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Indian E-music – The right mix of Indian Vibes… » Video

The Politics of Folk Dances

Delivered... Johanna Hilari | Scene | Wed 18 Oct 2017 6:00 am

«Somos Sur» by Ana Tijoux, featuring Shadia Mansour, is an anti-colonialist statement of autonomy. To underline this, the video clip re-contextualizes two significant folk dances, which historically are linked to both socio-political identification and struggle. From the Norient book Seismographic Sounds (see and order here).

Film still from Ana Tijoux & Shadia Mansour (Music) and Ana Tijoux (Video): «Somos Sur» (Chile/Great Britain 2014)

Tinku is a South American folk dance, which is an adaptation of an Andean ritual from the Bolivian region of Northern Potosí. The Quechua word «tinku» means encounter, and its ritualistic practice is obviously older than Spanish colonization. Accompanied by festive music and dance, one aim of this ritual is the corporal fight between members of different communities («ayllus»). Any blood shed during these violent hand-to-hand duels is considered a sacrifice for mother earth («Pachamama»). When translated from ritual to folk dance, the choreography became frontal directed. It operates with offensive and provocative dance steps, maintaining a cheerful and festive character.

Originated in a Peasant Social Practice

The Arabic «dabkeh» is shown mostly during Shadia Mansour’s part in the video. This folk dance is practiced largely in Palestine, Lebanon, Syria, Iraq and Jordan and is originally part of joyous social encounters, such as weddings. Male and female participants dance together in a round or a line holding hands or shoulders. As a synchronous performing whole, the dancers combine different jumping, stamping and kicking sequences. More specifically, the dabkeh also plays a major role in the construction of a national and political Palestinian identity, since it is declared a national dance. It therefore developed from a peasant social practice to a performative collective identification.

Film still from Ana Tijoux & Shadia Mansour (Music) and Ana Tijoux (Video): «Somos Sur» (Chile/Great Britain 2014)

Towards a Coherent Community of the Global South?

«Somos Sur» represents Arabic and South American communities identifying themselves through cultural practices of pre-colonial origin. The two folk dances tinku and dabkeh aim to highlight the insubordinate character of a heterogeneous but nonetheless coherent community of the global South. Social cohesiveness is staged through a joyful and combative manner. While Ana Tijoux and Shadia Mansour appeal to autonomy in their lyrics, a cheerful tinku and dabkeh dancing crowd visualizes the fighting spirit of their words.

Watching the video clip «Somos Sur,» the impression of a joyful and festive but also very confident and determined southern entity is given. However, is this video a pure and generic demand towards western societies for a more autonomous South? Does it more essentially voice the desire for the construction of a unitary political identity of the South? And if so, how does this reflect on the cultural heterogeneity of southern societies?

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Ariel Altamirano V.: «The CNN of the South»
> Ariel Altamirano V.: «Five Video Clips from Chile»

The CNN of the South

Delivered... Ariel Altamirano V. | Scene | Fri 13 Oct 2017 6:00 am

In Chile the video clip has become an important artistic tool and a socio-political weapon. Our author Ariel Altamirano V. from Discos Pegaos comments on a 2014 music video by Chilean rapper Ana Tijoux. From the Norient book Seismographic Sounds (see and order here).

Film still from Ana Tijoux & Shadia Mansour (Music) and Ana Tijoux (Video): «Somos Sur» (Chile/Great Britain 2014)

The «industry» of video clips in Chile is made up of a handful of young and middle-aged directors who enjoy music as much as the musicians. In fact in hip hop, many of these filmmakers are rappers themselves. They produce their own clips, without big budgets or support from big companies. Thanks to these directors the video clip has become an important artistic tool and a socio-political weapon – a newsreel of what is happening in Chile, similar to «The CNN of the Ghetto», as Public Enemy called it. Many clips resemble short documentary films, executed in limited time. «Traidores» by Salvaje Decibel, «Be Proud» by Jonas Sanche & Hordatoj, and «Somos Sur» by Anita Tijoux are good examples here. The producers of Tijoux’s clip are well-known locally and abroad: Aldo Guerrero, director of many Chilean hip hop videos, and B + from the Brian Cross collective Mochilla in the US.

A Typical Latin American Party

Ana Tijoux is Chile’s most popular rapper. She has released three albums addressing issues social and political in nature over the last eight years. Through her songs she fights for the rights of women and protests against the savage capitalism in Chile. In «Somos Sur» she speaks about important aspects of our identity and culture. She quotes «El baile de los que sobran» (the dance of the ones left behind), a pop anthem from Los Prisioneros, Chile’s most popular band in the 1980s, to underline the fighting spirit of her lyrics. The participation of Palestinian rapper Shadia Mansour is crucial – the fact that they meet I see as one of the positive aspects of globalization. «Somos Sur» fuses Andean sounds with the universal language of rap. It offers space for powerful content, delivered through the virtuous and dynamic rhymes of a French-born Chilean and a Britain-based second-generation Palestinian. The video speaks to the common people, especially to the urbanized youth in our cities – it does not stay «hidden» in underground music circles. The raw Photoshop-style images (manipulated with cheap filters, kaleidoscope and pattern effects) visually reference life in our noisy cities. «Somos Sur» is set as a typical Latin American party, yet it is transnational and contemporary – a colorful version of what could happen in social struggles of the Latin American people. It is positive and even playful, but no less brave and rebellious as it celebrates the strength that comes from the unity of people.

Other Videos from Chilean Underground Rappers

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Ariel Altamirano V.: «Five Video Clips from Chile»

Karima 2G: A Racist Antidote

Delivered... Emma Dabiri | Scene | Wed 27 Sep 2017 6:00 am

With her video «Orangutan» Italian artist and activist Karima 2G responded on racist comments of Italian politicians in the context of the election of Italy's first black government minister Cécile Kyenge in 2013. Our author comments on this strong music video as a «cutting and resoundingly tongue-in-cheek rejoinder». A commentary from the Norient book Seismographic Sounds (see and order here).

Film still from Karima 2G (Music and Video): «Orangutan» (Italy 2014)

The response to the election of Italy’s first black government minister Cécile Kyenge in 2013 provided a solemn reminder of the overt racism that still flourishes in parts of Europe. Mario Borghezio, a member of the European parliament for the Northern League, made the staggering claim that Kyenge would «impose her tribal traditions from the Congo» adding «she seems like a great housekeeper but not a government minister». Another Northern League politician, Roberto Calderoli, suggested that Kyenge had «the features of an orangutan», while former politician Dolores Valandro went as far as to call for the rape of the minister.

