I was thinking if there were any cardists in the GB community.
After some... significant events in my life, I decided to finally pursue cardistry back in February of this year. I'm still a complete amateur, but it's been a rewarding and humbling experience. Maybe, just maybe, I could also get people interested.
But for those of you who don't know what "cardistry" is, it's the art of flourishing playing cards.
What is Cardistry?
Keep in mind that, Andrei Jikh is . His deck dealing hand is his right, and his manipulator hand is his left.
Also, Andrei performs a magic trick called "Dress Code". WATCH HIS T-SHIRT!
Some of my favorite performances on the web.
Chris Hestnes performs the entire moveset of Dan&Dave.
The A-Z of Cardistry.
Downtown, featuring Zach Mueller, Dave Buck, Adam Kerchman, Tobias Levin, & Oliver Sogard.
The trailer of Aviv's SEQUENCE.
Finally, a charming video from Zach Mueller called SUPERHERO.
Lastly, how did you ever get started on cardistry?
I started with the Virts's Icarus Sequence.
Thanks for watching!
"Perfection may very well be impossible, but that doesn't mean you shouldn't be aiming for it."
This is, arguably, not an entirely dance-able album.
This is a divisive album, and it will, no doubt, alienate those who came with certain expectations.
But Daft Punk isn't a stranger to alienating their fans.
When they unleashed Homework to the world, it had a fresh playfulness, naïveté, and funk. I didn't initially come to Daft Punk through their first album, but I have acquired a taste and appreciation for it. For sometimes it is hard to see the impact in retrospect, and all I can do is retrace the evolution without having witnessed the revolution.
When they released Discovery, they have been quoted in an interview alongside Reiji Matsumoto that: they wanted to capture that sense of magic and wonder of discovering music for the first time. Perhaps this form of naïveté was also seen as a way of "turning into pop-mainstream." But Discovery did have a sense of wide-eyed appeal that won the hearts and minds of many, including yours-truly. Perhaps... it actually did understand that magical moment that much, if not all, of pop music has forgotten but misguidedly strives towards.
When they released Human After All, Daft Punk traded their approachability with a maudlin sense of "robot punk." Thematically different from Discovery, it represented, in my mind, the flip-side of Daft Punk's electronic sound. If Discovery was its soul, then (the ironically named) Human After All was the machine. Together, they formed the myth of Daft Punk's synthetic soul, but still placing them as mainstays of electronic music and dancefloors everywhere. This sound, however, was not for everybody. Human After All, too, suffered from it's own lulls of electronic hallucinations that were stuck-up-its-own-ass at times, a parody of oneself.
When they released Random Access Memories... I was a little disappointed. I was sure I couldn't possibly be the only one.
But first, a question: Why?
Why would a fan be disappointed?
Because it isn't an electronic album? Because this is their "quietest" album? Because they dared to do something different?
Yes, yes, and yes. That it was for me, initially.
Was it possible, for , to let go of those expectations? Was it possible for me to objectively see the merits of the album by itself?
Was it possible for me to stop asking , and, instead, discover it was they were trying to do with Random Access Memories? was their vision?
Was it possible for me to what from what and appreciate it?
Daft Punk wasn't going to do what I wanted them to do. Daft Punk was going to do what they wanted to do. As quoted from their Pete Tong's 2007 interview: "they're just two kids playing."
It would be remiss of me to not acknowledge two things.
First, I profess and preach about loving a very old-school electronic sound. For all of current pop-culture's obsession with EDM, Dubstep, or whatever-the-hell-it-is-kids-listen-to-these-days, I am in my little corner, telling anyone who's willing to listen that: electronic music is more than just Techno.
More than just Dubstep.
More than just Eurotrash.
More than just Trance.
More than just these preconceived genres.
I would tell people that I was a fan of StarDone, Russ Chimes, Cherokee, Hana Yori Kichou Na. That genres like French House, Valerie, and Acid House were real.
Daft Punk's homage to an older sound is not the issue for me. That couldn't be farther from the truth. That couldn't, shouldn't, wouldn't be a reason for me not to, at least, give this a chance.
Second, I consider myself a modest artist. Not with music, but with my pencil. I would draw people, animals, figures, robots, spaceships, etc. Anything with a singular entity as a focus. Looking back at my past work, I realized that I didn't want to be typecast with a singular style. I wanted to expand. I wanted to draw landscapes. I wanted to draw scenes. I wanted to draw spaces that elicited ideas and, perhaps, emotions. I wanted something more; something different. I wanted a varied legacy. A legacy that showed that I could do more...
...and that's when I understood.
Whether or not that is what Daft Punk was directly trying to do, I captured a glimpse of why any artist would dare to do differently from before.
Qui audet adipiscitur
Fans waited 8 years with bated breath to dance again, but that isn't what we got. We came to Random Access Memories hoping for more electronic positivity, but we came away with some emotional pieces. isn't a happy song. It is a morose journey, a dip in the roller coaster ride, before we hit a crescent with. With the possibility of somber tones, a greater range is possible, a better overall experience, but not all of it is for the clubs. I've even acquired a preference to the original . The fake teaser is akin to candy. It was sweet and instantly gratifying. The original song is a more controlled build-up, which I now consider the more refined song. Random Access Memories isn't about making dance-hits. It's an actual ride that's not afraid to slow-down to show you something... different. Something that is a little more contemplative. Something that you could... feel. Something... you weren't expecting from Daft Punk.
Daft Punk applied their synthetic soul to something different. Modernizing it enough to make it palatable, imprinting their signature electronics to make it their own, but, ultimately, creating an homage.
