody paid any attention. That world is gone.Paris Review - The Art of Fiction No. 211, William Gibson
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[Flash 9 is required to listen to audio.]
Nika Roza Danilova, admittedly, has never been a huge fan of remixes in general. Although she makes dance-y beats and music, the dozens of remix requests that come in each week — both asking her to lend her own stems or to produce for other bands — have been declined. Both artist and label tend to feel that most remixes frequently fail to improve on the original and since Sacred Bones is not (yet) a full fledged dance 12-inch label, no one in this camp has felt that remixes are an imperative for our roster artists who do not wish to engage in them.
Once in a while though, an opportunity comes along that we simply can not pass up. The chance to work with one of our all time favorite artists, David Lynch, was such an opportunity. And so it is our honor to present the first and only official authorized Zola Jesus remix, “In Your Nature,” as heard through the ears of David Lynch. We gave Mr. Lynch a copy of her album Conatus and let him pick which track he wanted to work with. He chose a track that we felt already had single potential, and replaced the tension building string patches with intricately crafted guitar parts, orchestrated and performed by himself and music assistant Dean Hurley. What was once a dance track becomes a lurching, cinematic masterpiece. The beat is slowed to a crawl, drum and synth patches removed entirely, and what is left is something perhaps closer to the nature of Zola Jesus than we ever could have hoped for.
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Social Text: Periscope: Socialist Irrealism: an interview with China Miéville
Insightful as always.
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The Art of Molly Crabapple Volume 1: Week in Hell
Photograph by Clayton Cubitt
Design by Jeff Powell
Hand lettering by me
(note- I’ve shot with alot of photographers in my day, many of them brilliant and charming. Clayton was my favorite)
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(Source: nathanjurgenson)
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A different kind of bathroom… (via best designs house: Best Bathroom Design EVER)
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Treat your ears right. Listen to this album.
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Dream House (Jim Sheridan 2011)

Yet another ghost film about the instability and insecurity of our homes; although not a haunted house tale in the traditional sense, Dream House engages with a number of conventions and tropes, if only to play around with them. What sticks out the most for me, is the significance of the house and Will Atenton’s (Daniel Craig) relationship to it. It is a new house recently purchased by the Atentons outside the city (New York City) because things will be better there. Their house carries every signal of being a hyperhouse (or McMansion): large, identical to all the others around it, made of wood, etc.
Of course, it quickly becomes evident that everything is not better outside the city. In fact, with hostile neighbors, punk kids and indifferent police it is clear that everything is worse in suburbia. Suburban fears have made a strong comeback in recent years, with films such as Paranormal Activity, Trespass, The Strangers and many other stories which expose the anxieties of an American middle-class living a life they cannot afford. Even Bret Easton Ellis’ Lunar Park (2005) seems to fit into this menagerie of middle-class anxieties. Without any spoilers, suffice it to say that Dream House clearly and cleverly exposes the rot at the center of this credit-card driven desire.
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Ever Since the World Ended (Calum Grant & Joshua Atesh Litle 2001)

A fake documentary about survivors after the world ended. I hesitate calling it a mockumentary, since for me that suggests that the documentary format is parodied or mocked in some way, which it is not here. Instead, the documentary style is used to great effect to suggest the hopelessness and bleak outlook for life after a virus has devastated the world. Beautiful images of an abandoned San Francisco mingles with close-ups of survivors trying to find a way of living under a new world order. As a documentary, however, the film lacks a strong narrative drive and that becomes the downfall of the film; at the end of the film only scattered events have occurred with no direct connection and the origins of the end of the world are not explored either, even as we are promised. For this reason, there is no emotional engagement left as the credits roll.
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The Thing (Matthijs van Heijningen Jr. 2011)

A prequel/remake of a remake but supposedly based directly on the short story “Who Goes There?” by John W. Campbell, Jr., this film tries hard to reach the heights of paranoia which John Carpenter’s 1982 version reached, but never truly gets there. While the effects are obviously better than in Carpenter’s film, the attempted recycling of mood never takes off because the film never decides whether it wants to generate psychological uncertainty or if it wants to revel in abject, torn-apart bodies. As a result, the film achieves neither and leaves us with a fragmented sensation.