Undermining the Racist Rhetoric

«Orangutan» is artist and activist Karima 2G’s cutting and resoundingly tongue-in-cheek rejoinder. With a daring multimedia video, which intersperses images of wildlife with black power (risky, but it works) and a catchy hook that demands «Who the hell is? Orangutan O Orangutan Orang Orangutan», Karima skillfully undermines the Italian politician’s racist rhetoric. Karima appears incredulous at the comparisons between black people and monkeys when she sings: «I’m a supermodel. Here comes the big show. Smile, take take take my picture.» By responding in this way, she executes a mortal blow to any attempt that would seek to reduce Africans to sub-human status.

Growing up with a Nigerian father and an Irish mother in Ireland in the 1980s, I am all too familiar with this type of dehumanizing narrative. Certainly, a track like «Orangutan» would have provided a powerful antidote as I struggled to make sense of my identity in a land that was arguably my own, but simultaneously felt like it could never be home.

Film still from Karima 2G (Music and Video): «Orangutan» (Italy 2014)

Music as a Tool for Social Justice, Change, and Transformation

This track demonstrates the importance of what it is that Karima 2G does. Her name 2G stands for second-generation, a direct reference to the phrase used to describe Italy’s exclusionary immigration policy. The racist policy, officially known as jus sanguinis, prevents children born to immigrant parents from obtaining Italian citizenship until they are at least eighteen years of age, after which point citizenship is still not guaranteed. Utilizing music as a tool for social justice, change, and transformation, Karima gives voice to Black Italians, while also encouraging them to celebrate their African heritage. Karima’s work is meaningful to people throughout the African Diaspora, but especially important to those from countries such as Ireland or Italy where their very presence is denied. Unlike countries such as the UK, which has a distinctive black British culture, there remain many other European nations in which Black people are discouraged from ever really belonging (legally and/or culturally). The sense of liminality is often compounded by the lack of a recognized black national identity in many such nations. For Afropeans from such spaces – where identities are effectively erased through an intersectional denial of their existence – whose lives are marked by invisibility, the contributions of artists such as Karima remain absolutely necessary.

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Luca Grincinella: «Un Cortocircuito Tutto Italiano»

Today: the music scene, the future, live from Poland

Delivered... Peter Kirn | Scene | Wed 20 Sep 2017 12:41 pm

Your editor-in-chief is in Warsaw today, where I’m leading a panel with Xosar, Chagall, HRTL (also from Bastl Instruments), and Nadine from Native Instruments. You can tune in and join us live.

Our segment is on at 17:15 Warsaw / central European time, but there’s stuff of interest to CDM readers all day long.

The post Today: the music scene, the future, live from Poland appeared first on CDM Create Digital Music.

Many Hands Make Outstanding Work

Delivered... Theresa Beyer from Norient | Scene | Fri 15 Sep 2017 6:00 am

In low-budget music videos, necessity is the mother of invention. One of the best examples of this is «Picolé», a clip co-directed by forty-five directors. Javier Lourenço from the Argentinian filmmaking collective Flamboyant Paradise takes us behind the scenes of this collaborative work and talks about the importance of personal networks, good ideas and time. From the Norient book Seismographic Sounds (see and order here).

Javier Lourenço from Flamboyant Paradise (Photo © by YouTube)

[Theresa Beyer]: In the music video for Bonde do Rolê’s «Picolé», forty-five different aesthetics from forty-five directors collide in two-and-a-half minutes. What’s the idea behind this visual experiment?
[Javier Lourenço]: The band had almost zero budget, so I proposed something that wouldn’t take too much time to produce, but could transcend the ordinary as well. With a highly confidential call we invited a bunch of acquainted directors who were technically, conceptually and aesthetically divergent. The only instruction was: «Do something with popsicles. It has to be one shot, from one to five seconds.» That’s how the clip became a colorful inventory of different visions and a «who is who» of my network.

[TB]: If there was no money involved, how did you motivate the directors to participate?
[JL]: Money was only paid for the parts of the video we shot previously with the band. Each of the forty-five directors had to run the production costs out of their own pockets. To give them incentive we wanted to submit the work in a new Guinness World Records category: «Most Directors in a Music Video». When the video was finished, unfortunately, Guinness World Records said that they closed down the new categories section because of an excess of inquiries. But it was fun anyway.

[TB]: Did many hands make light work or did too many cooks spoil the broth?
[JL]: Definitely the first. I would even change the saying: In this case, many hands make outstanding work. I think innovation starts when you make collaborative work with passionate people who are on the same wavelength. And innovation in this case meant mixing different techniques, opposite themes and contrary worlds. This is the special spirit of «Picolé» and a lamppost for all of my personal work.

[TB]: With your production company you earn money through advertising. Is producing video clips more than a hobby?
[JL]: It’s more than a hobby because with music videos I can strengthen and extend my network. And the main reason why I do them is to have a field of experimentation in which I can work freely and with vision – I can try out new techniques and provocative forms of storytelling. With advertising spots, in contrast, I have many more standards and limitations.

Film still from La Yegros (Music), Flamboyant Paradise (Video): «Viene de mi» (Argentinia 2014)

[TB]: So video clips are not just about promoting the band, but are shop windows to show the potential of your company as well?
[JL]: Above all it’s fun to make music videos. But yes, they become part of my portfolio and advertising companies are getting curious. So today, when advertising agencies hire me, it’s because of the different aesthetics, the humor and the ironic twist in my film work. And more experimental music videos and short films have helped to promote this special creative power.

[TB]: Would you be interested in making a music video with a one million dollar budget?
[JL]: Yes, but only if this one million dollar budget comes with the appropriate time to produce and post-produce. With super big budgets and time you can do almost anything. From what I observe, there are two different worlds in music video production: those videos with super big budgets and those with super low budgets – there is almost nothing in the middle. But in the end the whole clip doesn’t stand and fall with the budget, but with the idea.

Javier Lourenço has a Bachelor’s degree in Advertising from USAL Buenos Aires and has been an advertising creative since 1996. In 2006 he left working in agencies to become a director, and in 2009 he founded the filmmaking collective Flamboyant Paradise.

