Just as Born Ruffians offer up their new album, Say It, this week, the band plays an acoustic session for Grandcrew.com.
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The humble pixel, millions of which we see everyday and take for granted, finally gets it’s due in the form of a fascinating short documentary, by Australian animator and pixel artist, Simon Cottee.
Cottee film explores the pixel’s place in our culture, from it’s humble beginnings in videogames to the present day. Where collective nostalgia for the simplicity of things bygone, has found the pixel increasingly represented in contemporary mainstream art and animation. Going so far as to even spawn a musical sub-genre, in the form of the increasingly popular chiptune.
Watch the documentary and check out Simon Cottee’s blog.
When PopMatters first posted M.I.A.‘s video for “Born Free”, we noted that the clip—which featured a group of unfortunate red-headed persons being rounded up and executed by some sort of totalitarian Gestapo—may have been a sign that the Sri-Lankan/British artist was joining YouTube sensation CopperCap in the ongoing (and extremely grave and important) “gingers” debate.
What we didn’t expect was that everyone’s favorite, carrot-topped, internet hero would take issue with “Born Free”, given that it seems to echo CopperCab’s central thesis that “gingers” are a “race” that faces the same kind of discrimination as other persecuted minority groups around the world.
Nevertheless, his ire has been raised once more, and in a video entitled “M.I.A. is Evil!! And I’m Not Dead!!” CopperCab goes hard at the “Paper Planes” singer, as well as at the “haters” who have been spreading false reports of his demise.
Between the Hold Steady namechecking Heavenly and the fact that every other new indie band seems to have some trace of C86 DNA, it’s the right time for Amelia Fletcher to make a triumphant return. And that exactly what’s happening with Tender Trap’s upcoming album, Dansette Dansette, due to be released, appropriately enough, by Slumberland on June 22. The very DIY video for “Girls with Guns” sounds like Fletcher and co. are returning to the cute-but-tough formula that made Heavenly one of the most endearing—if underappreciated—bands in the indie underground during the 1990s.
The Talking Heads song “This Must Be The Place” has always been a favorite for fans. It has a catchy beat that you can dance to and great moments of inflection that you can sing along with. The lyrics have a kind of weird intensity to them, “I guess that this must be the place” is not the typical gushing praise you’d expect in a pop love song. By the second verse, “If someone asks this is where I’ll be” and “You’ll love me till my heart stops” are shouted to emphasize how much time develops a situation. The slow acceptance of a relationship that feels awkward but grows familiar and loving is something that resonates with all of us.
Which is what makes Miles Fisher’s debut music video a particularly stand-out effort. Fisher is an amazing stand-in for Christian Bale and if you follow the Vimeo link you can see some other spoofs showing his talent at capturing the Hollywood ‘White Guy’ character. The song itself is a solid cover of “This Must Be the Place”, minimalizing certain areas and fleshing out others to make it into a more modern dance tune. But the video itself, which parodies various scenes from the cult classic American Psycho, takes the sense of discomfort and longing in the song’s lyrics in disturbing directions. The opening lyrics of loneliness are sung by Fisher as he dances around the apartment alone with his axe standing for air guitar. A limo pulls up and he extends a folded bill to a prostitute while mouthing, “never for money, always for love”. In the window’s reflection she mouths, “I love the passage of time.” Little moments like this are scattered throughout the video, poking at the song’s conception of love when embraced by a modern day Jack the Ripper. As the film pointed out and the music video continues to examine, even monsters enjoy pop music.