There are very few things I’m as excited about this Spring as Caribou’s upcoming “Swim”, scheduled to drop April 20. Caribou (and now drummer Brad Weber’s amazing, percussion-crazy side project Pick A Piper) is one of my favourite musical entities ever. I hesitate to call them a “band”, because I feel that they’re more than that. An evolution of instrumentation and style that puts them one step ahead.

The “Odessa” mp3 was released online a little while ago, but I’ve been waiting for the video before posting. Happy days are here, thanks to Video Marsh, with a hazy, soft, memory-filled video. The video is very open to interpretation, which I like; it’s evocative but extremely unspecific. To me, it’s like the feeling you get from a smell: undeniably strong but hard to necessarily put into words.

I’m sure Caribou (or any artist really) doesn’t want to be categorized or pegged to a nationality, but I love how Canadian this footage is. They’re not playing stereotypes but they’re not shying away from the winter-ness that we all intrinsically know.  It’s our secret handshake, and they’re offering a hand. Like looking at an old $2 bill; nobody would totally get it but us.

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Via Stereogum

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jump jump dance dance + claire carré: show me the night.

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why? + agustin carbonere: these hands.

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kid sam + sherwin akbarzadeh: we’re mostly made of water.

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Under Byen + Sidste Carsens: Alt Er Tabt.

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There’s something unsettlingly intimate yet oddly fascinating about watching strangers eat. Not every bodily function becomes social, and as far as bodily functions go the range of experiences possible within the act of eating are pretty unlimited. There aren’t too many different ways to breathe and blink and heartbeat and cell divide; eating, however, is almost infinite.

Infinite in its goodness, but also in its grotesqueness. In his video for Swedish electro-duo Dmitry Fyodorov’s “Simcoe”, the first track off their upcoming album “Shapeless”, SektorFilm director Markus Waltå whips up a rhythmic orgy of mundane food moments. The blankness, the shovelling, the swallowing without chewing. All of this, contemplating in close-up what each of these subjects are thinking (or trying not to think of) as they eat, builds slowly into the one thing that’s more satisfying to do with food than to eat it: to fight with it.

Via Antville

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Canadian Alan Poon directed one of my favourite music videos of all time, 2008’s incredible macro-masterpiece for Bowerbirds’ “In Our Talons.” That track was a fiery lament against man’s destruction of the natural world, and Poon created a perfect visual to accompany it: a twisted, contorted microscopic look at our affect on the Earth and everything else that isn’t us.

In his latest, for  Zeus’ “Marching Through Your Head”, he continues to examine stop-motion and hyper-realistic nature imagery to create a dreamy, sharp, saturated landscape. This time, with a more light-hearted track, he gets to be humorous and play with marching shoes that grow bushes which turn into Zeus who jam, appropriately, in a ruin on the top of a mountain.

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Via Motionographer

In 2008, BBH London created a refreshing and beautifully executed spot for Barclaycard called “Waterslide.” For 2010 they’re back at it, this time with a Nicolai Fuglsig-directed spot called “Rollercoaster.” If you’re wondering what it’s about, the title is pretty self-explanatory.

Created by VFXperts (I just made that term up, I’m not sure I like it, but I’ll keep it for now…) The Mill, the spot is sharp, tight, fearless, and seamless. But despite the technical radness, the best part is that it really does capture the joy behind the idea. It looks good enough to be real and so it feels good enough to be real.

And they were even nice enough to put up a killer making-of vid. I’m always blown away by the level of detail and skill that goes into making motion design of this calibre, and it’s totally worth checking out the process behind “Rollercoaster.”

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Via Motionographer

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I first discovered Danish experimental pop collective Efterklang when some of their music was featured in Jeremiah Zagar’s brilliant family autobiographical film “In A Dream.” Both the film and the music were some of the most beautiful things I’ve ever seen.

