John Akomfrah - The Nine Muses: Immigrant Song of an unled zeppelin

"Known predominantly for his seminal, free-associative debut documentary, Handsworth Songs, director and some-time video artist John Akomfrah again adopts a mood board framework for this latest offering, another impassioned exploration – alternatively exhilarating, haunting and baffling – of the black and asian immigrant experience.
Binding together striking archive newsreel which depicts the struggles mounted by ethnic minorities attempting to quietly settle in the UK, Akomfrah infuses these potent images of loneliness and conflict with a classical sweep by having various poems, speeches and literary quotations subtly intoned over the top.
Elsewhere, much of the film also consists of newly-filmed tableaux in which mysterious figures wrapped tightly in a range of colourful all-terrain gear peer out on a series of pristine Alaskan vistas, always with their backs to the camera. The “Muses” themselves are the daughters of Zeus, all referenced in Homer’s ‘The Odyssey’ and which crop up as thematic inter-titles during the film.
Upon initial inspection, The Nine Muses feels like it could be a companion piece to Terence Davies’ rakish cine-memoir, Of Time and the City. Both films toy with chronology and geography, and both directors clearly have fun trying to marry social history and personal memory with the grandiloquent writings of the great poets, playwrights and philosophers.
And both have impeccable taste in music, here the soundtrack includes selections by Wagner, Schubert and much of the ECM back catalogue (one snowy scene which uses Arvo Pärt’s ‘Spiegel Im Spiegel’ is quite breathtaking). Yet where Davies’s musings were purely personal, Akomfrah doesn’t explicitly make this film about himself.
Those possessing a broad knowledge of Dante, Sophocles and Nietzsche might be better placed to unlock some of the more playful juxtapositions. But is this even a film which is supposed to be unlocked? Perhaps pointedly, Akomfrah never offers any clear narrative or thematic throughlines, and even the relationship between the newsreels and the snowscapes remains open to interpretation.
But that doesn’t make this a failed enterprise. On the contrary. Here is a film which consciously takes on the structural tenets of a poem, where it’s as much about the flow and the rhythm in which the images are delivered as it is about what we see and hear in the moment.
One of its many pleasures is the way Akomfrah grapples with opposing extremes: the crisp, glassy new footage against the warm, fuzzy celluloid; the rumpled, weather-beaten faces of the black subjects against the implacable perfection of the white snow; the authoritative tenor of the of literary quotations against the immigrant labourers straining to articulate their anxieties.
For that reason, cinematographer Dewald Aukema and editors Miikka Leskinen and Ben Hun deserve the same critical garlands as Akomfrah for a work which dares challenge the senses." - David Jenkins

John Akomfrah’s Hauntologies
http://www.bfi.org.uk/news/review-john-akomfrah-s-hauntologies


Culture Now: John Akomfrah
https://www.youtube.com/watch?v=vjfDwAAhFpE


DEATH AND LIFE OF FICTION

Sebaldovi 'Saturnovi prsteni' na filmu, plus glazba Leylanda Kirbyja

Koja kombinacija - dokumentarac nadahnut Sebaldovim romanom a glazbu za film napravio jedan od mojih svevremenskih favorita, Leyland Kirby (aka The Caretaker). Brrrrrrrrrrrr.


"When quizzed about which sub-section of a book shop he would be keen for his works to appear, the late, German-born author WG Sebald responded: all of them. Almost in silent tribute to the sui generis nature of Sebald’s formidable literary offerings, Grant Gee’s superlative and singular film, Patience (After Sebald), remains equally resistant to pigeonholing.
Is it documentary? Art film? Biography? Travelogue? Philosophical diatribe? Psychogeographic essay? Or is it a simple celebration of the intellectual wanderlust possessed by this enquiring and deeply melancholic literary sage? In spirit, it feels like one of Patrick Keiller’s Robinson movies.
The focus here is specifically on Sebald’s celebrated 1995 quasi-memoir, ‘The Rings of Saturn’, in which he documents his on-foot peregrinations around the Suffolk and East Anglia coastal region. Gee uses the timeline of the book as a narrative backbone for his film, but also invites a diverse range of Sebaldian experts and superfans to try to prise meanings and allusions from the text.
Occasionally there are those who will search for literal connotations and attempt to locate patterns and systems from within the pages. Others, such as artist Tacita Dean and the writer Iain Sinclair, expound more freely on how Sebald’s work inspired their own ways of thinking.
Vivid speculations on the grim beauty of the landscape (suitably captured in abrasive monochrome by Gee’s camera) are coupled with bigger questions such as how do we mentally process objects and buildings? Does our mood effect the way we view the world and the way we interact with out own imagination? Where do we look to find inspiration in the landscape? When visiting a location, must we always be wary of both past and present? More than being specifically about Sebald, this is a film about the art of thinking.
If all that sounds rather heavy, it’s really not. The interviews are edited in such a way that they’re more breezily anecdotal than soapboxy. And the quixotic, collage-like approach to the imagery meshes perfectly with the passages from the book, atmospherically narrated by Jonathan Pryce. Also, those not particularly au fait with Sebald’s musings are given a helpful leg-up by Gee’s auspicious arranging of the material, as he makes sure that there’s ample personal biography and context mixed in with the more in-depth readings.
Alongside films like John Akomfrah’s The Nine Muses and Patricio Guzmán’s forthcoming Nostalgia for the Light, Patience (After Sebald) already heralds 2012 as a vintage year for the biography/essay/philosophical art documentary." - David Jenkins

 The Caretaker's album Patience (After Sebald):

Rotating Constellations

by Pamela Cohn

Pamela Cohn talks to Grant Gee, the celebrated filmmaker who directed films about Radiohead, Joy Division, and most recently, W.G. Sebald’s novel, The Rings of Saturn.

Still from Grant Gee’s Joy Division, 2007.

“He takes you down these poetic cul-de-sacs. And you don’t care that you’re being led nowhere, of course, because you learn so much on the way.”
     —Tacita Dean, artist, on writer W.G. Sebald in Grant Gee’s film Patience (After Sebald).

I had the pleasure of meeting filmmaker Grant Gee at DokuFest in Prizren, Kosovo this summer. As part of a special music documentary program, we showed Gee’s film from 1998, Radiohead: Meeting People Is Easy (a personal favorite of the festival’s artistic director, Veton Nurkollari), a profile of the band’s vertiginous rise to fame and its surreal aftermath after releasing their OK Computer album.
We also took the opportunity to program Gee’s latest film about the late W.G. Sebald’s novel The Rings of Saturn. Gee’s film, called Patience (After Sebald), takes the viewer on a walk with the filmmaker in the German-born Sebald’s footsteps. Imitating Sebald’s book in its structure, themes, and contemplative tone, Gee’s wondrously poignant and haunting film gathers a constellation (to use his word) of poets, writers, publishers, thinkers and artists to talk about their love for Sebald, his meandering, profound mind, and its effect on their own lives and work. The voices collectively discuss a curious and wide-ranging mix of fact and recollection, accompanied by a series of glorious black and white images that reflect the interior of a deep thinker and a melancholy spirit. As we’re told in the film, these qualities often go hand in hand.
Born in Plymouth, UK, Gee is currently a Brighton resident and works pretty much solo and close to the bone. Over the years—in his commercial, music video, multi-media, and film work—Gee has created his own inimitable style of storytelling. Like artist and filmmaker Ben Rivers, whose Two Years at Sea Gee admires, Gee approaches filmmaking as a craft. With basic tools in a rucksack and his own two legs to carry him, he set out to re-discover the forking paths of thought laid out in Sebald’s books.
A couple of months after we met in Prizren, Gee and I reconvened for a Skype chat to catch up and have a more substantive conversation than was possible at the time. A gentleman’s gentleman, Gee is forthright, friendly, and humorous and exceedingly generous when it comes to sharing his thoughts and feelings about the work that brings him much joy. There’s a bit of torture thrown in, to be sure—but mostly joy.

Pamela Cohn How’s your summer been?

Grant Gee Holiday was good. The weather in England was crappy. The whole country was completely possessed by the Olympics but, thankfully, I missed it all. I came back and it really was like everyone had been mind-controlled for two weeks. They were all gaga about Britishness and Englishness. Very odd, very odd. So summer’s fine and just started working on this rather odd theatre production. It’s very intense; I’m not sure I’m enjoying it yet.

PC This certainly isn’t the first time you’ve worked on something odd or complex. You’ve worked on some quite far out projects. One could say it’s your natural forté, perhaps, I don’t know.

GG That’s interesting. I forget the stuff I’ve done as soon as I’ve done it. What’s far out about this? Katie, the director, is such a unique individual, super-intense. She’s been directing at the very highest level probably for more than twenty years. This is Katie Mitchell.

PC She appears in the Sebald film.

GG That’s how I got to know her. She directs operas and does stage plays but this piece is this sort of multimedia thing where she’s very interested in foregrounding the process through which the performance is happening. The process, in this case, is making a live movie of a stage event but the movie looks like a stage event. So we have five cameras and five camera operators on the set, all constantly in motion. The cameras are cutting about every seven seconds, lighting is going on as if for a movie. So basically you’ve got a movie being projected in real-time above the stage at the same time as it’s being acted out below. Logistically, it’s a nightmare. What’s difficult is the machinery of it; the techniques are very, very cumbersome. One, two, three, cue. It’s very difficult for me to get my head around. It reminds me of the way you see dances being counted—two, three, move, two, three, move, two, three, move . . .

PC Super precise.

GG Absolutely. And it kills the sense of freedom of expression in a way. It’s all to a metronome beat. It’s difficult for me to get my head around after going for a walk with a camera and a backpack just going where my fancy takes me.