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Jesse S. Wheeler: «Directed by Forty-Five Directors»

Sounds of Pakistan: The D/A Method

Delivered... Pascal Rudolph | Scene | Wed 13 Sep 2017 6:00 am

Music connects people and extends beyond borders – so does the Internet. Through both we are capable of reaching the whole world, enjoying unlimited access to information. We, a group of students, musicologists, and musicians at the Humboldt University of Berlin aimed to reach out to contemporary artists from mostly underground music scenes in Pakistan. Below is an interview with the progressive rock band The D/A Method and Kamal Khan from Gali Films about their latest collaboration «The Desert Journey».

Wardrobe stylist Mariam Azmi (right) with Suhee Abro (left) during the shooting of the «The Desert Journey»
(Photo © by Gali Films)

Sounds of Pakistan: Part 2 of 4 – Part 1 / Part 2 / Part 3 / Part 4 – Dossier

«‹The Desert Journey› is an allegory of the journey we go through in life, and that point where past, present and future all come together to confront you.»

Between Music Video and Short Film

The progressive rock band The D/A Method has been described as a unique addition to the Pakistani music landscape. With Gali Films and its director Kamal Khan, they recently published a video clip of the song «The Desert Journey», which is the first single from their upcoming album The Desert Road (release date: September 14th, 2017). Erum, the protagonist, is a prostitute in a Pakistani brothel, and the clip shows her tale of woe, which culminates in a violent catastrophe. It starts with short opening credits (and it ends with closing credits as well). The audience watches the procurers, a father and his son, and a discussion about their business. At this juncture, the music is diegetic as it seems like it is played by a radio. Erum knocks on their door, asks for her money and is rejected. From that moment, the camera follows Erum and the music changes its strata, becoming a clearly non-diegetic soundtrack.

The whole seven-minute song is visualised via a single-take tracking shot. We see actresses and actors performing in a short film rather than musicians performing the music. The video clip, thus, stretches the boundaries between traditions and aesthetics of music videos and films, resulting in a collaboration between video and music artists, rather than just a conventional music clip.

I was privileged to speak to this band as well as to the director of the clip.

A Musical Journey Through a Tough Desert Environment

[Pascal Rudolph]: There is a lot of Eastern instrumentation in your song (sarangi, sitar and tabla). Omer Bashir and Amar Ayaz described your music as a «haunting fusion between Western progressive rock and Eastern classical music». How would you describe your Pakistani influences and how important are they for you?
[The D/A Method]: The Pakistani/Eastern instrumentation is just a natural result of us trying to make honest music as an expression of ourselves as people and as musicians. Given that four of the five of us are Pakistani or have lived a significant portion of our lives in Pakistan, being exposed to the local music growing up, and being a part of that culture, the fact that those sounds have made it into our particular blend of progressive rock somewhat makes sense, despite the fact that none of us are classically trained musicians. The one thing we did not want to do, however, was something that sounded typical, forced, or something that really has been done and heard before. In this case, the subject matter as well as the big open guitar chords and the Eastern sounding slide guitar melody all served to create a great atmosphere and platform for the Eastern musicians to shine. Gul Muhammad (sarangi) and Waqas Hussain (sitar), both from the Pakistani fusion folk rock band Sounds of Kolachi, in particular did an outstanding job of interpreting our composition and enhancing the emotional pull of the melodies, which is at the end of it, the goal for us with any collaboration — it has to enhance to the final product and it has to make sense for the song as a whole. Given that most of us are Pakistani, we feel our Pakistani influences will always remain important as it is a part of our identity, but how we choose to express that in our music or expression in general are things that will probably continue to evolve.

Umair Dar from The D/A Method (Photo © by the band)

[PR]: The video seems to be more of a short film than a music video. Instead of musicians, the audience watches actresses and actors. Typical opening and ending credits bookend a stunning seven-minute single take. When and why did you decide to contradict music video conventions and comply with cinematic aesthetics? And what is the relationship between this decision and the meaning of the song, especially the decision to visualise a seven-minute song via a single take?
[Kamal Khan]: I knew right from the start that I didn’t want to shoot a performance video. The song was metaphorical and it gave us the flexibility in interpretation and lent itself really well to a narrative piece. Inevitably, the song pointed us in the direction of how it should be structurally. Because the piece was largely an instrumental I found there was a lot of space for dialogue. So the instrumental parts allowed us to experience the real world with the characters and then we had the sung parts which allowed us to go inside the character’s head; what I called inner dialogue. The sitar solo at the end built up to a perfect climax. It was score-like. The story was built around this structure, and I always wanted to shoot this as a one take so we kind of wrote it as one!

[D/AM]: With regards to the relationship between the decision to shoot a one-take cinematic video and the meaning of the song, I felt the fact that the song is not only called «The Desert Journey», but also aurally constructed as a musical journey through a tough desert environment, lent itself really well to a continuously shot cinematic piece in a harsh city setting where the tension builds not just through the music but through the narrative, each enhancing the other. Again, as with the decision to use actual eastern instrumentation, the decision to shoot a quasi short film for a music video was driven by the goal to create something greater than the sum of its parts, and I think Kamal and the entire team did an outstanding job of taking that vision and creating something that really draws the audience in.

Usama Siddiq from The D/A Method (Photo © by the band)

Societal Isolation

[PR]: «One’s own person is defined by its surrounding circumstances»: that seems, in a nutshell, like a central message of the video clip. But the song lyrics are about the desert, a place associated with an absence of everything, loneliness, solitude, isolation, so to speak. How does that fit with the setting of a brothel and the story of a female prostitute, and what is your interpretation of the desert metaphor?
[KK]: Desert journey is an allegory of the journey we go through in life, and that point where past present and future all come together to confront you. Why we thought the desert should be represented by a brothel was because a brothel is a place where one sees so many different types of people. So many different lives colliding, interacting. It allowed us to explore multidimensional characters all in one setting. From the beginning of our discussions, the band and I knew we wanted a female protagonist. A lot of my inspiration comes from my childhood; I was raised by my mother and saw a lot of her struggles. So as with most of my ideas I end up with female centric stories. The same happened with this. I just knew right from the start that I wanted it to be a female’s story. It’s hard to say why, but that is just what I visualized. The band suggested the idea of a female sex worker and it worked. It kind of just naturally fit in with the lyrics and concepts we wanted to explore.

