Deceptively simple, minimal, synthetic pop. Catchy melodies with dark undertones overlaid with dueling male/female vox. Distant, detached, haunting, enchanting, exotic, inviting, seductive – all of these things.
One thing that that keeps us coming back is the duality of moods that permeates nearly every track. Sweet and sour, dark and light, sleek and leaden sounds all add to the complexity and depth of the songs. They’re intoxicating, addictive, irresistible. It’s kind of like switching between sweet and savory treats – the contrasting flavors simply feed your appetite for more.
Fans of early electronic pop will find a lot to like. If you dig classics like Kraftwerk and Chris & Cosey or contemporaries like Solvent – or perhaps more accessible reference points like very early Depeche Mode, OMD, or Gary Numan – then this is your sweet spot.
I’m looking forward to a new year of new work. The ideas keep pouring out and I can’t wait to get back out to the workshop and begin again. While I wait out the frosty winter months and fight off cabin fever by sketching (and by a few brisk hikes), the down time will offer some time to reflect, catalog and post 2016 work, clean out the studio and perhaps tweak the process a bit. All is not lost.
In the meantime, here’s a peek at our last holiday greeting. This was meant to be a three-color print but ballooned out to five or six color variations once we got into it. Some things don’t turn out the way you expect and it was too much fun trying out some different color combinations on the fly.
Here’s to fresh starts, new chapters, leaves turned and the glorious blank white page that awaits.
Out of the gates and into studio for fall 2016. Subtle, autumnal hues to start the season. Untitled (*). Copper and cream on natural stock. Subtlety. Nuance. Go figure. This could be a first. Interesting new territory. We’ll see if it takes.
Modern furnishings, sure. Landmark exhibits, yep. Groundbreaking films, uh-huh. But what you might not be familiar with is the Eames’ Solar Do-Nothing Machine, a sculpture for Alcoa, the Aluminum Company of America, created in 1957.
A kinetic sculpture that lures you in with wild colors and patterns that shimmy, shake, sparkle and spin, the Solar Do-Nothing Machine takes a potentially boring subject (solar energy) and dazzles with accessible, whimsical, high-modern style.
But the film—culled from footage unearthed in 1995 by Eames Demetrios—is where the magic really happens. Close-ups and panning shots bring you right into the piece backed by a jazzy soundtrack that pairs perfectly with classic aesthetics and bouncing, spinning parts. And just like a good sugar rush, the party ultimately comes crashing to a halt—in this case when a cloud passes overhead. Science. Bummer.
For me it’s all nearly too much, too perfect. The glimmering geometry, the pop colors, the choreography of moving shapes, and, of course, the soundtrack all make this thing utterly hypnotic. Pity the fool who puts the film on repeat. Sure, that’d probably be me. If that happens and you see me sitting there totally zoned out, just know I’m in a high-keyed happy place. And pick my jaw up off the table on your way out.
“The arrow, one arrow goes one way, the other arrow goes the other way. And these points are saying ‘what do you want from me?’.” Red, magenta and metallic silver on warm gray.