PC Well, in preparation for our talk, in the last couple of days, I re-watched both the Sebald film and the Joy Division documentary. In watching them and really paying attention to how you’re playing with time and image and sound, I started to think about the ways in which our minds are set in this particular editorial mode when we watch something in which sight and sound are competing with one another for dominance. Even though it may initially seem daunting, once you get into the rhythm of someone’s pace, how they’re speaking to you through their choice of cuts, for me there’s something quite comforting in it, this strictly choreographed way of presenting material that, at first glance, is so hard to organize. You present this wide-ranging intellectual banquet but it’s very deliberately directed. I think this is really your strength as a cinematic storyteller. You leave a very distinctive imprint of the person, or people, you’re portraying. It’s almost as if you’re following a script, but instead of using words, you’re using images and sound. Do you think about directing something where you start out with a script—a narrative story, perhaps?

GG I think what I’m coming to understand is that the framework within which a film happens—I never used to think this, but I’m realizing this in part from talking about the Sebald film so much—is that I tend to think of the “script” as nothing more than the line of the journey. I could imagine doing a strictly scripted project now more than I ever could for that reason, something with a tight script. Strangely, over the past year or so, talking about the Sebald film so much and thinking about what it is that I do, and weirdly, coming out of a thing that has nothing to do with narrative drama, I think I’ve come to understand or can be much more sympathetic or interested in narrative drama than I was even a year ago.

I started to realize that a script is something like an itinerary of a film rather than the content of a film. Also because of these couple of jobs I’ve done with Katie, I’ve been able to be very proximate to actors that I don’t have responsibility for. I can observe them. They’re really good actors and I’m getting to watch them work close up, and realizing that they, too, treat scripts as signposts, guides rather than controlling forces. I always used to think the script just pushes everything along, but in fact, if you’re good then it doesn’t push you along; it simply provides the framework within which you’re operating. That’s very obvious to someone who’s worked in this area at all but it wasn’t obvious to me until quite recently. So I would be very interested now to try to direct something scripted. In fact, there are a couple of projects that I’m trying to get going which need to be scripted. They’re both still journey films in a way.

PC I’m extremely captivated by this idea of visually presenting a palimpsest, a work where you see the layers; they bleed through one another to create a very specific vision. You and I talked about this before. It’s a strange word, palimpsest, but I love this idea. Sebald’s Rings of Saturn is a naturally palimpsestic work and you mimic this in your film in such a beautiful way. I mean, even your Joy Division documentary—I really didn’t recall how absolutely beautiful that film was in its layers upon layers. Is this intuitive for you, do you think? I think it must be.

GG It’s intuitive, yes that’s right. There is an analytical approach to it, which I’ve found much later. But really, I think what it is, is probably being a frustrated musician. I conceive of various elements of documentary, or film, as separate instruments, which then play at the same time—the voiceover, the soundtrack, the wild track from a piece of archive film, and treating it as a multi-layered thing. It’s a dubious thing, in a way, because it’s treating information aesthetically, which I think is probably at the heart of it. I remember hearing that politically that can become a very dubious thing when information and facts are being treated aesthetically. But, essentially what I’m saying is that there can be a very solid intellectual content running through it, but that intellectual content is treated creatively in the same way as music. It’s something like that. I think of the various strands as faders on a mixing board, whether it’s the visuals or the various strands of audio. They’re constantly there and you’re mixing them. Sometimes you have three elements mixing together; sometimes you’ve got one element clean. But it’s very similar to the way a piece of music gets mixed, I think. It might be because, apart from very few projects, I’ve worked with the same editor, Jerry Chater, since 1995. And he’s a musician.

PC Are you usually in the editing sessions together or do you let him go off and do his thing and come back and show you cuts?

GG It depends. We do commercials and commercial projects together and for those I let him alone mostly. On the films, what it tends to be like these days is that I’ll block things out doing half the edit on my own to get the basic structure and then we work together on the fine cut. But I think by now I’ve sort of inherited his musical sense, the way you can mix. It’s a mix rather than a montage.

PC The word “montage” in film has morphed and changed over the years quite radically, I think, just in the way in which we also, as consumers, take in media. Maybe our channels are open a bit wider. They have to be, given the massive amounts of media we take in compared to, say, even five years ago.

What is also fascinating about your work, not only as a filmmaker, but as a person, is the subjects you decide to cover. In almost every instance, your subject demands that you move into an interior emotional landscape. In the Patience film, someone says Sebald’s work consists of a “made-up cosmology,” a cosmology made up of completely internalized, very personal processes, that you then try and cinematize. That’s a challenge and a half.

GG What you’re saying is very accurate. I don’t really know how to talk about it because I don’t talk about it that much, but it’s something to do with the word “constellation.” That’s quite important, that word, in the way I think about images and thoughts and how they’re arranged in my films. I’m captivated by the idea of arranging something in a form. Thinking about the constellations of the stars, they are only perceived in this form from a certain perspective. But then, you can rotate them and get another perspective and the form of the thing can change. There’s something in that idea of trying to assemble and rotate.

It’s really so hard to explain. It makes me think of Tarkovsky’s idea of sculpting in time. I do tend to think very fundamentally about how long this event—that is, the film—is going to last. And about the way that consciousness will move during that period of time. That’s what the film is—the manipulation, the direction of consciousness along certain pathways over a period of time. You could say that’s what entertainment is anyway, that that is the definition of entertainment. That’s the way I think about it.

PC That makes sense to me but then there’s the other mysterious thing of the work being able to tap into some deep emotional stuff. That’s what takes one by surprise. That’s my definition of entertainment. Entertainment can be a very passive activity in which you take in something and it entertains you for a moment, makes you laugh, makes you think about something. But there’s also something much deeper going on in your films and, perhaps, it’s the subject matter you tend to cover. The emotionalism comes from this layering of words and imagery we were talking about. There’s something really magical that happens and when you hit it right, it can move you deeply.

GG Obviously that’s wonderful to hear. I would never claim it for myself that that’s what I’m able to do. (laughter) But what you’ve just said reminds me of what Katie Mitchell says in the Sebald film. She talks about Virginia Woolf’s The Waves in relation to Sebald. She says it’s like a depiction of consciousness in all of its fleeting, super fast movements. Katie’s very interested in this depiction of consciousness, how you bring the most microscopic electrical connections within your brain and externalize them into an art form. That’s what I’m really interested in, as well. Rather than telling a story, making a film is a way of communicating consciousness, my own take on another’s consciousness when I’m trying to do a more biographical thing. Maybe what helps me, or what I’ve discovered works best for me, is to do that with a very small-scale kitchen sink, intimate style of filmmaking. I’ve always shot my own stuff when it’s important to me. I’m very hands-on. It’s very small scale. I mean literally, Sebald was edited here at my kitchen table, half of it anyway. I walked around with the camera on my back for eight days on my own. I recorded the sound on my own. And I sat here at my kitchen table for the first six weeks looking at stuff and playing around with the material. There were other people involved in the production, but the fundamental creative stuff was happening in a very, very small-scale, intimate way. So I think if it’s successful at that small of a scale and you’re dealing with quite substantial themes, there can be a real uninterrupted charge that comes from the subject matter to the viewer. The connection isn’t being messed with by lots of techniques, lots of standard themes, lots of media interference, or institutional forms. It’s very direct in a way. For instance, in Ben Rivers’ film Two Years at Sea—people really love that—I mean, that’s far more folksy than what I do. But I think there’s something similar in the directness of it.

Thom Yorke in Gee’s Radiohead – Meeting People Is Easy, 1998.

PC It’s about autonomous control as a director, really. But more than that, you are directly dialoguing with your material. Otherwise you wouldn’t get these kinds of results. As Rivers does, you don’t mess with the breathing spaces too much. And those other parts that might need a bit more oxygen or require you to breathe more life into them, you work around those authentic moments that already have life in them.

I think of the storytellers that you have in the Sebald film, for instance, and they are definitely a spectacular constellation, to use your word, of intellectual and poetic minds and voices. Each and every one at some point completely goosebumped me out, not in so much what they said, but how they said it.

There’s Sir Andrew Motion’s story of the mer-man and his reading of the extract from “Field of Mirrors,” where he reinterprets this story that he heard as a young boy. The visuals you chose when he’s reciting the story are so calm and serene and give the eye a resting place so that one can really take in the story, which is so violent and sad. And Motion’s recitation is just the most exquisite thing. It gains extra potency looking at the visuals that accompany this section, completely anti-intuitive. The eye and the ear can then complement one another instead of competing, if that makes any sense at all.

GG It’s funny that you say the eye and the ear because I don’t think about the ear. I think about the audio information as “mind.” I always think about it as the eye and the mind, not the eye and the ear. I think the audio information is going straight into your brain. I don’t know why this is. That’s always how I imagine it. There’s the consciousness of the content being processed as you’re watching the film. Your own brain’s processing away with your own story and your eyes are being held or gently moved to the rhythms of what’s going on on the screen. It’s the relationship between those two rhythms, the consciousness processing information and the stories, and the pure visual rhythms. That’s where the cinema happens, between those two things. But of course it’s the ear, not the mind. That’s very interesting to me.

Here’s a story that might put an intriguing spin on what you just said because, for me, as the person making that sequence, what was also going on with dealing with Andrew Motion’s story, is the fact that when I got together with my wife, which is now seventeen years ago, we had a situation where we had ex-partners—who were not that “ex.” We upset a few people with friends going one way and other friends going the other way, the way they do sometimes when couples split up. So very early on in our relationship we were feeling like we were sort of at the black end of the street a bit, that we had to hide away a little bit. Anyway, I won’t ramble on about this too much, but that piece is a really important touchstone for my and my wife’s relationship in a very weird way. We actually went up to that coast; the only time I’d been there before going back for this film. You come to that poem and then sixteen, seventeen years later to have the author of that in my film talking about another writer. It was right around that time that Sebald did his Rings of Saturn walk in the mid-’90s. It was very peculiar. The deeper connections of how these voices resonate for me across time within the film are important and, perhaps, why the film is like it is.

PC One can sense that, definitely. Another theme in all of the work that I’ve seen of yours is this idea of the suffering artist, but really suffering. From Ian Curtis to someone like Thom Yorke as he’s portrayed in the Radiohead film during that crazy time of the band’s rise, to Sebald to Orhan Pamuk—and we’ll talk about how he fits into your constellation in a bit. All these men channel this vast scope of human suffering. And what’s really sort of delightful, at least to a Yank like me, is the way in which this suffering is processed and put out into the world in what I consider to be a very British way of handling it externally. Even Sebald, though German by birth, had a very British personality at the end of the day. It’s a very uncomfortable fit for them to embody something larger than themselves, as if they perceive themselves to be way too modest to possess such grand suffering. But it’s their muse somehow.

