The movie stands up even more in print. It reads like a fiction film, including great dialogue like these scenes early on:
Gabor (aka Robag Wruhme): This one Scott this is Russian Water, this is not really water, this is Russian Water, its Vodka.
Amy (off camera): Oh really?
Amy: Oh you’re serious!
Gabor: (laughs) It’s not a joke.
Amy: (tastes) Oh my god it is.
Robert Henke (aka Monolake): Welcome to the Synclavier Digital Audio System. I’m so much addicted to these instruments as you could see. If you really want to talk to me you should probably put me out of this room.
Philip: Tie your hands behind your back.
Robert: And I’m not even stoned!
It is, for lack of a better word, “surreal” to see the film on paper, like it is a script. As the film makes its way to actual film reviewers (and not music fans), they seem to agree.
Antagony & Ecstasy: “”not just a probing music documentary but a magnificently touching personal diary.”
VenusZine: “artfully constructed and skillfully shot”
NBC New York blog also recently spoke with Co-Producer David Day. Read that interview here.
The latest Speaking in Code podcast has been released via the email list and the Facebook page, but here it is on squar3.com.
Speaking in Code Podcast 03 - Douglas GreedDouglas Greed provides us this mix, a warm, sometimes strange DJ mix that combines a whole on of music from Greed, the Freude-Am-Tanzen family and others.
Robag: We have many people, and we are a family. And together we can achieve something special.
Greed is the one who walks us through Muna Club and introduces us to FAT. Greed takes us through FAT like Tobias Thomas does earlier.
Douglas: The Muna, it was originally built at the time of the Second World War to build rockets for the Nazis. … So sometimes there are up to 1,500 people at the venue here. You will see later, it’s one of the nicest clubs ever.
Tobias: Kompakt always tries to be honest and serious about the whole idea, the rave idea, the techno idea, the whole ’90s idea of changing the whole system of music.
We have also uploaded Thomas’ full 2 1/2 hour mix from the Speaking In Code after-party on February 14th, 2010, in conjuction with the Together Festival:
Amy (off camera): What do you think is different about this record store than other record stores in the world?
Michael Mayer: I think its very, very comprehensive regarding minimal techno.
One track on Immer 3 brought the house down at Make It New. Raudive’s “Slave” samples Grace Jones, who recently made quite a stir celebrating her 62nd birthday.
Raudive - “Slave”
[Buy the No, No, No, No, No EP]
Michael also played a classic Italo Disco track, which appeared on one of our old sQuare sound compilations almost 5 years ago:
Mr. Flagio - “Take a Chance”
And while he didn’t play any of his own remixes (as far as we know), we can’t leave without linking to one of his classic remixes. A cover of Kylie Minogue’s “Slow”:
Michael Mayer & Matias Aguayo - “Slow”
For the latest on Speaking in Code, become our friend on Facebook.]]>
Again I find myself at a loss for what happened in the last few days. The film, years in the making, has started to ship all over the world. For the last 5 years, this blog has kept an account of the genesis, filming and production of a film called Speaking in Code.
That film began shipping from a warehouse in Dallas to each corner of the world. Customers in Norway, Singapore, New Zealand, Austria, Canada, right up the street in Jamaica Plain and nearly everywhere else, were shipped their pre-ordered DVDs today (order today at speakingincode.com). It came with extras like a Wolfgang Voigt interview, Modeselektor live and uncut and a well-written 1000-word essay from Philip Sherburne.
And of course, the process of selling this vision to the world has only just begun. Soon, the movie will have the ability to sell in stores. In a few weeks (perhaps months), the DVD will be available on Amazon.com and soon thereafter on iTunes. The idea of taking three years out of our lives to follow certain folks, and tell their stories, is finally coming to fruition. Perhaps in the future a larger company could produce a director’s cut, with way more extra footage, way more interviews and even more added packaging.
Critically, the movie has been very well received, and we’ll continue to share those perspectives with you. The non-traditional format of the film has left some perplexed, though and while the movie very much speaks for itself, there are a few critiques that we’d like to address here.