[D/AM]: The desert metaphor in the song is really about the physical and emotional journey one goes through in life, as Kamal says, but it’s also at its core a story about survival, and about being honest about one’s truth, or in a way, being true to oneself. Often in life, when we take that journey to honestly confront our truths, it can feel quite lonely, especially in modern society surrounded by all manner of distractions. In the music video, therefore, the fact that our protagonist is a female in a brothel serves as an archetype for a character who really is isolated in societal terms, but one who, simply by being honest to her role in society and her truth, manages to survive the chaos.

«The Desert Journey» is the first video and single from The D/A Method’s forthcoming second album called The Desert Road (release date: September 14th, 2017). The record is co-produced and mixed by Bruce Soord (The Pineapple Thief / Wisdom of Crowds) and will be released soon. The video clip is produced by Gali Films. For more information visit their Facebook pages: The D/A Method and Gali Films.

The D/A Method: «Dream Sequence» (2017)

The D/A Method: The Great Disillusion (2015)

During the Shooting of «The Desert Journey» — Impressions from the Set

Rehearsals on the set: director Kamal Khan working with Suhae Abroo (left) and Shabana Hassan (right) (Photo © by Gali Films)

Steadicam operator Faraz Alam (Photo © by Gali Films)

Director Kamal Khan (Photo © by Gali Films)

BTS shooting (Photo © by Gali Films)

Set (Photo © by Gali Films)

Sounds of Pakistan: Part 2 of 4 – Part 1 / Part 2 / Part 3 / Part 4 – Dossier

Read More on Norient

> Ali Gul Pir and Taimoor Salahuddin: «When a Rapper Tries To Change the World»
> Asadullah Qureshi: «Underground Noise from Pakistan»
> Daniel Arthur Panjwaneey: «Karachi Noise»
> Wendy Hsu: «Taqwacore: Punk Polyculturalism»

Elucidation Through Noise

Delivered... Michal Sapir | Scene | Mon 11 Sep 2017 6:00 am

Most Israeli Jews have only a sketchy idea of what goes on in neighboring Arab countries. What we know about them comes mainly from the media and the school curriculum, and usually falls under the rubric of «know thy enemy». Any possible interaction is mediated through the prism of military conflict. David Opp’s video «Sakata Helicobtir Min Tiraz Sikorsky» confronts this paranoid anticipation of war: the warnings and attempts at remote control, experiences of the Other through abstractions like maps, heads of state, standardized language, and propaganda. A commentary from the Norient book Seismographic Sounds (see and order here).

Film stills from David Opp (Music and video): «Sakata Helicobtir Min Tiraz Sikorsky» (Israel 2013)

The clip is based on a phrase that the artist learned and memorized in 7th grade: «a Sikorsky helicopter has crashed north of Damascus and the pilot has ejected.» Against a militarized, aloof, and objectivized voice, the video plunges itself into the void opened up by the machine’s failure, into which the pilot jumped. It is a video clip enacting a crash.

Aesthetics Borrowed from Cartography

Like a punk and shell-shocked version of Roy Lichtenstein’s «Whaam!» Opp uses aesthetics borrowed from cartography, comic books and technical illustrations only to crush their cool distanciation. How do you penetrate the image, how do you feel the flames, the shards, the panic, the sharp needles of the rapidly approaching cedars? Serene and beautiful frames recalling 1970s conceptual and minimalist art flash by, drowned out by relentless audiovisual noise that effects a growing sense of alarm. The Arabic-tinged track sounds metallic, compressed, and distorted, like desperate signals shouted on military radio.

Film still from David Opp (Music and video): «Sakata Helicobtir Min Tiraz Sikorsky» (Israel 2013)

Leading to Nowhere But Destruction?

A line is a demarcation, a barrier. It can be an instrument of injury – forming the crosshairs of a sight, blotting out suspicious transmissions, redrawing territorial boundaries. But Opp’s drawings refuse to toe the line. Broken, hesitant, they line up only to quickly disintegrate. These images are unstable, constantly moving, freefalling in space. Resolution is lost by generations of processing. The sheets of tracing paper refuse to coalesce; the varying visions refuse to realign.

Hurtling towards its end, «Sakata Helicobtir» seems to lead to nowhere but destruction. But the point of impact is no less fragmented, contested, multi-layered, and after the clip finishes we still hear the players’ voices commenting on the take. Experiencing the fall of the other, shattering the official line, and taking in the strangeness of a foreign language, Opp’s video opens up the possibility of a proper conversation. «Turn off the amplifier», says one of the performers; and let’s see what we can hear.

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Laetitia Boulud: «Inner Station Soil»

Corruption in Indonesian Music Business

Delivered... Rudolf Dethu | Scene | Wed 6 Sep 2017 6:00 am

In their 2014 video «House of Greed» Indonesian heavy metal band Burgerkill talks about the massive corruption in their home country. In his commentary Indonesian journalist Rudolf Dethu shows how robbery affects the music business and jeopardizes youth-driven subcultures. From the Norient book Seismographic Sounds (see and order here).

Film still from Burgerkill (Music), JungW (Video): «House of Greed» (Indonesia 2014)

Symbols of destruction – black beasts with snapping mouths, the last tree on earth falling over, and the Parliament House hijacked by students – are all that we see in the video «House of Greed» by Indonesian heavy metal band Burgerkill. This video is based on actual displays of blatant bureaucratic burglary, in a so-called kleptocracy where the government robs an entire country and its people. The story is inspired by the true life of a famous politician, who was once a close friend of one of the band members. The black beasts in the video represent that famous politician and his mates. This collective of thieves is never satisfied. They are always hungry, eat everything in sight, and continue to demand more. They will lie, steal, kill, and even swallow the last tree on earth, just so they can continue to amass seemingly unlimited wealth. They don’t care that the whole country suffers terribly as a result.

Facing Robbery as Concert a Organizer

However, robbery is not only happening in the upper ranks. Over the years, Burgerkill has seen kleptocrats in the lower ranks of the music scene, too. The cops are a great example. In theory, they should manage the safety of a concert for free as part of their job, but they ask for money. If and when event organizers don’t give them money as per their demands, they will typically stop the show and threaten those seen protesting with imprisonment. Large-scale event organizers have pre-allocated funds and can comfortably meet the «protection money» demands from the police, but for small independent organizers it is difficult to meet these costs. This obstacle has created a sense of defeat amongst many indie scenesters looking to organize gigs.