GG That’s interesting. There is this irony of English suffering, if you like. That’s maybe what it is. You know what I’m like. I’m reasonably cheerful most of the time. But I know the stuff that I get involved with is melancholic at best, and depressive at worst. I know also what I try and do is to apply, not exactly a black humor to it, but there is something there that is very British about the kind of ironic stiff upper lip, the way one treats this cosmic melancholy.

PC More than that though, it’s this kind of struggle to step away from all that’s being imposed upon them. At one point, Iain Sinclair says how ripe for a cult Sebald was. And then when you’re talking in terms of a rock star, someone as massively popular as Curtis and Yorke and the music groups that were these phenomena, you get a totally different spin on things. And it’s all so subdued and dulled and treated almost as an embarrassment when they’re in this positively over-the-top situation. We’re talking about the Holocaust, suicide, being eaten alive by mass media, which are all hugely traumatic events.

GG Yes, but I can say that essentially the three feature things I’ve done are all really fan’s films. To be a fan is fundamentally about getting pleasure off the material. It’s recognizing, no matter what, the subject matter of the material that you’re confronting is something that’s giving you pleasure. It’s making that explicit, in a way, so that you can present the material. It is at the level of a conceptual edit because I never think about a conclusion. It is a kind of sculptural thing. All the facets of the story can almost exist at the same time; they’re not going anywhere.

All I’m thinking about when I’m making something, which is really in the edit in the case of all these films we’re talking about, there’s a starting point. And it might be in the middle of the film or the beginning, wherever the first sequence is where I can really recognize it as the story I want to tell. It’s about where the line is going and thinking about the time this force of consciousness is going to take and something about the choreographing of it and how that movement is going to happen. That’s all I’m thinking about, the choreography of it.

The only time I think about an audience is in terms of hand-holding and this usually comes at the end of editing a documentary. In other words, how much basic, factual “hand-hold” stuff needs to be in there so that people can relax, so that they can accept the rest of it without being bothered by nagging questions that they might be missing something.

Still from Gee’s Patience (After Sebald), 2012.

PC You talk a lot about choreography and rhythm and music. But as a filmmaker, in terms of cinema, I’m curious to know what you’ve seen that particularly resonates with you visually.

GG I’m not much of a cinephile at all but the stuff that’s really knocked me out in the past ten years has been what Godard has done—old Godard, really, the things he was doing in the ’90s. He really got into sampling all those ECM records. Everything’s a sample; everything’s a mix. Nouvelle Vague was the first great one. You couldn’t get these Histoire(s) du Cinéma films in the UK and I scoured the Web to try and get a hold of them. I finally found something I could get for two hundred quid, a five-DVD set available in Japan so I bought it. I don’t even remember whether it had English subtitles or not. I had to buy a box set of the ECM CDs, as well. But the way that he was using sound and image together, not to tell stories, but . . . I don’t know—more than anything else, really, that’s the stuff that knocked me out and impressed upon me what could be done with something you could call cinema and now, god knows what it should be called. Something like music but also like film, like the Internet. But it was also like an individual consciousness. That’s the stuff that did it for me. It’s not at all like what I do, but it’s totally inspirational.

The Web is a really incredible new state of consciousness these days. I think the removal of time, the replacement of narrative time and space is really interesting but it also causes a great deal of anxiety. It’s why DJs have become so important, curators of all sorts, in fact, because information has become so spatial. You know, it’s just all there. What gives it form? Ultimately, your consciousness gives it form, but it really helps to have these mediators who give a bit of form to wildly disparate pieces of information and then give it back to you. That’s what bloggers do. That’s what DJs do. It’s what, increasingly, a certain type of filmmaker is doing. He or she is giving you a mix of information. It’s putting the element of time back into something that’s become purely spatial.

PC And it’s also deeply personal as in someone giving you a mix tape they’ve made especially for you.

GG That’s absolutely right, probably the best analogy for the spirit in which my sort of films are made and are, hopefully, received. And absolutely spot on, generationally. That’s what I spent much of my teens and twenties doing is making mix tapes.

PC I think every young person of any generation is looking for that bespoke way of, not only expressing themselves and their personal taste—through whatever artistic or non-artistic means—but also of finding other people who are making these personal statements. For you and, of course, gazillions of other people, Godard has this huge creative capacity that can tap into this kind of way in which people want to take in information. The literalness in which we’re asked to take in certain things doesn’t seem to work for people much anymore, the bullshit of being force fed about what’s worth thinking about and what’s not. I’m curious to know about this new Mitchell piece.

I’m curious to know what the content is, what themes she’s exploring. You described it in a general way before in terms of its technical challenges.

GG Well, basically I got involved because I interviewed her for the Sebald film. My producer told me that she was planning a version of The Rings of Saturn as a stage show. After she saw the completed film, she told me she really liked it and that she used a lot of video in her work. She was doing this stage version and wanted to use some of my landscape shots for the production. I said fine. Then it grew and she said she wanted actors on stage integrated with the landscapes and asked if I was interested in directing the cameras. I said yes. That happened back in March/April of this year.

This production of hers that I’m involved with now is an adaptation of something very obscure, and that is a work of an Austrian poet called Friederike Mayröcker who wrote a stream-of-consciousness novel, in style halfway between Virginia Woolf and William Burroughs called Night Train. It’s the consciousness of someone having a night of insomnia on the night train between Paris and Vienna. This is the starting point.

Katie’s built an absolutely realistic replication of an Austrian sleeper train circa 1981 and put a slight narrative through it of regret, childhood trauma, realizing you’re married to someone who is like your father and being shocked by that, realizing over the course of this journey that what we’re doing is shooting a movie in real time on the set of a train.

It’ll be watched in front of 300 people in Cologne. It’ll run for, I guess, two weeks there at first and we’ll see if it works. It’s done for a specific theatre and that’s where it’ll live for a while since they own the production. The Rings of Saturn did two weeks in Cologne, did a week or so at the Avignon festival in France over the summer, and it might happen again in Cologne next year. As far as I understand it, the theatre that pays for it has it as part of their repertory.

PC It sounds very exciting for you. The technical challenges will work themselves out as they do after several migraines. But it’s fascinating the way your film work is being utilized in a non-cinema setting. I like this idea very much, this mash-up of forms and different types of media. It’s very exciting and fresh. It always leaves room for surprises.

GG The blanket term is “multi-media,” and it seems like, increasingly, the big theatre productions almost have to be multi-media. There’s a whole slate of world-class directors and they want movies in with their plays so yes, totally ripe for great collaborations. There’s been the same kind of production set-up for so long and suddenly, there are a whole new bunch of people who want to be involved with this in a serious, very tech-savvy way, as well as camera operators and all the baggage that comes with that. It’s happening more and more often. It’s akin to still photographers who now have to be videographers, as well. They have to go out and shoot stories with video cameras.

PC Storytelling on steroids—stronger, faster, meaner, etc. It’s a lot of pressure for media makers, really. And audience keeps breaking up into smaller and smaller fragments. You can have a fan club of six people these days and call it a success. This is what has led to the breakdown of the habit of going to the movies, for instance, or a night at the theatre. It sounds like such a quaint idea now. Music concerts are still the one performance-driven event that people still clamor to go to—and, of course, a football game and other sports events.

So, as we wrap up, I must ask you to talk about something you mentioned to me this summer. I’m intrigued about this project having to do with Orhan Pamuk’s Museum of Innocence—the book, the structure, the literary phenomenon. The museum opened in Istanbul in April of this year. Here’s a brilliant modern mind who is a novel writer, Nobel prize-winning and all that. And he’s built a physical manifestation of something that stemmed from a fictional love story he wrote, an incredibly beautiful and extravagantly romantic idea.

GG Well, the process has been slow and it’s in its very, very early days, but so far it’s okay. We’ve literally had two communiqués from Pamuk world via the agents basically saying, okay, yes, interested in talking more about this. One thing I was meant to be doing this evening was writing a letter to Orhan. So this is what I’d like to do. But I’m stuck at the level where I’m agonizing over whether to write “Dear Orhan”? Or, “Dear Mr. Pamuk”? Or, “Dear Mr. Orhan Pamuk”? It’s critical how to address him. So that’s all it is. It’s an idea that, thank Christ, hasn’t been nixed quite yet.

PC But can you describe exactly what it is you’re thinking of wanting to do, or what you’re proposing to Mr. Orhan Pamuk? I mean it’s encouraging they haven’t shut you down completely but I know there’s a tremendous amount at stake.

GG It doesn’t hurt at all that his agents are the same people who manage the Sebald estate, the Wylie Agency.

PC Oh, very good.

GG I didn’t screw up there. And there aren’t that many people doing essay films about literature, right? It’s a very narrow field. (laughter) And now I’ve got form in this narrow field. They are responsible for the direction of the estate so they want to know what’s the product, what’s the thing you’re making? I haven’t had any direct contact yet. This letter to Orhan will be the first one.

All I can say is that I can see, so clearly—and I get so terribly excited, I have to look away from the idea—because I just see the whole thing made, done, I can see the texture, I can see the way it moves. The crossover between imagination and objects in space, objects in consciousness, and setting it within this extraordinary city, a place that is so amazing. It’s about the melancholy of losing objects and people over time within this space with Pamuk’s voice in it, with his consciousness in it. There would be some other characters, as well. I would like to film the great photographer, Ara Güler, who’s been photographing Istanbul for fifty, sixty years. His photographs are all throughout Pamuk’s Istanbul book. I can see him as a presence. But, really it’s one of those things where I can just see the whole bloody thing. So I have to be very cautious and very slowly convince everyone else that it’s as good as made.