1. “Why didn’t you include my favorite artist in the movie?
This is probably the most common critique of Speaking in Code. It goes without saying that if we made a movie about everyone’s favorite artist, we would have made a movie that lasts seven days and would have cost 12 mortgages. =)
There’s is also the complaint that the artists featured are not current to the electronic scene, a critique which is laughable at best. If we set out to make a three-year travelogue about some artists who are “cool” now, it would have had to begin before many had even started to make music. Even then, the artists we followed were described as “bleeding-edge” by Pitchfork Media, perhaps the benchmark of music criticism today. So one man’s old hat is another’s new headgear.
When it comes right down to it, the characters in Speaking in Code were simply the ones who made themselves immediately available to us, and were were most willing to let us bother them for a few years. They also opened up to the camera right away and were interesting to watch. It is a movie first, a documentary about cool music second.
2. “There is no point to this movie.”
It strikes me that the people who usually say this about the film are typically the exact people we could have made the movie about. We made Speaking in Code so that the casual viewer, someone who knows next to nothing about electronic music, would understand that there are people behind the computers. We also wanted people who love this music to have a film they could identify with–and from the feedback we’ve received, many techno lovers are drawn to Speaking in Code because they relate to the character’s passion and dedication.
There is no doubt our six stories make a movie about dedication. And that’s the simple point of the film. For some people who have already dedicated themselves to a life of electronic music and who are living the lifestyle, it’s like: “Yeah, so what.” Perhaps it is because this story, really, is, in some ways, about them. Consider SiC, then, a movie not just for those deep inside the scene. It a window into a world, not a mirror.
And the point of the film is to watch these people transform over the years with regard to their life within electronic music. There are also moments which make people laugh out loud and other times we have seen audiences tear up and even cry.
3. “This movie is not about the genre I like.”
I have hated electronic music I don’t like with such vehement passion it would shock you. It took me a few years outside the critical echo chamber to understand that this sort of mentality is, for lack of a better word, unhealthy. It’s much more productive to promote and support the music you like than spend time knocking down the music you don’t. I suppose it’s a product of getting older, in the end.
But again, it’s why the film needed to be made. There is such a passion for electronic music that it drives people to purposeful distinctions–my genre is good, your genre is bad, this artist is old, this one is new–when in fact, people outside of the scene could not only make any discernible distinction one way or the other, they could actually not care any less. Speaking in Code is designed, regardless of distinction, to show why they should care.
When rave music and electronic music was at its height, huge events would be held with all genres (sometimes literally) under one big tent. I’m not proposing we hold hands in unity, but understand that to someone who doesn’t understand electronic music, the difference between drum and bass, say, and trance simply doesn’t exist.
Speaking in Code gets into the creation, promotion, documentation and performance of this music without regard to what is cool and in a verite execution that took years of filming, dedication and personal sacrifice. It dives in head first, as opposed to glancing over the surface. It’s personal perspective is a result of that dedication and execution, and one we are immensely happy with.
And this week, it began to go everywhere the world. Thank you.
We’ve been able to commission another podcast, Speaking in Code Podcast 02, in celebration of the film. Already spread through the email list and Web 2.0 methods, here it is in traditional blog/web 1.0 format:
Tobias Thomas - Speaking in Code Podcast 02
Over two-and-a-half hours of music from DJ Tobias Thomas, one of the characters in the film. Thomas is a resident DJ within Kompakt, the Koln-based techno shop, distributor and record label.
This special set was part of the after-party for a Valentine’s Day screening of the movie, in conjunction with Together: The New England Electronic Music Festival. Together was the first electronic music festival in Boston.
Robag Wruhme - Colby Nekk
In case you hadn’t heard, the Wighnomy Brothers officially “broke up” (which makes an amazing coda to the film), yet of course they still continue to make music. Robag’s latest effort “Dreiklangkapriolen” contains this amazing track which, as Resident Advisor points out “it sounds like little else.”
