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Directed By: Anthony Gaddis + Eric Tilford
Produced By: Language.LA
Photos By: Justin Boyd
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Video Credits: Director: Sebastian Sdaigui
Creative Director: Robot Moon Juice
Production Company: Bellanoir Films
Executive Producer: Chelsea Sdaigui
Producer: Deno Williams
Production Manager: Kira Velazquez
Production Coordinator: Nicole Hansen
Location: NYC Film Locations
Location Management: Andrew Samaha + Victoria Durden
AD: Razieme Iborra
Director of Photography: Geoffrey Taylor
1st AC: Philey Sanneh
2nd AC: Julia Pitch
Camera Assist: Stephanie Jennings
Gaffer: Lorenzo Pace
Key Grip: Austin Castelo
Swing: Alberto Innella
Dolly Grip: Gabriel E. Salorzano
Production Designer: Emmeline Wilks-Dupoise
Art Director: JD Moran
Art Assist: Victor B. Soria
Art Assist: Arman M. Ramos
HMU: Christian Diaz
Styling: Robot Moon Juice, Marcus Ivory + T’airah White
DJ: Andre Reyes
Editor: Chaz Smedley
Colorist: Josh Bohoskey
Color House: The Mill
Color Producer: Evan Bauer
Animation: Patrick Passaro
Font: Edgar Daniel
Sound designer: Raphaël Ajuelos
PA’s: Horace Phillips, Adrian Kesi, Latoya Smith, + Ramon Romero
Track Credits:
Produced By: 1-900
Mixed By: Andy Park
Mastered By: Joe LaPorta
After a five-year hiatus, Tame Impala’s The Slow Rush is a revitalization of psychedelic dances through floaty instrumentation. While the cover that depicts bright and warm reds with sand powering in through every opening, Kevin Parker turns a new leaf toward weightless production that’s high above the shorelines.
Opening with the introduction of “One More Year” which seems like a love-letter to synthetic vocals and a want for more, the first piece of the hour-long puzzle takes a dive right through these tunnels of sound. The performance on The Slow Rush is still recognizable through Tame Impala’s signature backing use of movement-heavy production, but every step comes with some higher dignity toward dance and rhythm. With this constant bass undertone on “One More Year” that then pushes into “Instant Destiny” which is a flowing bounce through percussive rolls and crashes. The transitional periods are graceful but provide enough spring to roll off cleanly.
“I’m about to do something crazy, no more delaying, no destiny too far. We can get a home in Miami, go and get married, tattoo your name on my arm,” describes Parker through lively production that is an immediate standout for The Slow Rush. While the record takes some time to grow from the incredibly hit-heavy display of Currents or Lonerism, The Slow Rush has moments that pertain to the growth artistically. The record takes a well-deserved space on the mantle with more lyrics that are relaxed and create this calming effect, “This traffic doesn’t seem quite as annoying, quite alright, quite alright sitting here. I know this is different, let’s cause something permanent.” Tame Impala never lets much grass grow underneath their feet as there is this continual rush that relates to the title that is somehow hurried, but also seems laidback and carefree.
While there are psychedelic elements throughout a primary majority of The Slow Rush, tracks like “On Track” are some of the monuments for the record that take a sluggish approach to building and then knocking over mountains in the way. It seems that time has been a great growing factor for Parker who is manipulative of his environment and able to craft some dynamic moments that exist under Tame Impala’s name. As authentic keys are placed into the instrumental gauntlet, The Slow Rush feels as if it was this combination of older foundations and new paint jobs.
One of the strongest times spent is with Parker’s ingenuity through incorporating a club-esque heartbeat to the record, shifting from one line into an adaptable river that flows in several directions. As The Slow Rush comes to a close, Tame Impala stands like a pillar of sequencing sound into digestible beauty.
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Production: Psycho Films
Directed By: Jack Begert + Christian Sutton
Written By: Jack Begert, Christian Sutton, + Denzel Curry
Producer: Sam Canter
DP: David Bolen
Production Design: Nathan Casteil
Editors: Will Tooke, Jack Begert + Neal Farmer
Animation: Mike Manor, Sam Hochman, Joey Prosser, Forrest Whaley, Chaz Bottoms, Malik Bolton, Rachel Headlam, Borboev Shakhnazer, + Asekov Tilek
VFX: Justin Johnson
Originally released in 1974 after a live recording in Copenhagen, Jackie McLean was able to craft a passion project that in time, eventually transitioned a free-form stylistic love for jazz. It is not quite raw to the point of animosity, but many of the trails that McLean takes on Ghetto Lullaby are deeper pockets of power where reservoirs of instrumental synchronization can sit.
As if free-form was the right word for it, A Ghetto Lullaby uses McLean on the alto saxophone, Kenny Drew on the piano, Alex Riel on percussion, and an outstanding performance from Niels-Henning Ørsted Pedersen on the bass. Through the four-piece kit of control, there is an immediate attraction to the loosely directed playing that mashes together. With tracks that average around the eight-minute mark, A Ghetto Lullaby is more a test of endurance rather than short sprints.
Drawing directly from the opening track “Jack’s Tune” which starts in a rapid display of instruments crashing together and falling in and out of tempo changes consistently. It is not quite advanced on a performance level, but the listener can point this persistent movement to the waves of the ocean that are always in motion. Even though McLean has his name on the album, every artist featured on the record can hold their own and have moments where the spotlight is entirely enthralled with them.
Sections on “Jack’s Tune” have the percussion completely demolishing the cymbals where Riel puts more emphasis on blasting rather than calming. But the sequence fits almost as if these puzzle pieces were cut with diamond-etched lasers that weld together an incredibly tight fixture for consumption. The segues between tracks and the less rambunctious moments create a lull in A Ghetto Lullaby. With “Where Is Love?,” McLean takes a duet with Drew and the two together are more fine-dining than jazz house and cigarettes.
Frankly, when comparing the works of McLean to his previous pieces, then circling back to A Ghetto Lullaby as a completely live record, the tenacity and sheer dialect that he speaks through with his instrument is gorgeous. At times, he can be more of a pulverizing motion that sweeps through tracks in a blitzing manner, but where the group succeeds is in the settings where the calming waves wash the shore and return to dust.
Listen Here – BandCamp
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Produced By: Big Jerm
Shot + Directed By: REVENXNT
Title + Artwork By: Daniel Joseph Montano / MFONE
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Featuring: Run The Jewels
Directed By: Colin Read
Producer: Miranda Kahn
Production Company: MIRMADE
Director of Photography: Kevin Hayden