In a documentary about a subculture, like Speaking in Code, one of the over-arching themes is that of acceptance. Are the characters accepted? Is the music accepted? We are happy to say the first film festival out side of Boston has confirmed the acceptance of Speaking in Code.
The 8th annual SF DocFest emailed us last week to confirm that SiC will officially be screened October 16-28, 2009 at their exclusive documentary festival, a component of SF indie fest. We couldn’t be happier to be a part of the prestigious festival which, in the past, has featured such success stories as Anvil! The Story of Anvil and Audience of One. Those of you in San Francisco, be on the lookout for a proper screening announcement time soon.
We do need educational vehicles like one this to explain to the world why we’re so passionate about something so abstract, yet moving and emotional. Can’t wait to see the final product.
Thanks, Liz. Portland, OR’s whitecar(tm) had this to say in a post at Nueva Forma:
Most documentaries on electronic music tend to focus on superstars and act as a starter kit for the uninitiated. Speaking in Code doesn’t really have that feel to me. I’m really excited to see it because it seems so focused.
That’s very much true.
Like all new ideas or old bias, acceptance only comes with time. The only way new things can arrive is for the old things leave and something must take its place.
In the August issue of XLR8R, the urban culture and electronic music magazine, on page 16, you’ll find a interview with Speaking in Code director Amy Grill saying just as much. It’s a national magazine, and available at bookstores like Barnes & Noble and Borders, but you can direct-download a .pdf of the issue here.
It’s their annual “Labels We Love” issue, so there’s lots of good stuff, including profiles on labels Modern Love (podcast), who were a part of this year’s Communikey Festival, Mothership, who I had the pleasure to work with in San Francisco, and a Type Records (podcast), one of the many exclusive UK labels of Forced Exposure (see thier ad on page 27).
To explain the phenomenon of this culture, other films continue to enter the fray, like this one about the scene’s most elusive character: The extraordinary DJ and incomparable producer Ricardo Villalobos. It has been accepted into this year’s Venice Film Festival.
The mysterious DJ recently released “Bank Brotherhood” with Los Updates. A curious song about the abstract idea of digital money.
Ricardo Villalobos and Los Updates - Bank Brotherhood
He was certainly someone that was on SiC’s radar, but proved too elusive after he did not show up when we were in Koln.
There’s also this film: An Einem Sonntag in Berlin, or On One Sunday in Berlin. Wherein we go out in Berlin on a Sunday morning (watch for a quick appearance of Villalobos in this as well):
Greece is a country which has seen a surge of electronic dance music activity, and acceptance, as indicated by two different festivals, both of which are screening Speaking in Code. EnTechno is in its second year, and is screening the movie alongside appearances from Ellen Allien and others, while and Reworks is now in its fourth year.
As for acceptance here in Boston, Make It New, which is coming up on its 5th anniversary, was nominated for Best Club Night at the Boston Phoenix (it was an honor to be nominated). Jan Kruger makes a second appearance this Thursday.
One of our favorite former guests, Isolée, has a great remix out right now:
Boston’s own SoulClap is making serious waves with the Wolf + Lamb label out of New York City. Click to download one of Soul Clap’s newest podcasts:
We’re also happy to say Jan Rosenfeld of Yes, Giantess was in Boston’s little scene before his pop band blew up. He’s let us share a new track from them. You’ll hear about them soon:
We’re still taken with the productions of Coralcola. Here’s a recent ambient track from him:
And another remix of Mystery Roar:
Whether these, ourselves and others are accepted in the end … time can only tell.