Optimo - Fabric 52 Excerpt
In similar news, one of the coolest parties in the whole world, the Optimo party in Glasgow, Scotland, is coming to an end this month. But not before Optimo releases Fabric 52, another amazing mix similar to the one we helped shepherd through Pitchfork some time ago. This excerpt comes later in the mix and goes from Levon Vincent (”Love Technique”) through Oni Ayhun (”OAR003-B”) and Desire (“Don’t Call”). The whole mix is uncanny brilliance.
Sog (Wolfgang Voigt) - Abweichung 4
The latest offering from Voigt is a resurrection of the legendary Profan label. A fringe record that marries the primitive rhythms and designs of simple techno to the composition of classical music. The strings come and go like a ghost. “Abweichung (n): aberrance, wandering from the correct path, going astray, deviation from what is normal.” A personal, 10-minute interview with the Kompakt head is featured on the DVD.
Foals - Olympic Airways (Supermayer Remix)
We first hear this song courtesy of SiC Podcast 02 (see above). Superpitcher and Michael Mayer (rumored to be hard at work on Immer 3) do it yet again in this remake of another Brit-rock buzz band.
This is a tremendously long post. But the movie is now out on DVD … and perhaps I am not at a big of a loss as I originally thought.
First off, click for the snazzy new website of Speaking in Code. Thanks to Nick Hubben (who designed this blog 5 or so years ago) for the great new look. Other big stuff continues to happen on the DVD front. Steve Mizek turned in a sparkling review of the film over at well-established electronic music website Little White Earbuds. He says Speaking in Code “successfully personalizes the realities of music obsession, from packed stadium triumphs to tribulations that require self-sacrifice in pursuit of satisfaction.” For his full review, click here. We’ve also recently updated Speaking in Code at Wikipedia.
In addition to extra content you can find at LWE and at Beatportal, we were also able to share one extra with Pitchfork Media and their Pitchfork.tv website. This is one of the extras which appears in the DVD, along with extended interviews, an essay and live footage of Modeslektor at Sonar:
Duplium, a Canadian company with locations in Canada and the US, will be servicing the Speaking in Code DVD to the world, now, but they need 10 business days to get our orders out to you. So despite having a release date of March 12, 2010, we will not begin shipping until the week of March 29, 2010.
When the quality of end product (flimsy plastic, cheap paper) was substandard, we felt like we had to make a change. When the DVD shows up at your door, we want it to be the best product possible. Our former distributor also had little experience with international shipping, and nearly half of the pre-orders so far are for Europe (and beyond Europe!). We of course want to be sure you get your DVD safe and sound.
So watch for a shipping email confirmation during the last week of March. You will still get your DVD when everyone else does, so you won’t be missing out. Thanks to all who have ordered Speaking in Code ordered so far. You can still pre-order the DVD at the website. If you have any questions, please drop us a line as always: email@example.com
In the meantime, the readers of the squar3.com blog may have missed the inaugural Speaking in Code podcast(!), from our long-time collaborator Baltimoroder. It includes some music from the film, some music we remember hearing while making the film and other music from the artists who appear in the movie. The mix was so good, in fact, that our friends at Pitchfork Media put it in their Forkcast section. They called it a “pretty amazing mix.”
Baltimoroder - Speaking in Code Podcast 01
1 “Fragile” - Monolake (Imbalance Computer Music)
2 “Wombat” - The Wighnomy Brothers (Kompakt Extra)
3 “In The Moog For Love” - Steadycam (K2)
4 “For Penny and Alexis” - The Rice Twins (Kompakt Extra)
5 “You Might Say Im Ruminativen (Parfum rework)” - WB (WB Records)
6 “Enjoy The Silence (Timo Maas Extended Remix)” - Depeche Mode (Reprise Records)
7 “Milk & Honey” - Philip Sherburne (Lan Muzic)
8 “Maps (Michael Mayer & Tobias Thomas Mix)” - Ada (Areal Records)
9 “Regensburg (Gas Mix)” - Markus Guentner (Kompakt)
10 “Kappsta 2″ - The Field (Kompakt)
11 “Vote or Die” - Modeselektor (BPitch Control)
12 “Way Out” - Ellen Allien & Apparat (BPitch Control)
13 “I Love You” - Modeselektor (BPitch Control)
14 “No 7-11’s (Akufen’s Chill Em All Mix) - DJ Champion (Saboteur)
Keep an eye out for the next podcast, with Tobias Thomas (Kompakt)! And the DVD will start shipping on March 29, 2010 … I guarantee it!]]>
Obviously, it is with great pride that we report to the world that the Speaking in Code DVD is officially available for pre-order at the official website: speakingincode.com. For those of you that have been following this saga for nearly 5 years, this is welcome news indeed!