I’d like to come back to what we were talking about earlier, about this notion of what the new Web consciousness is doing to us. What’s odd, in a way, about film, even more so than music, is that it’s possibly the most linear art form we’ve still got. Despite the fact that the consciousness that forms it is non-linear, the technology that we’re using—the digital cameras, the digital editing—is all about making non-linear thought easier. When it gets down to it, it’s an absolutely focused linear experience in a cinema. Unlike being somewhere where you’re listening to live music, you can’t really look around at the audience, or stare at the architecture while you’re listening to the music or look at the person across from you while you’re listening to the music, or the orchestra. With film, you’ve got your eyes glued up on the screen, the thing starts and for ninety minutes, you’re going to be led down one route. Along that route, there may be non-linear associations made, but there ain’t no getting away from it. It’s black, it starts, it runs, it goes black again, the end. Quite weird these days, really.

PC I think those of us who really love cinema and consider it and its survival very important will want to keep having the privilege of this experience. No matter the other goodies at our disposal, there’s really nothing like the experience you just described. To me, the documentary film world, its makers, are the last vestiges, in a way, of trying to keep doing this.

GG You’re right. My agent, god bless her, she’s a great supporter of everything I do. But then again, from time to time, she’ll say to me, “Oh! You’ve got to get involved in multi-platform!” And I say, “Oh, noooo. One platform, one thing!” (laughter) That’s the most important—that it’s one thing, not fifty things in time. It’s just this one thing that starts here and then it goes and then it stops. That’s what it’s really all about.

PC There will always be a place for long-form work that’s focused in this way. It’ll be the end of civilization otherwise if we can’t sit collectively in a dark room and be captivated by a storyteller for a couple of hours. I thank you very, very much, Grant, for this conversation, really. It was great talking to you.

GG And you as well. Thank you.

Bertrand Bonello - Kuća užitaka

"One of the most enlightened and adventurous films released in cinemas for some while.


Known alternatively as L’Apollonide, cynically retooled for the US as ‘House of Pleasures’ and then shorn of its delicious suffix, ‘Souvenirs de la Maison Close’ (‘Memories of a Bordello’), House of Tolerance is a subtly licentious provocation from French director Bertrand Bonello (The Pornographer) in which the inner workings of a Parisian brothel are languorously moulded into a biting metaphor on the ills of global capitalism.
Despite its luxuriant Belle Époque milieu – all velvet, silk and feathers – the film’s closest cinematic kissing-cousin is Robert Altman’s McCabe & Mrs. Miller, another tale of a commercial dream gone sour; one where the business of prostitution is the moral representative of commerce at large.
There is no traditional three-act plot here, we are simply asked to monitor the daily lives of a diverse group of prostitutes who cosily cater for all perversions.These women – each one delivering a remarkable, committed performance – give the impression of dominance, but as time rolls on, faces are disfigured, social diseases wreak havoc, drug habits decrease sexual productivity and the ravages of age take their aesthetic toll.
All the while, the madame of the house purports to safeguard her beauties when in fact she’s doing her very best to trap them inside a system which hinges on their willingness to self- abase for cash. Bar a couple of rural outings, House of Tolerance rarely leaves the confines of the brothel. In so doing, the claustrophobia of the environment really hits home, addressing a shortfall in the film’s US title: no pleasure is taken from this work.
With its seemingly random deployment of garish anachronisms (a cathartic rendition of The Moody Blues’ ‘Nights in White Satin’) and merrily ‘what-the-fuck?’ set-pieces (a prostitute offering a neat new spin on crying salt tears), Bonello’s brilliant and audacious film is easy to dismiss.
But expend some intellectual elbow grease on decoding the various sounds and images, characters and relationships, motivations and plot mechanisms, and you’ll discover one of the most enlightened and adventurous films released in cinemas for some while. Its final shot, too, is a sock to the gut from which you may not recover." - David Jenkins

 

Fabrizio Federico - Black Biscuit

Danska Dogma + Harmony Korine u doba YouTubea.

Iz Federicova manifesta:

"Film school is poison.

Look for street superstars to be your cast.
Your film must be made on no budget, just sporadic money.
The director must raise "get-by" money by finding a job that challenges their ethics.
The director must have a main character role in the film.
Short films are NOT acceptable, it MUST be a feature.
The cast must NOT know what your film is about.
Filming must be done without any preparation or a traditional script.
Your film must be 95% improvised.
Special lighting is not acceptable.
No HD Cameras
No 3D
No Green Screen
The director must edit the film alone.
Mistakes are beautiful.
Continuity is wrong.
Bewildering, vague, self-indulgent, plot-less, risky, egotistical, limpid, raw, ugly, and imperfect are perfect.
Technical film experience is inessential.
Answer to one person only—yourself."

BLACK BISCUIT

Jim Ross 

The attempt to create an unrestrained freedom of expression in BLACK BISCUIT is (slightly) admirable. However, compared to the best experimental films, Fabrizio Federico’s thematically scattergun approach and reliance on a misguided manifesto prove the undoing of this intriguing but, at times, unforgivably tedious film.

The film, as per the instructions of Federico’s Pink8 manifesto, doesn’t really follow a narrative. It does however, have something of a meta-structure with Chet (Federico) deciding to create a feature film on basically no money using his mobile phone – the same manner in which Federico created BLACK BISCUIT. What follows is a collection of loosely connected vignettes filmed largely on mobile phones as Chet seemingly begins to lose sight of this goal. Some grotesque, some hynoptic, but a huge number are simply uninteresting and moronically dull.

Over the course of the film we see a number of random sections, but seeing Federico do push-ups butt naked at the outset – the mobile-phone framing his floor-brushing knob in the centre – rather sets the tone (and, for me at least, brought to mind Tenacious D’s cock push-ups concept). It most certainly won’t be the last time we see his penis, by the way.

There are a couple of segments, particularly one contrasting the beauty of a dance and ballet dancer with the experimental and grungy lo-fi feel of the filming, that stand out.

There are a number of conditions in the Pink8 manifesto (which reads like a rehashing of Dogme 95 by Nathan Barley), but it is the part that states “Short films are NOT acceptable, it MUST be a feature” that really proves BLACK BISCUIT’s undoing. There are a couple of segments, particularly one contrasting the beauty of a dance and ballet dancer with the experimental and grungy lo-fi feel of the filming, that stand out. It would perhaps work extremely effectively as a short. Quite why Federico chooses to shun this format is unclear, beyond declaring that short films are “lost in history”. The bagginess and general myopia of BLACK BISCUIT, Federico’s feature debut, make it feel like a director trying to run before he can walk. Certain parts do, however, provide some surprising insight. When a male prostitute describes how he gets return customers it is at once depressing and amusing.

Self-indulgence [...] doesn’t necessarily mean throwing everything you want to at the wall for over 2 hours and seeing what sticks.

These moments, however, are few and far between. Quite often the film is nothing but Federico and his ‘street superstars’ twatting about. Pink8 also says “Bewildering, vague, self-indulgent, plot-less, risky, egotistical, limpid, raw, ugly, and imperfect are perfect.” Putting aside the fact that, depending on your exact definitions, something can’t be limpid and bewildering, BLACK BISCUIT misunderstands what it is about self-indulgence that makes for good film. Some of the finest filmmakers – experimental or otherwise – have been ‘self-indulgent’. Self-indulgence means creating a vision which is uncompromising, which conveys the message it wants to without concern for what reaction it may engender. It doesn’t necessarily mean throwing everything you want to at the wall for over 2 hours and seeing what sticks.

BLACK BISCUIT, in its desperate attempts to prove its avant garde credentials, ends up a thematically shapeless mess. Even experimental film, despite being hit and miss, benefits from a coherent idea behind it – even if the film’s narrative or structure itself is vague and bewildering. As much as the Pink8 manifesto might try to justify this as its flagship feature adhering to it, this unnecessarily long film single-handedly proves why it might need a second draft.

Intervju

Intervju 2

Intervju 3

Fabrizio Federico - Official Site
 

Godfathers of Pink8 :

Dennis Hopper (The Last Movie), Paul Morrissey (Trash), Jonas Mekas (As I was Moving Ahead…), Lukas Moodysson (A Hole in my Heart), Vincent Moon (Music Videos), Donald Cammell (Performance), MichaelSnow (Wavelength), Harmony Korine (Julien Donkey Boy), Jonathan Caouette (Tarnation), Julio Bressane (Killed The Family & Went to the Movies), Vincent Gallo (The Brown Bunny), Larry Calrk (Bully), Jack Smith (Normal Love), Jaen Luc Godard (One Plus One) , Robert Frank (Cocksucker Blues), Lars Van Trier (The Idiots), Shirley Clarke (Portrait of Jason), Julien Temple (The Great Rock & Roll Swindle), Kenneth Anger (Lucifer Rising) , Andrew Haight (Greek Pete), Abbas Kiarostami (Ten), Glauber Rocha (Black God White Devil), Alejandro Jodorowsky (El Topo), Gus Van Sant (Mala Noche), Don Levy (Herostraus), Chris Marker (Sans Soleil) Jim Abrahams (Hot Shots pt Deux).

