The AUDMONSTERS welcome you to Rascal Beach, where the waves are choice
and monsters rejoice! Bask on the sun-kissed shores with our high-energy
tracks, explore the dense rascal groves through our intense ballads, or
take a break as the sun sets with a vibey tune. Whatever you’re
listening to, we hope you have a great vacation with us at Rascal Beach!
Our new compilation is now released for everybody to take joy in and listen to for this Summer season!~ As with our past compilation we’ve got a bunch of the AUDMONSTERS members submitting a track for the group album. See if your favorite is on this release!
In full we’ve got the following members/personas in this one: Mazza, Milk Puzzle, JellyBear, Ditzy Doe, Nayte The Hermit, bあshfu, K.O., Us and Dusk, Sgt-Whip, Whitetail, Dwn Cx, Silque Shadow, Sinyk, and Trent Sinclaire.
With some really amazing artwork from the always great gronos!
Top: ‘Star Wars and Other Galactic Funk’ was Episode IV’s soundtrack, remixed as disco arrangements, released in (of course) 1977. One single, 'Star Wars Theme / Cantina Band’, made it to the top spot of the Billboard Hot 100 for two weeks in October, 1977.
Bottom: Giorgio Moroder’s 'Music from Battlestar Galactica and Other Original Compositions’ was released on December 11, 1978. The album is considered to be a pioneering effort in the genre of electronic music, albeit more for a track featuring Donna Summer on vocals than the television show’s score.
Tomorrowland is the largest annual electronic music festival held in the world, taking place in Belgium. It used to be organized as a joint venture by the original founders together with ID&T. The festival takes place in the town of Boom, 16 kilometers south of Antwerp, 32 kilometers north of Brussels, and has been organized since 2005. Tomorrowland has since become one of the most notable global music festivals. (Wikipedia)
Alien-to-Alien: The Galaxy of Music Photographer @thesupermaniak
To see more of Maria’s music photography, check out @thesupermaniak on Instagram. For more music stories, head to @music.
When Maria Jose Govea (@thesupermaniak) travels, she brings along a companion. He’s short, has brown, wrinkly skin, an infamous index figure and was the star of a beloved ‘80s movie. He’s also an alien.
“I carry [the] E.T. [doll] with me all the time. He’s just very symbolic to me,” says the 35-year-old music photographer. “It’s funny because a lot of people hate E.T. They’re like, ‘He’s so weird. He creeps me out.’ Really, you don’t like E.T.? What’s wrong with you?”
Like Spielberg’s creation, Maria considers herself a bit of a loner. However, her origin story begins a bit closer to earth. She works by herself and leads an untraditional life –– a nomad who travels with musicians, takes their pictures, stays out late, then comes back to edit the final photos until 8 a.m.
After growing up in Venezuela, Maria moved to Toronto to study film, but ultimately wanted something else. With her visa running out, she decided to take up photography. By then, she had been throwing parties and DJing on her own, posting pictures of the events to her Myspace page. She soon built a solid portfolio and started getting freelance gigs at an alt-weekly in the city. Even then she didn’t know much about photography –– or the politics and stage rules that came with it.
“I was just shooting like there was no tomorrow,” she says. “I only had a fisheye lens. Everything was fisheye –– a fisheye and a flash and I was just going wild and shooting and getting people’s faces and DJ’s faces. But somehow I was making content that people were really relating to. So I started taking it seriously. I started learning a lot, and I started shooting rock and indie shows and buying different lenses and shooting from afar and trying different angles and really thinking about it. At the same time, I always go with the flow and follow my gut.”
Around 2009, Maria would meet a then-relatively unknown Skrillex, who discovered her thanks to the work she did with the DJ 12th Planet. When Skrillex came through town, he would invite her to shoot on stage. They became fast friends, and she’s continued to travel with him over the years, including a recent train tour across Canada.
“He became one of the biggest stars in the world,” says Maria, of Skrillex. “It’s unreal to be so close to everything that he has done. It’s also been great to see how he stayed exactly the same. He has not changed at all. He’s stayed really humble. Everybody loves that kid. Everybody asks me, ‘Oh, you’re friends with Skrillex? How did that happen?’ It’s weird because to me he’s just Sonny. It hasn’t sank in, I guess.”
As Skrillex’s career has grown, so has Maria’s approach to photography. She’s more interested in shooting the intimate moments on tour: musicians hanging out after hours, or prepping behind the scenes, or skateboarding on their off days.
“The more and more I get to know these DJs, the more access I have to them,” she says –– and she’s right. Not every photographer gets to sit in the observatory car of a train at three in the morning with the world’s biggest DJs and an E.T. doll and watch as the northern lights pass by in the distance. When you have opportunities like that, it’s hard not to go with the flow.
Colorful Glitches and Abstract Tones: The Video Art of @zoomzipremix
To see (and hear) more of John’s video art, check out @zoomzipremix on Instagram. For more music stories, head to @music.
This past February, motion graphics artist John Brugmann (@zoomzipremix) gave himself a challenge: create a month’s worth of video art paired with original music.
“In my day-to-day, I am doing motion graphics and it is fairly tame; it’s a lot of golf-based stuff,” says John. “I had done some visual effects work in the past, and I missed doing that.”
The end results are far different from his 9-to-5 portfolio: a colorful collection of dreamy/creepy clips backed by ambient electronic tones that John had hibernating on his hard drive. “I thought, I have been making all these tracks, some of them are garbage, but there are 15 seconds in these that are pretty good,” he says. “I took the challenge by putting them out there.” For the visuals, he would take specific shots, then experiment by adding glitches and other slow motion effects.
Adding the music to his video art is fitting, as John’s musical roots began in the digital world. When he was younger, he would go over to his friend’s house and use an old Macintosh sound recorder program to layer and loop his voice. That early, do-it-yourself training would come in handy years later when he took a college course in video editing. While creative classes can be hit or miss, John lucked out. His teacher wasn’t interested in textbook discussions. She wanted the students to learn by making their own.
“The teacher was very cool about it,” he says. “’You have got to make these art videos, you’ve got to do it all yourself, you’ve got to find music, but no using Van Halen – nothing commercially available. It has to be something on the up and up.’”
At that point, John, who hails from Orange County, California, had been spending time making music on the computer that he had never played to anybody. So why not put it to good use?
“That’s when the whole video art thing started,” he says. “This was right in that time of your life where your creativity is just at a 10. You’re there to soak everything up, and the world is full of possibilities. So I could make all these fun little art videos. Looking back on them, I don’t know if they are the best.”
Though those videos might not be at a level that John aims for now, the 15-second clips he’s currently posting have gotten a tremendous response, leading him to collaborate with other artists. For a recent project, he contacted a group of photographers to animate and score their photos. And that’s just the start.
“Now I am totally inspired to just try and be as ambitious as possible,” he says. “I still want to keep putting up little art videos, but I want to be able to do something big. I don’t know what that is yet, but I am completely and utterly inspired to just shoot for the moon”
Attention, NYC! Deru, the musical moniker of Benjamin Wynn, the sound designer from Avatar/Korra, is performing his bewitching audio/visual project “1979″ with Effixx and special guest Braille at Le Poisson Rouge (near NYU) one week from today, Saturday July 25th at 7:30. Tickets are still available, $18 in advance, and $22 the day of the show. I got to see/hear this stunning achievement last year at Seattle’s Decibel Festival. It is a powerful, hypnotic, transformative journey into memory. Highly recommended! More info and tickets here: http://lepoissonrouge.com/lpr_events/deru-presents-1979-july-25th-2015/