We have finalized the list of appropriate DVD extras and they are as follows:
Modeselektor Live at Sonar 2006 Uncut
Kompakt Tour in Köln
Modeselektor Talks About the Berlin Wall
Monolake at the Berlin Wall
Backstage at Muna Club in East Germany
Who is Jimmy Johnson?
The Wighnomy Brothers First Interview
Wighnomy Brothers After Speaking in Code
Each specifically selected extra is not only related to the film itself, but they are also quite hilarious and interesting. We have other extras that will be populating the web in the weeks ahead. Watch for them!
The price is $19.95 + $4.95 S&H. This price will most likely go up as we balance the costs of shipping and packaging and so forth in the week ahead, so order your copy now.
If you have seen the film, the extras are worth the price and you know what all was gone through to make the film in the first place! The more pre-orders we can manage, the more DVDs we can make. Your pre-order means a lot.
If you have yet to see the film, well, I can’t offer you a guarantee, but here’s what other people have said: “The personal edge really makes it stand out as something different,” (press kit) “I was very impressed with the unexpected layers,” “Brave rather than exploitative,” “Had an amazing look,” “I loved it, truly!” “Electronic Music’s Most Important Documentary?” (beatportal.com)
There is no end to the news in Boston, either. Not only is Basstown chugging along (Facebook site) but these last few months Boston stepped up and hosted it’s first electronic music festival, called, Together.
(Click for a .pdf of the huge guide to the Together Festival).
As the Creative Director I worked ceaselessly alongside Managing Director Mike McKay (who literally worked without sleep for days) to make it happen. Coordinating a music festival is a LOT of work. Fortunately, we had a huge team of supporters that saw it through.
It got press coverage in both the Sunday Boston Globe and Sunday Boston Herald (combined circulation over 600,000) prior to launch and some nice coverage from the biggest daily newpaper: Boston Metro on Thursday and a sweet wrap-up on the following Tuesday. There was even a letter from the Mayor of Boston himself.
I cannot write enough about the experience and what it meant to me. To say it was a dream come true is an understatement.
There was tons of music that got me through what amounted to the hardest I’ve worked in my life.
One was this track by Reagenz called, appropriately enough, “Keep Building”:
Reagenz - “Keep Building”
Kompakt still holds considerable sway in these parts, and their Pop Ambient 2010 was always a soothing relief from all the pounding music of the day. Especially the mammoth closing track from Brock Van Wey:
Brock Van Wey - “Will You Know Where to Find Me”
Then there were crowd favorites that became something more:
Fleetwood Mac - “Never Forget (Cut Copy Lifelike Remix)”
Together organizer and friend DJ Die Young continues to be one of Boston’s more unsung new producers. His dub seemed to always pop up on random at the right times:
DJ Die Young - “Back Around (Dub)”
And the Together Steering Committee, especially Alexander Maniatis of Dopamine Records, coordinated the Together 2010 sampler of regional producers, a stand out being, once again, Christopher Wade of Providence, RI crew Lovelife:
Christopher Wade - “Falling In”
For the latest in DVD updates, stay tuned to the Twitter (@sicfilm) or of course the Facebook group. Thank you for your years of support and patience!]]>
Been a while. Thank you for your patience. We’re happy to say it will pay off (and the Facebook page and Twitter account has been very active), but at the same time independent film production isn’t what it used to be.