Fabrizio Federico's top 100 Films

1 - The Last Movie
2 - Drive He Said
3 - Lilith
4 - Wild Side (dir: Donald Cammell)
5 - Ciao Manhattan
6 - The Great Rock & Roll Swindle
7 - Tarnation
8 - Julien Donkey Boy
9 - A Hole in my Heart - The Wrong Ferrari
10 - The Brown Bunny / The Pope of Greenwich Village
11 - Made (dir: Jon Favreau) / Buffalo 66
12 - Clockwork Orange
13 - Bully / Kids
14 - El Topo - The Devils
15 - The Idiots
16 - Easy Rider
17 - Shampoo - O Lucky Man
18 - Herostraus
19 - Let's Get Lost
20 - Out of the Blue
21 - Talented Mr Ripley
22 - Christine F
23 - Breathless - Carnal Knowledge
24 - La Dolce Vita - Bring me the Head of Alfredo Garcia
25 - Mala Noche
26 - Major League
27 - Animal House
28 - The 3 Amigos
29 - Cape Fear (original)
30 - Goodfellas - Mean Streets - Accatone
31 - Attenberg
32 - Caddyshack - Head
33 - Fat City
34 - Heat (Directed by Paul Morrisey)
35 - The Rain People
36 - Dig!
37 - Blue Velvet - Pull My Daisy
38 - Sans Soleil
39 - The Firm - Panic in Needle Park
40 - HWY
41 - King of New York
42 - One Flew Over the Cuckoos Nest
43 - Mickey One
44 - Dogtooth
45 - My Own Private Idaho
46 - Slap Shots
47 - Final Cut
48 - Rudo Y Cursi
49 - Wanda
50 - Stranger than Paradise - Last Tango in Paris
51 - Chungking Express
52 - The Last Seduction - The King of Marvin Gardens
53 - Candy Mountain
54 - Man Bites Dog - Gimme Shelter
55 - Zapruder Film
56 - McCabe & Mrs Miller
57 - Stroszek
58 - Last Chants For a Slow Dance
59 - Basquiat
60 - If....
61 - Punch & Judy Man
62 - Sweet Sweet Backs Bad Ass Song
63 - The Last Detail
64 - The Doors
65 - Deep End - Killer of Sheep
66 - Trash - Flesh
67 - Targets
68 - Shadows
69 - Ishtar
70 - Persona
71 - Night of the Hunter
72 - 24 Hour Party People
73 - 81/2
74 - Ron Burgandy
75 - Swingers 
76 - Greek Pete
77 - Paisa - Top Secret!
78 - Bananas
79 -Pandoras Box
80 - Kiss Me Deadly
81 - Los Olvidados
82 - Martin
83 - Candy - Vampyr
84 - My Best Friends Birthday
85 - The Mother & The Whore
86 - Drugstore  Cowboy
87 - Trainspotting
88 - Pizza, Beer & Cigarettes
89 - Milestones (dir: Robert Kramer & John Douglas)
90 - Paradise (dir: Michael Almereyda) - Greed
91 - Crimson Gold - Le Samourai
92 - Giant
93 - Two Lane Blacktop
94 - Performance
95 - Paper Moon
96 - Welcome to the Doll House
97 - Ed Wood / The Whole Shootin Match (dir: Eagle Pennell)
98 - Superstar - The Karen Carpenter Story
99 - Boogie Nights
100 - Dirty Dancing - Saturday Night Fever

 Fabrizio Federico's Top 100 Albums 

1- Piper At the Gates of Dawn - Pink Floyd
2- Chet Baker Sings - Chet Baker
3 - Highly Evolved - The Vines
4 - Marble Index - Nico
5 - Strange Days - The Doors
6 - Whats The Story Morning Glory - Oasis
7 - Down in Albion - Babyshambles
8 - The Psychedelic Sounds of the 13th Floor Elevators
9 - Go Tell Fire To The Mountain - Wu Lyf
10 - Hi, How Are You - Daniel Johnston
11 - Charlie Parker with Strings / Fleetwood Mac - Then Play On
12 - Return to the 36 Chambers - Old Dirty Bastard
13 - Oar - Skip Spence
14 - White Light White Heat - Velvet Unerground
15 - Waterpistol - Shack
16 - Sgt Peppers Lonely Hearts Club Band - Beatles
17 - Ziggy Stardust - David Bowie
18 - Thank God for Mental Illness - Brian Jonestown Massacre
19 - Tommy - A Quick One - My Generation - Sell Out - - The Who
20 - Nevermind the Bollocks - Sex Pistols
21 - The Holy Bible - Manic Street Preachers
22 - Future - The Seeds
23 - Smile - The Beach Boys
24 - Bummed - Happy Mondays
25 - Legalize it - Peter Tosh
26 - Smile from the Streets you Hold - John Frusciante
27 - Spiderland - Slint
28 - Getz/Gilberto - Stan Getz
29 - Sex Machine - James Brown
30 -The Doors - The Doors
31 - On the Beach - Neil Young
32 - The Carter 3 - Lil Wayne
33 - First Band on the Moon - The Cardigans
34 - Da Capo - Love
35 - Nevermind - Nirvana
36 - Back to Mono - Phil Spector
37 - Lie - Charles Manson
38 - Eazy Duz It - Eazy E
39 - GI - The Germs
40 - Primary Colors - The Horrors
41 - The La's
42 - D.o.A: The Third and Final Report of  - Throbbing Gristle
43 - De La Soul is Dead - De La Soul
44 - Their Satanic Majesties Request - Rolling Stones
45 - Jewellery - Micachu & The Shapes
46 - Forever Breathes the Lonely Word - Felt
47 - Faith - George Michael
48 - A Brief History of Love - Big Pink
49 - The United States of America
50 - Wavvves- Wavves
51 - Free
52 - Dont the Kids Just Love it - Television Personalities
53 - Soup - Blind Melon
54 - Miami - The Gun Club
55 - A Thousand Leaves - Sonic Youth
56 - Roy Orbison
57 - Neon God - Tricky
58 - Broken English - Marianne Faithful
59 - Tommy Johnson Blues
60 - Death of a Ladies Man - Leonard Cohen
61 - The Fool - Warpaint
62 - Iant Anything - My Bloody Valentine
63 - Parable of Arable Land - Red Crayola
64 - Bubble & Scrape - Sebadoh
65 - Super Ape - Lee Scratch Perry
66 - Younger Than Yesterday - The Byrds
67 - Too Much Too Soon - New York Dolls
68 - Fun House - The Stooges
69 - Tanx - T Rex
70 - Os Mutantes - Os Mutantes
71 - Frank Sinatra Sings for Only the Lonely
72 - Theres A Riot Going On - Sly & The Family Stone
73 - Madcap Laughs - Syd Barrett
74 - Third / Sister Lovers - Big Star
75 - Berlin - Lou Reed / Sheer Hear Attack - Queen
76 - The Modern Lovers
77 - Bad - Michael Jackson
78 - Siamese Dream - Smashing Pumpkins
79 - Glasvegas
80 - When - Vincent Gallo
81 - Maya - M.I.A
82 - Live Through This - Hole
83 - Tonights The Night - Neil Young
84 - Village Green Preservation Society - The Kinks
85 - Pet Sounds - Beach Boys
86 - On the Beach - Neil Young
87 - Locus Abortion Clinic - Butthole Surfers
88 - Starsailor - Tim Buckley
89 - Meat is Murder - The Smiths
90 - Bo Diddley (first album)
91 - Gilded Palace of Sin - Flying Burrito Brothers
92 - Bossanova - Pixies
93 - LAMF - The Heartbreakers
94 - Best of - Django Reinhardt / Blank Generation - Richard Hell
95 - Lady Sings the Blues - Billie Holiday/ Sleep Warm - Dean Martin
96 - Closer - Joy Division / Either, Or - Elliot Smith
97 - Ready To Die - Biggie Smalls / Nilsson Schmilsson - Harry Nilsson
98 - Sign O the Times - Prince
99 -More Specials - The Specials
100 - Here My Dear - Marvin Gaye / Melody Nelson - Serge Gainsbourg

Jonas Mekas - Kratki, gotovo nevidljivi bljeskovi ljepote

 

Jonas Mekas’ epic five-hour avant-garde film, As I Was Moving Ahead I Occasionally Glimpsed Moments of Beauty, was one of my most revelatory film viewings of 2011. Through dissolves, overlapping images, ponderous voice overs, text overlays, and experimental editing, its collection of fragments from home movies and nature footage was transformed into a reverie of blissful nothingness and a celebration of the beautiful simplicities of life. - Derek Smith

"As I Was Moving Ahead...

is a record of subtle feelings, emotions, daily joys of people as recorded in the voices, faces and small everyday activities of people I have met, or lived with, or observed -- something that I have been recording for many years. This, as opposed to the spectacular, entertaining, sensational, dramatic activities which dominate much of the contemporary film-making.
"Now, all this has to do with my understanding and belief of what acts really affect the positive changes in man, society, humanity. I am interested in recording the subtle, almost invisible acts, experiences, feelings, as opposed to the tough, harsh, loud, violent activities and political actions, and especially, political systems of our time. As a film-maker, I am taking a stand for the politics that have been practiced by some of the artists of my generation who believe that more essential, positive contributions to the upholding and furthering of the best in humanity, have been made, say, by John Cage or Albert Camus, and not by the great political figures of the 20th century.
"The film is not conceived as a documentary film, however. It follows a tradition established by modern film poets. I am interested in intensifying the fleeting moments of reality by a personal way of filming and structuring my material. A lot of importance is being given to color, movement, rhythm and structure -- all very essential to the subject matter I am pursuing. I have spent many years developing and perfecting a way of catching the immediacy without interfering with it, without destroying it. I believe that some of the content that I am trying to record with my camera and share with others, can be caught only very indirectly though the intensity of personal involvement." - Jonas Mekas

Film pogledajte ovdje


jonasmekasfilms.com/diary/

Da bar opet postoje samo tri dobra benda - najbolji albumi 2011.

Ovo je zapravo informativni pregled važnih albuma koje sam uspio otkriti, a ne top-lista. Ipak, u prvome su odjeljku albumi koji bi mogli zadovoljiti klasičan kriterij osobnih favorita. No ovakve goleme liste mogu, ako možda nekoga zanima, sugerirati nekoliko (možda) loših vijesti: a) ima toliko dobrih radova da su top liste više nemoguće, b) moguće je još nekako reći što ne valja, ali je prilično teško biti siguran što valja, c) visoka nam kvaliteta (bilo čega) više ne čini život ljepšim, smislenijim i prozračnijim, nego neurotičnijim, letimičnijim i zagušenijim, d) pojam "vrijednosti" doživio je živčani slom i pitanje je može li se više oporaviti, e) nemoguće je imati dovoljno vremena za usvajanje svega što je danas "dobro". No, opet, od obilja boli glava, a od manjka boli srce.