Film still from Burgerkill (Music), JungW (Video): «House of Greed» (Indonesia 2014)

Subcultural Consequences

If backhanded financial rewards continue I’m certain the consequences will be many. The youth-driven indie scene, its whole subculture, is dying. When kids don’t have outlets to release their energy the country can expect the tables to be turned and an increase in rioting and crime. All the anger and frustration that these kinds of crazy, daily, kleptocracies have created has permeated every aspect of life in Indonesia. It’s well represented by Burgerkill in «House of Greed.» Those greedy kleptocrats have created battalions of ignorant young people. We should expect a new generation of them.

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Jeremy Wallach: «Musical Protest in Indonesian Metal»
> Jeremy Wallach: «Five Video Clips from Indonesia»
> Refantho Ramadhan: «Money Laundry»
> Rudolf Dethu: «Indonesian Metal Against Corruption»

Directed by Forty-Five Directors

Delivered... Jesse S. Wheeler | Scene | Mon 4 Sep 2017 6:55 am

In 2013 Curitiba-based electropop band Bonde do Rolê released their music video «Picolé». A video celebrating the popsicle and directed by forty-five directors. Our author asks: How is this possible? From the Norient book Seismographic Sounds (see and order here).

Film still from Bonde do Rolê (Music), 45 different directors (Video): «Picolé» (Brazil 2013)

As the video opens, we learn that it was co-directed by forty-five directors. Even after many viewings, my reaction is still, «How is that possible?» We’ll see if this is a case of «Many hands make light work» or «Too many cooks spoil the broth». Let’s start with the lyrics. Their semantic dimension alone isn’t particularly interesting. However, delivered with the singers’ «suggestive» (read: raunchy) enunciation and the exaggerated, at-times humorously performative and even deformed, pronunciation, they are quite amusing. The refrain is a dialogue between a man and a woman:

He: «I want to eat you standing up»
She: «Then buy me a popsicle, and I will suck, I will suck»
He: «Only the stick will be left»

The lyrics equate desire to mal heterosexual lust, which is demonstrated through descriptions of what the male will do to her, what he wants her to do to him, and why he enjoys it. He ends by averring God has bestowed on him possession of the female essence. She is acquiescence embodied.

The Male's Voyeur's Desire

In the video, the popsicle shows up in many colors and variations, always as a blatant sexual metaphor – as well as the female sexual organ as a fruit (bacurinha is slang for the clitoris). These infantile allusions suggest youth wanting to grow up – sex being both motive and vehicle – and adults wishing they could «grow back down», realizing, in retrospect, that they lost something valuable along the way. One noteworthy scene is of a young, voluptuous, nude white female, lying on her back on a floor covered with dry popsicle sticks, her nipples and mons pubis «protected» by popsicles. This Venus smiles, gazing vaguely in the direction of the camera, luxuriating in the sticks all around her. In a waist up close-up, her self-contented smile turns to a penetrating look that is suggestive, beckoning and gamely promising. The shot reveals the male voyeur’s desire through its scripted provocation and response. In her manicured left hand she now holds a popsicle just below her solar plexus – Hey kids, care for Nyotaimori (女体盛り)? [1] We see on her right arm a tattoo of a rosary, the cross conspicuously displayed, apparent evidence of the singer’s above assertion of his God-given right.

Film still from Bonde do Rolê (Music), 45 different directors (Video): «Picolé» (Brazil 2013)

Music: the Least Interesting Part

The visual aesthetic is non-narrative; it’s a sequence of video quanta organized in fractal-like collage, each one linked to the others in theme, color, syntax/rhythm, texture, or other quality, but aggregating to the others some new «development». After repeated viewings, it «says» to me, «Hey, hey! for fast/junk food and drive-through consumption, or the commoditization of our desires, the mechanization of their production, and their resale to us on an industrial scale! \o/ \o/ \o/!»

The least interesting part of the whole package is the sonic component. Musically, desire could be heard in the pulse and melody, organized into short repeated groups. It builds to a major-key solo that indexes rock ’n’ roll and the innocent infatuation of yesteryear. Elements of funk carioca, the present era’s music of moral disruption, conjures up flashes of humorless, vulgar, world-weary displays of libido in search of outlets for quick, serial gratification.

Film still from Bonde do Rolê (Music), 45 different directors (Video): «Picolé» (Brazil 2013)

Can a Bedroom Producer Change the World?

Returning to my bewilderment around the forty-five co-directors and their process: I am reminded of the Norient debate about whether bedroom producers can change the world. I wish to posit that this video could contribute to an ecological analysis of the issue: Sexual innuendo aside, bedroom walls, in both metaphorical and literal uses, represent barriers and have the potential to lead to vicariance, a form of speciation occurring when geographical barriers arise to cut members of a species off from others. In this context, isolated producers would develop over time idiosyncratic techniques, tastes, and so on. This video is an artifact fashioned through and made possible by the productive networks people have created using the new technologies available to bedroom producers – in other words, despite the dispersal of the forum and the atomization of the hoi polloi (and I mean that sensu strictissimo).

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.


[1] «Nyotaimori» is the practice of serving sushi on the naked body of a woman.

Musical Protest in Indonesian Metal

Delivered... Jeremy Wallach | Scene | Mon 28 Aug 2017 6:00 am

Our author Jeremy Wallach comments on the 2014 music video «House of Greed» by the Indonesian metal band Burgerkill (directed/animated by JungW). He thereby talks about the tradition of popular music as a vehicle of political and social criticism in Indonesia. From the Norient book Seismographic Sounds (see and order here).

Film still from Burgerkill (Music), JungW (Video): «House of Greed» (Indonesia 2014)

Indonesia’s statistics are impressive: fourth most populous nation, third largest democracy, largest majority-Muslim nation, one of the top twenty economies. Adding to this list is the fact that it houses one of the world’s largest heavy metal scenes and it is an increasingly common destination for internationally touring rock bands. But the sheer number of metalheads in Indonesia is just part of the story. In this masterful video for the song «House of Greed», one of the country’s premiere metal acts, Burgerkill, delivers a searing indictment of politicians’ malfeasance and avarice via serrated riffs and stark nightmarish imagery.