As you undoubtedly know, Speaking In Code, the techno movie that is not about techno, continues its pursuit. The confluence of industries and economic crises has produced an absolute flood of film producers, and vice-versa. There is no end to the amount of documentaries and a very particular limit to those who can release them in the traditional way.
It’s been seen with most of the different docs produced in 2009. From Anvil to For The Love of Movies and beyond, many producers have to resort to self-release to hope their film gets seen. Like many systems in this economic transformation, the rules are changing, and quite rapidly. While we develop this system of self-release, you, our fine fans, are kept waiting.
The good news is that the feature film is still stellar. We will be releasing a DVD in the coming months, but not before treating you to some of the extras and outtakes of the film. With every outtake we release, another option to pre-order the DVD will also be unveiled.
Or so we hope. This is a new world of movie production–a world without standard distribution, where everyone can share their slice of reality, where everyone’s story is their own. It seems quite scary, but it’s also one that is imminent. Thank you for your patience.
Been a while, but the forward movement of electronic music and the dance scene had propelled itself to new heights. Most crucially is the propagation of bandwidth. No longer is the size of a file so difficult. In fact, streaming has become the norm. And, for beat-lovers and dance heads around the world, the thought of an endless “radio” tuned to great music is quite perfect.
So here are five recent streams from SoundCloud, an excellent idea for streaming that has very much taken hold.
Todd Terje - 3 Hour Set, Big Chill Festival
Warmhq is a booking company in London. Their roster is pique, their knowledge of Soundlcloud even better. Here’s a live mix from slo-mo disco king Todd Terje.
PanTone - Live in Reykjavik 2009
Kompakt has a slow-moving account which features this former Canuck feeling it in Iceland.
John Daly - Sept ‘09 Mix
Forward Management is one of the few US agencies that has picked up on the brilliance of SoundCloud. John Daly is the next big thing.
Gudding - November Horror Set
There was quite a lot of talk about “horror disco” this year, and with good reason. The darkness of our economic times combined with the history of dance music equals this. To wit, Gatekeeper is the featured act atThunderdome’s first-ever New Year’s Eve party.
Despite the times, circumstance and independence, there is a DVD coming soon of the film. Stay tuned at the Facebook address or Twitter (@sicfilm) for the latest info.]]>
Speaking in Code is starting to take on a life of its own. The most recent development came from Seattle, where an enthusiastic fan when back to Dallas crowing about the film. And now we have a screening in Dallas. Sunday, November 8th at 5:00pm, at the Angelika Film Center, the sister to NYC’s more famous NoHo destination. More info here.
As for New York City, we are happy to say it will premiere at the CMJ Film Festival. Wed, October 21st at 2pm, at the Norwood Theater, 241 W 14th St., b/w 7th & 8th Ave. Those with a CMJ badge need to RSVP here for entry. As for people without a badge, we’re finding out what the deal is there. Sign up for the Twitter service to be sure to know the latest.
The San Francisco screenings of Speaking in Code are also approaching rapidly. People can buy tickets right now, and if we can sell out both shows, we can prove a demand for other shows in the area and are considering working with promoters on a bigger event.
Friday, October 23rd, 9:15pm
Thursday, October 29th, 7pm
Also next weekend, the film gets screened in Krakow, PL. Though we are still looking for an official premiere of the film in Europe (more on that soon!), we’re proud to be a part of this extraordinary festival.
We also appreciate the rising demand for screenings in your area. Both in our email and on the various Web 2.0 sites, we get hit up about the release date every day. We are hoping to have a DVD plan by the end of the month. Despite the overwhelming demand for the film to be seen, bear in mind we are still a small operation.
We are now open to talking to people about screenings, especially seasoned promoters and people with contacts to local theaters. Please contact us if you can help, drop us a line at firstname.lastname@example.org
Musically, our subjects are still churning out great dance music. Modeselektor is the next volume of the esteemed Body Language Mix CD series (buy Volume 8 here or here). They released a podcast on Resident Advisor to celebrate.