Kajaznam,  v a lj d a   n a j b o lj i :



Blackout Beach, Fuck Death

Colin Stetson, New History Warfare Vol. 2: Judges + Those Who Didn’t Run

Matana Roberts, COIN COIN Chapter One: Gens de couleur libres

tUnE-yArDs, w h o k i l l

PJ Harvey, Let England Shake

Balam Acab, Wander/Wonder

Leyland Kirby/Caretaker, An Empty Bliss Beyond This World

Leyland Kirby, Eager To Tear Apart The Stars + Intrigue & Stuff Vol. 1 + Intrigue & Stuff Vol.2

Julia Holter, Tragedy

Planningtorock, W

Josh T. Pearson, Last Of The Country Gentlemen

Grouper, A/A: Alien Observer + Dream Loss

Gazelle Twin, The Entire City

Future Islands, On the Water

Arrington de Dionyso, Malaikat dan Singa, Suara Naga

Idea Fire Company, Music From The Impossible Salon

Julianna Barwick, The Magic Place

John Maus, We Must Become The Pitiless Censors Of Ourselves

Dirty Beaches, Badlands

Nicolas Jaar, Space Is Only Noise + Don't Break My Love

Bon Iver, Bon Iver, Bon Iver

Robag Wruhme, Wuppdeckmischmampflow

Kreng, Grimoire

Red Horse, Red Horse

Richard Youngs, Amplifying Host

Destroyer, Kaputt

Tom Waits, Bad as Me

King Creosote & Jon Hopkins, Diamond Mine

Vinyl Williams, Lemniscate

Siskiyou, Keep Away the Dead

Esmerine, La Lechuza

Sandro Perri, Impossible Spaces

Keith Jarrett, Rio

M83, Hurry Up, We’re Dreaming

Fleet Foxes, Helplessness Blues

Philip Jeck – An Ark for the Listener

Eugene S. Robinson and Philippe Petit, The Crying Of Lot 69


Giles Corey, Giles Corey

Chelsea Wolfe, Apokalypsis

Pat Jordache, Future Songs

The Flaming Lips, The Strobo Trip: Light and Audio Phase Illusions Toy

Youth Lagoon, The Year Of Hibernation

Chris Rehm, Worries, etc. + Old Flame/New Squeeze

Thee Oh Sees, Castlemania + Carrion Crawler/The Dream

Motion Sickness Of Time Travel, Sleeping Through the Veil of the Unconsciousness / Luminaries & Synastry

Jim O’Rourke, Old News #5

Sun Araw, Ancient Romans

Graham Lambkin, Amateur Doubles

Active Child, You Are All I See

Autumn Chorus, The Village To The Vale

Spirit Spine, Glossolalia

Ela Orleans, Mars Is Heaven

Scarlet Chives, Scarlet Chives

The Haxan Cloak, The Haxan Cloak

Ben Frost and Daniel Bjarnason, Solaris

Gnaw Their Tongues, Per Flagellum Sanguemque Tenebras Veneramus

Lee Noble, Horrorism

The Claudia Quintet + 1 featuring Kurt Elling and Theo Bleckmann, What Is the Beautiful?

Dixie’s Death Pool, The Man With The Flowering Hands

The Moth & The Mirror, Honestly, This World

Tarik O'Regan, Acallam na Senórach (an Irish Colloquy)

Weyes Blood & The Dark Juices, The Outside Room

Woodsman, Mystic Places + Rare Forms

Bachelorette, S/T

Okkyung Lee, Noisy Love Songs

BEBETUNE$, inhale C-4 $$$$$



T u š t a   i   t m a   d o b r i h   s t v a r i:


Disappears, Guder
Guitaro, JJ’S Crystal Palace
Wyla, Demo
Pigeons, They Sweetheartstammers