Efterklang’s sound is ethereal and dreamy and huge. Luckily, it leaves itself so open to visual interpretation. Not a blank canvas, but a launching pad, ready to propel the song into whatever video the lucky director gets to imagine.

For “Modern Drift”, that director is Danish multi-media artist Kristian Leth. The song is gorgeous, and for it Leth has sewn together a stunning and simple vision of nature and life that is achingly lovely.

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A quick list of some awesome things:

+ The incredible Sia announced her Spring North American tour. Sia is one-of-a-kind live, and  “The We Meaning You Tour”, including a stop at Coachella 2010, is a must-see. I. Can’t. Wait.

+ One of my favourite artists, Kent Rogowski, has two killer new prints from his hugely-popular “Bears” series up for grabs on 20×200.

+ I’m super psyched for this. One of my luckiest musical finds of 2009, Y∆CHT & The Straight Gaze, announced their spring “New Mystery Moods” tour, and are hyping it with a killer promo video:

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+ Home Video dropped a killer remix of Wave Machines’ “Keep The Lights On.” You should Download it.

Not only did Zoltán Lányi create this futuristic, fragmented, jolting experimental work to a track by Amon Tobin featuring Bonobo, but he did it while still in school at the Eszterházy Károly College in Eger, Hungary.

To me, the twitching, glitchy POV reminds me of a sort of post-apocalyptic, burned world being studied and leading to the discovery of a whole new level of mechanical life underneath the ruin.

Plus, it’s just really fucking cool.

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Via Ventilate

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Caribou is easily one of the best things that’s happened to music in the last ten years. I remember where I was sitting the first time I heard “Melody Day” and tripped over myself to find out who was making that colossal, layered, glorious mash-up of sound. I didn’t think it could, but it gets better, courtesy of Caribou drummer Brad Weber…

Pick A Piper is a collective from Weber along with Angus Fraser, Dan Roberts, and Clint Scrivener. They leave no sonic stone unturned: flute, trumpets, glockenspiel, flutes, hand claps, bells, and basically anything you can hit to make a sound. But more than anything it’s the percussion assault that gets you. Their music doesn’t just have a beat, it’s multi-rhythmic. It’s expansive, it’s communal. It feels put together from the best parts of a bunch of disparate sounds that only make sense when they’re together.

It feels like it could be chanted. It loops and soars and doesn’t sound like it will ever need to stop, because it’s nothing as easy to know as lyric-chorus-lyric-chorus-bridge-chorus. It’s timeless, like it might have just been dug out of the ground, and it’s also joyous, like it might have been passed down to them from generations. It sounds like happily putting your arm around someone when you’re drunk and staring into a campfire.

So far they’ve only released a 4-song EP, I’ve listened to it constantly for two days. I demand a full-length album. …Please.

For now, stop what you’re doing and listen to my favourite track, “Dené Sled”:

Play “Dené Sled”

Plus check out a grainy, colourful, almost pre-digital looking video, directed by Weber himself, for their single “Rooms.”

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David Shrigley is an animation and illustration icon. One of the few animators whose work is so individual that you can usually immediately recognize it’s Shrigley from a single still, his sparsely drawn, seemingly haphazard illustration work is  legendary.

I was a little surprised and worried when I came across a video by Shrigley for luxury knitwear brand Pringle of Scotland. In January I’d seen on one of my favourite blogs, Kitsune Noir, that Pringle had commissioned one of my favourite photographers, Ryan McGinley, to make a film showcasing the Spring/Summer 2010 line that featured the terrifyingly austere Tilda Swinton wandering the misty Scottish highlands in various knits. To me, it was dull and, while beautiful, a waste of McGinley’s phenomenal talents. I was nervous that Shrigley’s work wouldn’t shine either.

I didn’t need to worry. Not only is the video quintessential Shrigley, but it’s totally entertaining; I laughed out loud more than once. Turns out Pringle of Scotland has a refreshing sense of humour, not only about itself but about the entire fashion industry, and they’re not afraid to show it.

Via Motionographer

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