And it sure isn't.
I never expected this album to grow so much on me, so fast in these few short hours.
If you disagree, then walk away now.
But know this:
This is not a defense nor a review. You have just read my personal journey of thought and transformation of my opinion regarding Random Access Memories.
This isn't a a dance album, and I have come to love it.
Here's some trivia to wrap your head around on: This song is a Cosmonaut Grechko's Re-edit of a cover song by Ellie Goulding. Ellie Goulding was (most likely) covering Jose Gonzalez's cover version for Heartbeats. The original song Heartbeats was by a Swedish group called The Knife. So, it's a re-edit of a cover of a cover.
I Nominate for Best Summer Album Release for 2011:
Tonight at 9 PM, I'll be attending a very special concert. Pogo will be performing in downtown Seattle, in Chop Suey.
I honestly think that Pogo is a rare and unique musical talent, but he is strictly not a performing musician. Which is why seeing a live performance is highly uncommon, considering he's all the way from Perth, Australia.
Only two musical artists has ever made me believe that music can be something more. Pogo, is one of them.
Greetings, to whomever drops by this humble blog. I've decided to post my mixes for good ol' twenty-ten. But before that: a little backstory.
I was just wandering the internets and frequenting some random sites, and one of my favorite sites, Too Many Sebastians. Keep in mind, the remixes they offer there are purely promotional. If it can be downloaded, it was already meant to be free. Sorry for that disclaimer, MOVING ON.
So, I downloaded a few remixes here and there. Then a thought occurred to me: "how in the world am I going to keep all of these loose tracks in any order in my iTunes/iPod?" I came up with the idea of creating a compilation album, much like the mix CDs I've done before. "OK, cool", I thought. I renamed it "Interpretations", because it was primarily a compilation of the best remixes (what I thought were the best) of 2010.
So, I did that. Interpretations: Volume One was born. Then, I thought to myself: "well, how about you actually start making actual mixes instead of these lame segmented mixes you keep doing. Ya know, like a real mixer." "Yeahhhh", I said to myself. So I found a program called Mixmeister, and Interpretations: Volume Two was born. It's my first "true" seamless mix, but, hey, I'm proud of it's amateur-ness. I made the covers too.
And now I've decided to unleash it upon... err... "share" it on the internets. Specifically the awesome GB community. Story time's over. Enjoy.
Interpretations: Volume One [ link] *Unmixed/Compilation
1) Feel Good Inc. (Allen Walker Remix) - Gorillaz 2) Hello (The Hair Kid Bootleg) - Capsule 3) Lights & Music (Boyz Noize Happy Birthday Remix) - Cut Copy 4) Lisztomania (Shook Remix) - Phoenix 5) Hurt - Allen Walker 6) What You Need (Allen Walker Rewrite) - The Priors 7) Stylo (Alex Metric Remix) - Gorillaz 8) Ending Season - Kartell 9) When I Look Into Your Eyes (Quinten 909 Rework) - Fred Falke 10) Drop (Kings of Convenience Remix) - Cornelius 11) I Wish You (Cosmonaut Grechko Bootleg) - Capsule
Comments: Track 6, for some reason, is my favorite of the bunch. But I still think Allen Walker (a real up-and-comer, and only 19 yrs old) and Alex Metric have done some real magic on Gorillaz materials.
Interpretations: Volume Two [ link] *Mixed/Continuous
1) Saturation (Allen Walker Rewrite) - Zoot Woman 2) I Wanna Know - Röyksopp 3) Rollin' & Scratchin' (Chilly Gonzales Rework) - Daft Punk 4) Animal (Punks Jump Up Remix) - Miike Snow 5) I'm Not Alone (Taku Takahashi Remix) - Calvin Harris 6) Just The Two Of Us (feat. Tohoshinki) - RAVEX 7) Reaching For The Stars - Gaglactik Knights 8) Every Love That Ever Was (Montauk's Vacation Mix) - Home Video 9) Oh Yeah! (Hemingway's Pacific Boogie Remix) - Housse De Racket 10) Once In A While - Darius
Before we close out this blog, I'd like to share two more things:
As mentioned before, Mr. Allen Walker (probably not even his real name) has got some real chops. Let me share this unfinished remix:
As of writing this, most people here are most likely giddy about the fresh announcements at E3. Granted I'm one of those people, BUT... there's something else I'm looking forward to.
Admittedly my love affair with Shinichi Osawa started when I first heard him in Lumines. Specifically, players might remember him as Mondo Grosso for a little number called Shinin'.
The more I listened, the more I became a fan. Eventually, Mr. Osawa discarded the Mondo Grosso moniker to pursue his solo career under his own name. Granted it was a drastically different tone from Mondo Grosso. This rebirth was very electro-house heavy. Nevertheless, his solo debut album "The One" grew on me, and I now appreciate it as one of the most refreshing albums I've ever listened to in recent memory. It's arguably now a personal favorite of mine.
Sure, It was electro, but the album was so vastly varied from each and every track yet retains a certain cohesiveness as a single unitary piece of sonic work.
On June 16th, Mr. Osawa will be launching his second album, simply dubbed SO2 (I'm assuming it stands for Shinichi Osawa 2). It's not even out, yet I've already heard one song that has sold me on the album. That special song would be MORPHY.
This track was previewed first on Twiturm (for the uninitiated, is the Twitter for music samples for artists):
The more I listen, the more I'm convinced:
Hopefully, I'll be able to grab a digital download on June 16th, and, if I'm lucky, grab a CD/DVD combo on the 30th. Music is good. Music is meant to be shared.