Lumerians, Transmalinnia
Blithe Field, Two Hearted
Helado Negro, Canta Lechuza
Natives, Loose Secrets
People Like Us, Welcome Abroad
Al Lover, Satanic Tambourines
Phantom Family Halo & Bonnie Prince Billy, Mindeater
La Big Vic, Actually
Wire, Red Barked Tree
Einar Stray, Chiaroscuro
120 Days, 120 Days II
Immanu El, In Passage
Terror Bird, Human Culture
Nate Young, Stay Asleep
LV & Joshua Idehen, Routes
Gem Club, Breakers
Pure X, Pleasure
Oupa, Forget
Future Shuttle, Water’s Edge
Omma Cobba, Omma Cobba
Charalambides, Exile
JEFF the Brotherhood, We Are The Champions
Voyageurs, Alien Iverson
Love of Diagrams, In My Dream
The NEC, Pineapple
White Birds, White Birds
Swiftumz, Don’t Trip
Andrew Douglas Rothbard, Frequenseqer
Cold Mailman, Cold Mailman
Jonathan Johansson, Klagomuren
Siinai, Olympic Games
Seekae, +Dome
Hooray For Earth, True Loves
Petrels, Haeligewielle
Peter Evans, Beyond Civilized And Primitive
Hallock Hill, The Union
Corrupted, Garten der Unbewusstheit
Khyam Allami, Resonance/Dissonance
Altar of Plagues, Mammal
Gyratory System, New Harmony
TVO, Amid the Blaze of Noon
Michael Chapman, The Resurrection And Revenge Of The Clayton Peacock
Roly Porter, Aftertime
Ensemble, Excerpts
Jenny Hval, Viscera
Rustie, Glass Swords
Moritz von Oswald Trio, Horizontal Structures
Fire! with Jim O’Rourke, Unreleased?
Atlas Sound, Parallax
Nerves Junior, As Bright As Your Night Light
Dalglish, Benacah Drann Deachd
Satoko Fujii Orchestra New York, ETO
Satoko Fujii Min-Yoh Ensemble, Watershed
Kaze, Rafale
Simon Scott, Bunny
Andy Stott, Passed Me By
Perc, Wicker & Steel
John Wiese, Seven of Wands
Sparkling Wide Pressure, Fragments of a Sound I Can Not Erase
St. Vincent, Strange Mercy
Zwischenwelt, Paranormale Aktivität
Pete Swanson, Man With Potential + Man With Garbage + I Don't Rock At All
Steve Hauschildt, Tragedy & Geometry
DAMEDAS, Imaginations Limitations Through A Telescope
Ambrose Akinmusire, When the Heart Emerges Glistening
United Waters, Your First Ever River
The Binary Marketing Show, Beating an Electric Heart
Hecker, Speculative Solution
Tim Hecker, Dropped Pianos + Ravedeath, 1972
Battles, Gloss Drop
The Field, Looping State of Mind
Sleep ∞ Over, Forever
Evangelista, In Animal Tongue
SebastiAn, Total
Oneohtrix Point Never, Replica
Various Artists, Around The Dragon’s Broken Neck Hangs The Medal Of Saint Lazarus
Gil Scott-Heron & Jamie xx, We're New Here
Jamie xx, Jamie xx + Far Nearer/Beat For 7"
VIODRE, Interpol Alchemi
Babe, Terror, Preparing a Voice To Meet The People Coming
EMA, Past Life Martyred Saints
Wye Oak, The Civilian
My Morning Jacket, Circuital
Jonathan Wilson, Gentle Spirit
Bill Wells & Aidan Moffat, Everything’s Getting Older + Cruel Summer
Bill Wells, Lemondale
Chad VanGaalen, Diaper Island
Ghedalia Tazartes, Ante-Mortem + Repas Froid
Jamie Woon, Mirrorwriting
Silk Flowers, Ltd. Form
Kate Wax, Dust Collection
Miracles Of Modern Science, Dog Year
Mit Hamine, pagojet
Kyle Bobby Dunn, Ways of Meaning
Death Grips, Exmilitary
James Ferraro, Far Side Virtual
DJ Rashad, Just A Taste Vol. 1
Bill Callahan, Apocalypse
Garrincha & The Stolen Elk, Void
John Fahey, Your Past Comes Back to Haunt You
King Krule, King Krule
Psychedelic Horseshit, Laced
Gang Gang Dance, Eye Contact
The War On Drugs, Slave Ambient
Sepalcure, Sepalcure
Idiot Glee, Paddywhack
Luke Haines, Nine and a Half Psychedelic Meditations on British Wrestling of the 1970s and early '80
A Winged Victory for the Sullen, A Winged Victory for the Sullen
Nils Frahm, Felt
The Cats' Orchestra, Coffee Killer Cassette 7.4
Iceage, New Brigade
Diamond Catalog, Magnified Palette
Tiziana Bertoncini & Thomas Lehn, Horsky Park
Akira Sakata & Jim O’Rourke with Chikamorachi, And That’s the Story of Jazz
The Psychic Paramount, II
Zomby, Dedication
Boris, New Album
Illusion of Safety, Busier Than Happier
Matthew Shipp, Art of the Improviser
Ezekiel Honig, Folding In On Itself
Florence + The Machine, Compression & Purity
Holy Other, With U
House of Wolves, Fold in the Wind
Eliane Radigue, Transamorem - Transmortem
WU LYF, Go Tell Fire to the Mountain
Blind Pilot, We Are the Tide
The Dø, Both Ways Open Jaws
Joy Formidable, The Big Roar
AA Bondy, Believers
Kill Kill Kill, From Beyond the Agave
Kuedo, Severant
Julian Lynch, Terra
Tarfala Trio, Syzygy
Fabio Orsi, Stand Before Me, Oh My Soul
The Men, Leave Home
Rafael Toral, Space Elements Vol. III
Amen Dunes, Through Donkey Jaw
The Amazing, Gentle Stream
Meshell Ndegeocello, Weather
Thurston Moore, Demolished Thoughts
RUINS Alone, RUINS Alone
Jozef van Wissem, The Joy that Never Ends
Roommate, Guilty Rainbow
Various Artists: Planet Mu, Bangs & Works Vol. 2
Maria Minerva, Cabaret Cixous + Tallinn At Dawn
Tindersticks, Claire Denis Film Scores 1996-2009
Earth, Angels of Darkness, Demons of Light 1
Stephen Malkmus and The Jicks, Mirror Traffic
Jonas Reinhardt, Music for the Tactile Dome
Jason Lescalleet, This Is What I Do, Vol. One
Call Back The Giants, The Rising
Rangers, Pan Am Stories
Explosions In The Sky, Take Care, Take Care, Take Care
Heat Wave, I’m Fuckin You Tonight
Harappian Kommissar Hjuler, Split
Pinch & Shackleton, Pinch & Shackleton
John Foxx & The Maths, Interplay
Snowman, Absence
Timber Timbre, Creep On Creepin' On
Burial, Street Halo
David Lynch, Crazy Clown Time
Grooms, Prom
Valentin Stip, Anytime Will Do
Amon Tobin, ISAM
Plaid, Scintili
The Advisory Circle, As the Crow Flies
Conquering Animal Sound, Kammerspiel
Six Organs of Admittance, Asleep on the Floodplain
Björk, Biophilia
Wilco, The Whole Love
Cymbals Eat Guitars, Lenses Alien
Roedelius Schneider, Stunden
Alvarius B, Baroque Primitiva
Circuit des Yeux, Portrait
Mary Halvorson/Weasel Walter/Peter Evans, Electric Fruit
Noveller, Glacial Glow
Radiohead, The King of Limbs
Telebossa, Telebossa
Group Doueh, Zayna Jumma
Widowspeak, Widowspeak
Maurizio Bianchi & Francisco López, M. B. & Francisco López
Hudson Mohawke, Satin Panthers
Razika, Program 91
Thomas Ankersmit/Valerio Tricoli, Forma II
Tearist, Living: 2009 - Present
Radu Malfatti/Keith Rowe, Φ
Illusion of Safety, Busier Than Happier
Ga’an, Ga’an
Peaking Lights, 936
Sean McCann, The Capital + Prelusion
Zola Jesus, Conatus
Faust, Something Dirty
Tropics, Parodia Flare
Mika Vainio, Life (... It Eats You Up)
Kate Bush, 50 Words for Snow
Locrian, The Clearing
Yuck, Yuck
Way Through, Arrow Shower
KWJAZ, KWJAZ
RxRy, Alpha
Lawrence English, The Peregrine
Brian Grainger & Millipede, Play Ancient Hylian Folk Songs, Vol. II
Thundercat, The Golden Age of Apocalypse
Emuul, The Drawing Of The Line
Disco Inferno, The 5 EPs
Kone, Tractatus
Evan Parker, Scenes in the House of Music
Elliot, Found Sounds
Blue Sky Black Death, Noir/Noir+Violet
Awol One & Factor, The Landmark
Crystal Swells, Goethe Head Soup
Luke Temple, Don't Act Like You Don't Care
Remote Islands, Days of Heaven
Don Dietrich/Ben Hall, Spitfire
Social Drag, New Age Healer
Burning Tree, Stinger
Paul Flaherty/Bill Nace, No, the Sun
Cut Hands, Afro Noise
Mara Carlyle, Floreat
Belong, Common Era
Bill Orcutt, How The Thing Sings
Taku Unami/Takahiro Kawaguchi, Teatro Assente
Michael Pisaro & Greg Stuart, Hearing Metal 2 & 3
Rick Reed, The Way Things Go
DJ Diamond, Flight Muzik
R/S, USA
Ellen Fullman, Through Glass Panes
Frieder Butzmann, Wie Zeit Vergeht
FORMA, FORMA
Ford & Lopatin, Channel Pressure
Thao & Mirah, Thao & Mirah
The Sea and Cake, The Moonlight Butterfly
Alias, Fever Dream
My Brightest Diamond, All Things Will Unwind
Broken Water, Peripheral Star
Siriusmo, Mosaik
Deadbeat, Drawn and Quartered
Surgeon, Breaking the Frame
Machinedrum, Rooms
Tycho, Ghostly International
Wild Beasts, Smother
Raoul Sinier, The Melting Man
Deadboy, Here
Ayshay, Warn-U
Venetian Snares, Cubist Reggae
Braille, A Meaning
Com Truise, Galactic Melt
Saturn Never Sleeps, Yesterday’s Machine
Ekoplekz, Memowrekz
Martyn, Ghost People
Salva, Complex Housing
Gus Gus, Arabian Horse
J Rocc, Some Cold Rock Stuf
Isolee, Well Spent Youth
Biosphere, N-Plants
Occam, My Rorschach
Infinitirock, Music for Primordial Recollection
Austra, Feel It Break
2562, Fever
Vatican Shadow, Kneel Before Religious Icons
Virgo Four, Resurrection
BNJMN, Black Square
Ambient News, Zweite Sendung
Sewn Leather, Sikknastafari Slash Crasstafari
200 Years, 200 Years
Cass McCombs, Wit’s End + Humor Risk
Los Campesinos!, Hello Sadness
The Mountain Goats, All Eternals Deck
Mogwai, Hardcore Will Never Die, But You Will
Emperor X, Western Teleport
Toshimaru Nakamura, maruto
Heat Wave, I’m Fuckin You Tonight
Buraka Som Sistema, Komba
Prince Rama, Trust Now
Christina Vantzou, Nº1
Alva Noto, univrs
Alva Noto & Ryuichi Sakamoto, Summvs
Dale Earnhardt Jr. Jr., It’s A Corporate World
Lykke Li, Wounded Rhymes
Laura Marling, A Creature I Don’t Know
Neon Indian, Era Extraña
Various Artists: Planet Mu, Ghettoteknitianz
D. Charles Speer & The Helix, Leaving the Commonwealth
Zomes, Earth Grid
Daughters Of The Sun, Ghost With Chains
Steve Reich, WTC 9/11/
Peter Broderick, Music for Confluence
Brian Eno, Drums Between The Bells
SSION, Bent
Clams Casino, Rainforest
The Weeknd, Thursday
HTRK, Work (work, work)
Mudboy, This is Folk Music
Woods, Sun and Shade
Washed Out, Within and Without
The Flaming Lips with Lightning Bolt, The Flaming Lips with Lightning Bolt
Moonface, Organ Music Not Vibraphone Like I’d Hoped
Ben Sollee, Inclusions
Beirut, The Rip Tide
Marissa Nadler, Marissa Nadler
Jeremy Jay, Dream Diary
Panda Bear, Tomboy
Ponytail, Do Whatever You Want All The Time
Kode9 & The Spaceape, Black Sun
Crystal Stilts, In Love With Oblivion
Baby Dee, Regifted Light
Rhys Chatham, Outdoor Spell
Daedelus, Bespoke
Cold Cave, Cherish the Light Years
TV on the Radio, Nine Types of Light
Papercuts, Fading Parade
Gretchen Parlato, The Lost and Found
Tristeza, Paisajes
Little Wings, Black Grass
The Twilight Singers, Dynamite Steps
Shugo Tokumaru, Port Entropy
Bright Eyes, The People’s Key