A Vehicle of Political and Social Criticism

Led by iconic artists like Iwan Fals, Rhoma Irama, and Harry Roesli, popular music was a potent vehicle of political and social criticism in Indonesia during the Soeharto dictatorship (1965-1998) because it was less censored than other mass media. This spirit of musical protest lives on today in Indonesia’s massive underground rock scene. Extreme metal, a form often dismissed in the West as politically inert, has emerged among its loudest voices. Sam Dunn, in the 2008 film Global Metal, notes that the metal bands he encountered in Indonesia were so politically-oriented that the lyrics sounded like «hardcore punk» to him. But Indonesian metalers like Burgerkill are just writing about things that matter to them in the manner of metal bands everywhere, except in their case those things include their country’s volatile politics.

Film still from Burgerkill (Music), JungW (Video): «House of Greed» (Indonesia 2014)

The World's First Heavy Metal President

Despite a successful transition to democracy following Soeharto’s ouster, Indonesia remains plagued by rampant corruption at all levels of government – and no one doubts that the problem starts at the top. The two-domed building at the end of the Burgerkill video is the DPR, the Indonesian House of Representatives, and the rapacious, toothsome creatures gobbling up American currency represent the Representatives. The spider-, rat- and cat-like monsters are members of Indonesia’s craven and arrogant national political elite, villainous hypocrites who despoil the environment and manipulate the system for personal gain rather than fight for the interests of their constituents. The election in July 2014 of a political outsider, democratic reformer, and Burgerkill fan named Joko Widodo to the Indonesian presidency might just transform the grim tableau depicted in the video clip. But can the world’s first Heavy Metal President defeat the House of Greed?

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Jeremy Wallach: «Five Video Clips from Indonesia»
> Refantho Ramadhan: «Money Laundry»
> Rudolf Dethu: «Indonesian Metal Against Corruption»

Soak up this grimy, catchy Russian earworm from Tripmastaz

Delivered... Peter Kirn | Scene | Sat 26 Aug 2017 5:22 pm

From Russia, we get a free track and video that’s as dirty as it is hard to get out of your head.

If you hadn’t heard the name Tripmastaz, a listen should give you an inkling why this artist has become a big deal both at home in Russia and abroad. There’s just something about it – funky, catchy, but hard and insistent in some kind of Moscow/St. Petersburg way.

In a slightly psychotic pop turn, the latest from Tripmastaz heads out on those gray, rainy streets, courtesy a video by up and coming Moscow photographer/film director Viera Linn (Vera Linnik). Her vision seems to have a knack for finding transcendent moments in that infamously lively party scene and underground, here in demented repetitions of night vision green grain.

For Krokodeal, you get a Tel Aviv connection, via co-producer Amor Entrave aka Andrey Orenstein, a unique voice in remixing, pop, and craft.

Want more? Here’s more, from 2015:

And definitely catch the Boiler Room edition he did, where this track saw its debut:

Data Transmission has this track out. Yes, you’re welcome to use this in your set tonight and drive some dance floor wild.

Tripmastaz gives away ‘Krokodeal’

Direct download link

Tripmastaz is here at Synthposium in Moscow, and just one artist to talk about … but now I’ve got to go play, so more on all that talent when I recover!

The post Soak up this grimy, catchy Russian earworm from Tripmastaz appeared first on CDM Create Digital Music.

Silvana Imam Calls for Violence

Delivered... Mona Aurich | Scene | Fri 25 Aug 2017 6:00 am

I understand «I·M·A·M (jj Remix)» as a call to fight. Firstly, this emerges in the lyrics, with salient words like «soldiers», «riding shotgun» and «fearless». Secondly, the dark music video intensifies this combative style by juxtaposing found-footage images of feminist personalities such as Simone de Beauvoir or Pussy Riot with images of demonstrations, police violence and riots. A commentary from the Norient book Seismographic Sounds (see and order here).

Film still from Silvana Imam & Elin Kastlander (Music), Olivia Kastebring & Mika Gustafson (Video): «I·M·A·M (jj Remix)» (Sweden 2014)

Silvana Imam and the director Olivia Kastebring refer to images of past (but still not solved!) conflicts and movements. I see this visual celebration of activism in a socialist tradition of «class struggle» – masses that rise to fight for their freedom against a system that (re)produces oppression. We need only look to history as well as the present to show that this doesn’t exclude physical battles.

A Call for Violence?

To me, these images work on three levels simultaneously: they are a memory of past struggles, a reflection of contemporary struggles, and they set the stage for future fights. Imam tells us in her interview (see here) that she wants to start a new revolution in which all oppressed and underprivileged people should participate. However, to me this seems to be more a mobilization than an offer to share a personal vision. The video leaves space for me to think: Silvana Imam presents herself as a role model and a leader, but role models are privileged because they have the resources and platforms to disseminate their call for the revolution throughout the world. Furthermore, by showing images of past struggles, Imam connects to certain traditions and discourses of conflict that shape the self-conception of her own movement. She shows us the «right» way to participate in the revolution, but seems to imply that we can only achieve this through violence.

Film still from Silvana Imam & Elin Kastlander (Music), Olivia Kastebring & Mika Gustafson (Video): «I·M·A·M (jj Remix)» (Sweden 2014)

Who Will Be Included?

The queer feminist movement with which Silvana Imam identifies is reflective of inclusions and exclusions that happen in the fight for freedom and equality. For example, in the discussion about the women’s quota law passed in Germany, [1] queer feminists ask: who will profit from this law and who will be excluded? The same questions should be posed to the movement Silvana Imam proposes in «I·M·A·M (jj Remix).» When I hear Silvana’s call to fight, I ask myself: who is the «we» she presupposes? Who is included? Is this «we» really everyone?

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Kalle Berggren: «The Queer Star of Swedish Hip Hop»
> Theresa Beyer: «Change Is Now»


[1] The law, implemented in March 2015, requires major companies to allot thirty percent of seats on non-executive boards to women.

The Queer Star of Swedish Hip Hop

Delivered... Kalle Berggren | Scene | Fri 18 Aug 2017 6:00 am

Silvana Imam is changing Sweden’s contemporary hip hop landscape. In this jj remix of her song «I.M.A.M.», classical hip hop video references – hoodies, bling, car riding and graffiti – are characteristically interchanged with images of political protests, LGBT Pride marches and Pussy Riot members. Crowded scenes pass by in between desolate urban landscapes, while the lyrics contain feminist messages as well as Arabic expressions. Silvana Imam is in many ways a unique artist, but also part of a larger history of hip hop feminism. From the Norient book Seismographic Sounds (see and order here).