Akron/Family, S/T II: The Cosmic Birth and Journey of Shinju TNT
Delicate Steve, Wondervisions
Zs, 33 + New Slaves II: Essence Implosion!
Iron and Wine, Kiss Each Other Clean
Gilad Hekselman, Hearts Wide Open
Deerhoof, Deerhoof vs. Evil
Sic Alps, Napa Asylum
The Ex, Catch My Shoe
Smith Westerns, Dye It Blonde
Bardo Pond, Bardo Pond
Tapes ’n Tapes, Outside
Joe Lovano, Bird Songs
Starlicker, Double Demon
Southeast Engine, Canary
Mark Fell, UL8, Multistability + Manitutshu
Staccato du Mal, Sin Destino
Sven Kacirek, The Kenya Sessions
Mi Ami, Dolphins
Heidecker & Wood, Starting From Nowhere
Martial Canterel, You Today
Natural Snow Buildings, Waves Of The Random Sea
A Hawk And A Hacksaw, Cervantine
Dolphins Into The Future, On Sea-Faring Isolation
Marcin Wasilewski, Faithful
Unknown Mortal Orchestra, Unknown Mortal Orchestra
The Drums, Portamento
Girls, Father, Son, Holy Ghost
EMA, Past Life Martyred Saints
Colin Vallon, Rruga
Death Grips, ExMilitary
Cults, Cults
The Pains of Being Pure at Heart, Belong
Kurt Vile, Smoke Ring For My Halo
Calexico, Selections From Road Atlas 1998-2011
Bonnie Prince Billy, Wolfroy Goes to Town
Modeselektor, Monkeytown
Mark McGuire, Get Lost
Little Scream, The Golden Record
Connan Mockasin, Forever Dolphin Love
Vessels, Helioscope
Fancy Mike, Sigma Chi Primavera
Other Lives, Tamer Animals
Sean Rowe, Magic
Elbow, Build a Rocket Boys!
Porcelain Rafts, Gone Blind
The Dirtbombs, Party Store
Grails, Deeppolitics
Rue Royale, Guide to an Escape
William Fowler Collins, The Resurrections Unseen
Yellowbirds, The Color
Broken Records, Let Me Come Home
The Civil Wars, Barton Hollow
Snowblink, Long Live
Braids, Native Speaker
Joshua Redman, Aaron Parks, Matt Penman, Eric Harland, James Farm
Branford Marsalis, Songs of Mirth and Melancholy
Anne Guthrie, Perhaps a Favorable Organic Moment
Daniel Martin Moore, In the Cool of the Day
Amos Lee, Mission Bell
My Bloody Valentine, Ecstasy And Wine (original 1989. pressing)
Metronomy, The English Riviera
White Denim, D
Bombay Bicycle Club, A Different Kind Of Fix
Anna Calvi, Anna Calvi
PS I Love You, Meet Me At The Muster Station
Gillian Welch, The Harrow & The Harvest
The Antlers, Burst Apart
Real Estate, Days
Arbouretum, The Gathering
Xander Harris, Urban Gothic + I Want More Than Just Blood
Prurient, Bermuda Drain
The Horrors, Skying
Hype Williams, Kelly Price W8 Gain Vol. 2 + One Nation
Nitin Sawhney, Last Days of Meaning
Bohren & Der Club of Gore, Beileid
David Thomas Broughton, Outbreeding
Kasabian, Velociraptor
ASAP Rocky, LiveLoveA$AP
John Zorn, Dreamers Christmas
Mike Weis, Loop Current/Raft
Bill Ryder-Jones, If
Megafaun, Megafaun
Moonface, Organ Music Not Vibraphone Like I'd Hoped
Bry Webb, Provider
Low, C'mon
The Caribbean, Discontinued Perfume
The Bats, Free All the Monsters
Amor de Días, Street of the Love of Days
Greg Ward, Greg Ward’s Phonic Juggernaut
Porn On Vinyl, Old Folks' Home
Sarah Jaffe, The Way Sound Leaves A Room
Lisa Hannigan, Passenger
Archers of Loaf, Icky Mettle
Danger Mouse and Daniele Luppi, Rome
James Pants, James Pants
Man Man, Life Fantastic
Hallowe'en, Hallowe'en
Glasser, Apply
Fire Spoken by the Buffalo, Hiatus
Snuffy, Mangia!
Mane Mane, Skin Fox
Katy B, On A Mission
Death Grips, Ex Military
Laurel Halo, Hour Logic
Sandwell District, Feed Forward
Cold Cave, Cherish The Light Years
Alexander Tucker, Dorwytch + Grey Onion
Cornershop, The Double O Groove
My Disco, Little Joy
Frank Ocean, Nostalgia/Ultra
Uncle Acid And The Deadbeats, Blood Lust
Yob, Atma
The Fall, Ersatz GB
Zun Zun Egui, Katang
Obake, Obake
Elzhi, Elmatic
The Master Musicians Of Bukkake, Totem Three
Wolves In The Throne Room, Celestial Lineage
British Sea Power, Valhalla Dancehall
Skull Defekts ft. Daniel Higgs, Peer Amid
Byetone, Symeta
Amebix, Sonic Mass
Deaf Center, Owl Splinters
Magazine, No Thyself
Cliff Martinez, Drive OST
Paul Simon, So Beautiful or So What
Francis, Beautiful Town, We Swear!
Sheep,Dog&Wolf, Ablutophobia
Lorn, Self Confidence Vol. 2
Ennio Morricone, The Complete Edition [15 CD Box Set]
Shlohmo, Places
Cex, Megamuse
Charles-Eric Charrier, Silver
Bhob Rainey, Manual
Pipes You See, Pipes You Don't, Lost in the Pancakes
White Ninja, Sounds Like Cocoon Fever
Holy Ghost!, Holy Ghost!
Junior Boys, It’s All True
Selebrities, Delusions
FareWell Poetry, Hoping for the Invisible to Ignite
Chubby Wolf, Turkey Decoy
COH, IIRON
Jamaaladeen Tacuma, For the Love of Ornette
John Scofield, A Moment’s Peace
Travis Laplante, Heart Protector
Harriet Tubman, Ascension
Kurt Elling, The Gate
Gerald Cleaver’s Uncle June Ensemble, Be It As I See It
Rez Abbasi’s Invocation, Suno Suno
Nate Wooley Quintet, (Put Your) Hands Together
Peter Evans & Nate Wooley, High Society
Nate Wooley, Chris Corsano and C Spencer Yeh, Seven Storey Mountain
Joe McPhee, Chris Corsano, Under a Double Moon
Azari & III, Azari & III
Røsenkøpf, Dispiritualized
Matias Aguayo, I Don’t Smoke
My Silence, It Only Happens at Night
Pontiak, Comecrudos
Kids On A Crime Spree, We Love You So Bad
Kathryn Calder, Bright and Vivid
Warm Ghost, Narrows
Crooked Fingers, Breaks In the Armor
Casiokids, Aabenbaringen over aaskammen
Still Corners, Creatures of an Hour
YACHT, Shangri-La
Container, Application
Starlicker, Double Demon
Beastie Boys, Hot Sauce Committee Part Two
The Lotus Eaters, Wurmwulv
Angelo Spencer, World Garage
Mastodon, The Hunter
Toro y Moi, Underneath the Pine + Freaking Out
Dum Dum Girls, Only in Dreams
Twin Sister, In Heaven
AraabMuzik, Electronic Dream
Nurses, Dracula
Loren Connors, Red Mars
Shimmering Stars, Violent Hearts
Speculator, Nice
Joe Morris, Sensor + Traits
Taylor Ho Bynum, Joe Morris, Sara Schoenbeck, Next
Joe Morris, Agustí Fernández, Ambrosia
Spanish Donkey, Xyx
Magic Trick, The Glad Birth of Love
Ladies Auxiliary, My Side of the Mountain
Blood Orange, Coastal Grooves
AM & Shawn Lee, Celestial Electric
Hella, Tripper
Darkside, Darkside
Ume, Phantoms
Rat Catching, Rat Catching
Mist, House
Arnold Dreyblatt, Turntable History
Mind Over Mirrors, The Voice Rolling
Gold Leaves, The Ornament
Teddybears, Devil’s Music
Soft Metals, Soft Metals
EDM, Night People
Memory Tapes, Player Piano
MIMEO, Wigry
La Big Vic, Actually
Eleanor Friedberger, Last Summer
Hospital Ships, Lonely Twin
White Hills, H-p1
Various Artists, Abstract Logix Live! The New Universe Music Festival 2010
Blanck Mass, Blanck Mass
Colin L. Orchestra, Infinite Ease/Good God
The Berg Sans Nipple, Build with Erosion
Levin/Torn/White, Levin Torn White
Skeletons, People
Kid Congo Powers and The Pink Monkey Birds, Gorilla Rose
Okkervil River, I Am Very Far
Girls Names, Dead To Me
Wet Hair, In Vogue Spirit
Sundrips, Just A Glimpse
Caural, Die Before You Die
Lee “Scratch” Perry, Rise Again
Times New Viking, Dancer Equired
Orchestre Poly-Rythmo, Cotonou Club
The High Llamas, Talahomi Way
We Were Promised Jetpacks, In the Pit of the Stomach
Fink, Perfect Darkness
Ricardo Villalobos & Max Loderbauer, Re: ECM
Cyclo, Id
Apparat, The Devil's Walk
FaltyDL, You Stand Uncertain + Atlantis
Keep Shelly in Athens, In Love With Dusk
TKDE, From the Stairwell
Desolate, The Invisible Insurrection
Dustin O'Halloran, Lumiere
Julia Kent, Green and Grey
Ketil Bjørnstad & Svante Henryson, Night Song
Yoshinori Sunahara, Liminal
Dadavistic Orchestra, Dokument .02
Hyetal, Broadcast
Various Artists, Folk Songs of Canada Now
Ectoplasm Girls, TxN
HANDWITHLEGS, The Electric Cave
Leszek Możdżer, Komeda
Southern Shores, Atlantic
Kangding Ray, OR
Reigns, The Widow Blades
Work Drugs, Aurora Lies
Africa Hitech, 93 Million Miles
Instra:mental, Resolution 653
Main Attrakionz, 808s & Dark Grapes II
Red Snapper, Key
Burial, Four Tet & Thom Yorke, Ego/Mirror
Raime, HENNAIL
4ucky, 1984
Daphni, JIAOLONG
Jacques Greene, Another Girl
Joy Orbison, Wade In / Jels + Sicko Cell/Knock Knock
Nest, Body Pilot
Hauschka, Youyoume + Salon des Amateurs
Bridget Hayden, An Indifferent Ocean
Sharks' Teeth, Such People
Caboladies, Renewable Destination
Matthew Cooper, Some Days Are Better Than Others
Ou Où, Builded
Black Pus, Primordial Pus
Pink Reason, Shit in the Garden
Apache Dropout, S/T
Algernon Cadwallader, Parrot Flies
Adam Beckley, Revere
Eric Copeland, Waco Taco Combo
Nat Baldwin, People Changes
Sightings, Future Accidents
Green Gerry, O O O/Egg Nog
Lougow, Dull Thicket
Junior Low, Almost Forever
Caddywhompus, The Weight
Mountains, Air Museum
Wyld Wyzyrz, Free Magick
Jookabox, The Eyes of the Fly
Capillary Action, Capsized
Prefuse 73, The Only She Chapters
Skeletons, PEOPLE
Danielson, Best of Gloucester County
Bird Names, Metabolism: A Salute to the Energy of the Sun
Gkfoes Vjgoaf, The Joy of Awakening + Nature Eternal Striving
Cloud Nothings, Cloud Nothings
Dth, Young Heart Sound
Thank You, Golden Worry
The Black Keys, El Camino
Russian Circles, Empros
Lone, Echolocations
Actress, Rainy Dub/Faceless
Shigeto, New Light
The Black Dog, Liber Kul
Four Tet, Locked/Pyramid
Old Apparatus, Old Apparatus
Washed Out, Amor Fati
Dauwd, What's There
Shackleton, Deadman
Loops Haunt, Ark
Gonjasufi, The Ninth Inning
Pinch, Swish/Tunnel Home
Ólafur Arnalds, Living Room Songs
Mount Moriah, Mount Moriah
Nino Katamadze & Insight, Green
Margaret Dygas, Margaret Dygas
KLPR, Untitled
The Coathangers, Larceny & Old Lace
Samiyam, Sam Baker's Album
This Will Destroy You, Tunnel Blanket
Count Fleet, Count Fleet
SBTRKT, SBTRKT
Greenwood Sharps, Things Familiar
Bullion, You Drive Me to Plastic
FOUND, Factorycraft
Peter Gabriel, New Blood
Gotye, Making Mirrors 
Death Cab For Cutie, Codes and Keys
Jonnie Common, Master of None
Emmy the Great, Virtue
Admiral Fallow, Boots Met My Face
Anonymous 4, Secret Voices
Doctors, You're a Fucking Pussy
First Dog to Visit the Center of the Earth, Landing 

Marisa Anderson, The Golden Hour
Le Chevalier, Dancer

Sōtaisei Riron, Correct Theory of Relativity
Marshmallow Kisses, Ciao!Baby
Anonymous, To My: Long Lost Love

Paul Flaherty/Bill Nace Laila Salins, Broken Staircase