Film still from Silvana Imam & Elin Kastlander (Music), Olivia Kastebring & Mika Gustafson (Video): «I·M·A·M (jj Remix)» (Sweden 2014)

Hip hop in Sweden, as in many other places, has been a heavily male-dominated genre since its public breakthrough in the 1990s. Yet, female artists have always been important. Neneh Cherry and Leila K were pioneers and internationally successful. In the 2000s, artists like Ayesha, Feven, Heli, and Melinda Wrede appeared. But in recent years things have changed dramatically: the Femtastic collective has brought together female actors in the urban music scenes, Linda Pira had a huge hit featuring several up-and-coming female rappers, and artists like Cleo and Lilla Namo are frequently played on the radio.

Breaking New Ground in Swedish Hip Hop

One of the most interesting voices of this new generation is no doubt Silvana Imam. While sexism and gender inequality within and beyond the hip hop scene have long been important themes in lyrics by female rappers – including topics such as men’s violence against women, unequal pay, sexist attitudes and so forth – Silvana Imam’s lyrics celebrate feminist icons ranging from Simone de Beauvoir and Valerie Solanas to Pussy Riot and Gudrun Schyman of Feminist Initiative, Sweden’s feminist political party. There is thus a characteristic emphasis on sisterhood, on «my girls», in Imam’s lyrics. But gender is not the only issue at stake in her music. She is also the first prominent queer rap artist in Sweden, which certainly breaks new ground in the largely heteronormative hip hop genre. And while she fills her lyrics with clever references – which in this song includes Narcissus, Cain and Abel – she also has a transnational perspective, herself having roots in Syria and Lithuania. In «I.M.A.M.» she is thus «writing the New Iliad, the New Bible and the New Qur’an» (Quote from the lyrics).

It has now been twenty-five years since Public Enemy’s call to «Fight the power». One of the most exciting things about Silvana Imam is how she brings this spirit into dialogue with a political analysis of the interconnectedness of transnational, queer and feminist issues—taking the «revolution from Stockholm to Saudi Arabia», as she calls it.

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Theresa Beyer: «Change Is Now»

«Dick, Pussy, and Ass for Everyone»

Delivered... Hannes Liechti from Norient | Scene | Wed 16 Aug 2017 6:00 am

Dancing women at a pool party, men with guns and barbecued sausages, and pink blow-up flamingos: Today, pop culture spreads around the globe massively and without delay. Every day one is confronted with a vast amount of signs from different cultural backgrounds. But how do we read them? How do we understand a music video in a language we don't know? For example, I tried to understand a recent music video from Brazil that was published on the blog of Daniel Haaksman without any comment. There was no chance – I had to ask for help. Here is what reached me from Brazil via email.

Film still from Harmonia do Sampler (Music), Jackson Villela (Video): «Pau, Perereca e Cu – PPC» (Brazil 2017)

It was the video «Pau, Perereca e cu – PPC» by the Brazil musicians Harmonia do Sampler that caught my attention. I was asking myself what this video could be about: is it another sexist piece from Brazil’s vivid funk culture or is there more to it? I could feel a certain kind of irony, but at what are they poking fun actually? To get answers I had to exchange some emails with Rafael Ops aka DJ Ops, one of the members of Harmonia do Sampler. Rafael also sent me a couple of short comments on the video by a few other people. Listen, read, and comment yourself.

The Video

The Interview

[Hannes Liechti]: What is the video about?
[Rafael Ops]: It’s about good-vibe parties. It starts with a bad-vibe trap when one of the characters changes the track and everybody has a great time.

[HL]: What are the lyrics about?
[RO]: It’s funny that I almost feel ashamed to say what it means. The chorus is a repetition of the words «pau, perereca e cu» which literally means «dick, pussy, and ass». Cae Maia, the singer, also says random words like «let’s go, brother!» and «it’s for everybody!» At the beginning he says «Stop the intolerance! I’ll now present you the first polissex success of Brazil». It’s almost a joke, inspired by Bahia music.

[HL]: Why do you feel ashamed to tell me what it means?
[RO]: Well, it felt kind of weird mentioning dick, pussy and ass to someone I had never spoken to before. My innate moralism is still here somewhere.

[HL]: What do you mean by «the first polissex success»?
[RO]: It’s meant that «dick, pussy, and ass» is for everyone: men, women, gays, trans, anyone. Usually, this popular carnival, bahia-influenced music is male chauvinist and usually draws the women as an object and puts them in an uncomfortable place. We are all sensible to the feminist cause.

[HL]: What are the key elements in Bahian music?
[RO]: There are many «Bahia musics». It’s probably the richest cultural region we have in Brazil. In the 90s the term «axé» was popularized worldwide. It’s influenced by Afro-Brazilian rhythms such as «ijexá», Jamaican reggae, Calypso… There’s also the «Guitarra Baiana» which gave birth to the «trio elétrico» – Bahia sound system culture. Now, contemporary groups such as Baiana System are bringing it back. There’s also another phenomenon called «pagodão», which came from what we called «swingueira da bahia». It’s a really danceable slow BPM rhythm that is getting global in the bass culture. Characteristic percussion elements are the «timbal» and the «surdo» bass drum. Congas and Bongos are also common.

[HL]: What have been the reactions on the video in Brazil?
[RO]: In general, this project has been a huge success in Brazil. Some people understood we made a «polissex» carnival joke, about fun, about liberty and we had really great reviews. Others found it too vulgar, too explicit and meaningless. We think that all the reactions were positive as they inspired reflections.

[HL]: What does the band name «Harmonia do Sampler» mean?
[RO]: It is also a parody of another Brazilian band called «Harmonia do Samba» – we replaced the word «samba» with «sampler».

The Comments

«Dude, what a great video! I was expecting another common sense of crap music, but what I saw was a wonderful parody of this kind of music. The colors, the actors and the cameras clearly reflect the Brazilian diversity, the joy of making fun of our own misfortune, typical of Brazilian people. As a Brazilian, I think that if we are going to consume crap music it's better consuming our own crap music.»

Ana Luiza Bellacosta, Actress and ordinary audience

«What to expect when some of Brasilia's most creative and original people get together? Exactly something like the Harmonia do Sampler and the #PPC video clip. In addition to guaranteed fun, the song comes at a very important moment of debate about tolerance and gender equality. That's awesome!»

Igor Silveira, journalist, subeditor de cultura do jornal Correio Braziliense

«Add a very good sense of humor with some fun choreography and a free and non-moralist spirit and you have the most funny video of the latest Brazilian carnival. The song is based in the genre ‹Pagodão›, from Bahia, but the final result of the video is a melting pot with influences from all over Brazil.»

Lucio K, DJ and producer

«It's been a great experience dealing with such a huge repercussion with #PPC. Lots of lovers, lots of haters are, every day, sending their impressions. We are also looking foward to release the next productions and we know that there are many people waiting curiously. This song was a great kickstart for us to keep on rewriting the Brazilian mass culture sounds in a funny danceable way.»

DJ Ops, Harmonia do Sampler

Read More on Norient

> Daniel Haaksman: «Frau will Pau, Mann will Buçeta»
> Gregory Scruggs and Alexandra Lippman: «From Funkification to Pacification»

Das Musikvideo auf der Couch

Delivered... Benedikt Sartorius | Scene | Tue 25 Jul 2017 6:00 am

Anlässlich des 2014 erschienenen Musikvideos «Du verwachsch wieder nume i dinere Wonig» von Stahlberger, blickt unser Autor auf die Geschichte des Mediums Musikvideo zurück und dekonstruiert die «hanebüchenen» Choreographien im Stahlberger-Video als Flucht vor den «überraschend starren Codes von Bandvideos». Aus dem Norient Buch Seismographic Sounds (hier bestellbar).

Still aus Stahlberger (Musik), Jovica Radisavljevic (Video): «Du verwachsch wieder nume i dinere Wonig» (Schweiz 2014)

Erinnern Sie sich an jene Zeiten, als MTV noch ein Musikfernsehsender war, der Musikvideoclips spielte, in denen die Interpreten an ungewöhnlichen Orten ihre Songs «performen» mussten? Man denke etwa an Roxettes «Joyride», in dem das schwedische Duo auf Autokühlerhauben und Flugzeugflügeln «rockte» oder an «When Doves Cry» von Prince, für dessen Darbietung ihn der Clipregisseur in die Badewanne steckte. Notorisch auch die Tanzchoreografien, die ausgeheckt wurden, um Sommerhits wie «Macarena» unter die Leute zu bringen, während die Interpreten, in diesem Fall die beiden älteren Männer von Los Del Río, erst im Refrain auf der Bildfläche erscheinen und schunkelnd die Erkennungszeilen singen.

Wenn es nichts zu erzählen gibt...

An solche oder ähnlich hanebüchene Momente der an hanebüchenen Momenten übervollen Musikvideogeschichte erinnert der Tanz, den drei Herren im Clip zu «Du verwachsch wieder nume i dinere Wonig» ungeschickt vorzeigen. Die Secondhand-Klamotten – das zu enge Barcelona-Trikot, die Tigerkappe, der Wollpullover, das Schweissstirnband, das Trainerjäckchen – deuten, im Verbund mit den ungelenken Bewegungen, auf eine Parodie der geläufigen Choreografien hin. Und natürlich ist es auch eine solche, doch durch den Ort, an dem die drei ihre Bewegungen ausführen, erhält diese Tanzkarikatur eine neue Qualität. Denn wir befinden uns hier im Vorzimmer des Psychotherapeuten oder des Psychiaters, der den Erzähler – in diesem Falle Manuel Stahlberger – auf die Couch bittet.

Während die (Alb)Traumerzählungen von einem unzuverlässigen, den Rauschmitteln zugetanen Mann vorgeblich analysiert werden, landet durch die lustigen Tänze auch das Medium Videoclip auf der Couch, das spätestens seit dem Zerfall der einstigen Musikfernsehsender nicht mehr Herr im Hause ist, und sich neue Ausdrucksformen, neue Heimaten und neue Formate ausdenken musste und durfte. In diesen Jahren ist trotz den neuen Freiheiten die Schwierigkeit geblieben, die Mitglieder von Bands – abseits des Leaders – ins Geschehen einzubinden. Indem die drei im Wartezimmer nun ihre Tänze vor der Tapete, vorführen, kommentieren sie die ausweglose Situation, in der sich ihr Gefährte befindet (der doch immer nur in seiner Wohnung erwacht). Die Tänze, sie stehen auch für die Unmöglichkeit, den überraschend starren Codes von Bandvideos zu entfliehen. Denn noch immer gilt: wenn es nichts zu erzählen gibt, bleibt für die Statisten nur noch der Tanz.

«You Just Wake Up in Your Apartment Again»
Songtext Translation by Enrico Kampmann

There’s a quiet buzzing sound to be heard coming from the ceiling
The ceiling is a giant spiderweb of neon tubes
You are standing in the middle of an endless room
Or on the side—I have no clue—and then you see something flickering
In the distance, you walk towards it and start to notice
It’s a neon tube that’s about to go out
It looks like an arrow, you walk in the direction it is pointing
You walk and walk and walk and walk an eternity

And then you just wake up in your apartment again
It’s raining in front of one window and sunny in front of the other

You never really knew your grandfather
First you were too little, and later there were worlds between you
And now he’s standing in the door and sits down at your table
And tells you about what’s going on outside and all that is important
You listen and make him tea and you keep getting smaller
He says: where are your wings and he looks through all the rooms
And then you go outside and drive, with a John Deere,
through the Christmas party of a fire department

And then you just wake up in your apartment again
It’s raining in front of one window and the sun is shining in front of the other

And in the plaster on the wall you see faces and shapes
Animals eat people eat animals and over again
Your eyes grow shut and your legs grow together
You forget their faces and you forget their names

And then you just wake up in your apartment again
It’s raining in front of one window and sunny in front of the other

Dieser Text wurde zuerst publiziert im zweiten Norient Buch «Seismographic Sounds». Ein Klick auf das Bild verrät mehr.

Mehr auf Norient

> Christoph Fellmann: «Gefangen in der Schweiz»
> Christoph Fellmann: «Melancholie, zu der man tanzen kann»

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