Modeselektor - Resident Advisor Podcast #173
And they’ll hit the States again in a month for a full tour. The dates are as follows, many including a Basement Jaxx DJ set and/or MSTRKRFT:
Oct 29 2009 @ Blue Bird, Denver, CO
Oct 30 2009 @ Cervantino Festival, Guanajuato, MX
Oct 31 2009 @ The Forum, Los Angeles, CA
Nov 1 2009 @ Club 101, El Paso, TX
Nov 2 2009 @ Teatro Estudio Cavaret, Guadalajara, MX
Nov 4 2009 @ Mod Club Toronto, CA
Nov 5 2009 @ 9:30 Club, Washington, DC
Nov 6 2009 @ Congress Theatre, Chicago, IL
Nov 7 2009 @ Music Hall Of Williamsburg, New York City, NY
Wherever possible, we are hoping to screen the movie in and around these appearances …
The Wighnomy Brothers have been raising their profile as well, with this unreleased Nick Curly remix, most recently seeing a lot of love:
Wighnomy Bros. - Lampatee (Nick Curly Remix) (buy)
While their label, Freude-Am-Tanzen, is enjoying success with this release from Kadebostan:
Kadebostan - Spirit Soldiers (buy)
DJ and Journalist Philip Sherburne recently made a lot of waves with this 100-minute mix for the Unsound Festival, where he, Kadebostan, Monolake and many more will be appearing along with the film:
Philip Sherburne - “Unsound Podcast #3″ (mirror)
A new website called R.fm, is an impressive showcase on the electronic music realm. And they have posted a live set from The Field, an artist predominately featured on the soundtrack of Speaking In Code:
The Field - Live at OSC09 Stockholm
See you soon at a theatre near you.
As we continue to wait for more film festivals to endorse Speaking in Code, forward-thinking music festivals are eagerly slotting the movie to show in sneak previews and with panel discussions to follow. Two such festivals, we are happy to say, are some of the world’s finest.
In September, Seattle’s Decibel Festival will screen the movie with a talk afterwards with director Amy Grill and the Wighnomy Brothers. Decibel is a purely home-grown incarnation, built on featuring pristine American talent alongside international names like Alter Ego and Move D. We met Decibel director Sean Horton years ago, when we began filming at Mutek in Montreal. That his festival is still around, and is in fact thriving, is a testament to hard work and perseverance. Resident Adviser recently ranked it the #4 September festival in the world.
Unsound in Krakow, Poland was awarded the #2 October festival by Resident Adviser and, looking at the line-up, it’s easy to see why. Marcel Dettmann, Omar-S and Biosphere are just a few of the marquee names. DJ Spinoza (aka Bryan Kasenic) is also on the bill. Spinoza will be featured on the DVD of Speaking in Code, bringing his minimal aesthetic to the clubs of New York City.
In the meantime, there are quite a few blogs and posts on the internet which continue to help spread the word about the film, and trust me when I say we appreciate every one of them. The stigma of dance music and dance music culture is still a barrier that we have to overcome, even with a film about said barrier, but the interest shown around the world proves this story must be told.
Musically, the worlds of techno and house continue to collide at a rapid pace. Even signs of breaks, dubstep and drum & bass are starting to infiltrate them, and vice versa. It’s safe to say some of the barriers and genres within electronic music itself are starting to crumble. Consider:
Reboot - “Enjoy Music” [buy]
With that positive and soulful vocal and the straightforward bassline, Reboot is one of the new stars of what they call “tech-house.”
Like the recent manifestation of “electro,” however, this new tech-house is more of it’s own animal, as with another new star, Jamie Jones.
Jamie Jones - “Acerola” [buy]
Both the these things come together in a grand degree when Jones teams up with Berlin’s Teifschwarz and New York City’s rising star–Seth Troxler:
Teifschwarz feat. Seth Troxler - “Hurt (Jamie Jones Remix)” [buy]
The most promising part of this unification is that old divisions of race and history are being disregarded. House no longer means black (Tiefschwarz literally means “more black”) and techno no longer means white (Jones is black, while Troxler is of mixed race) … All aboard the trans global express.]]>
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.
In the blogosphere, Chicago DJ Liz McLean Knight (aka Liz Revision) takes a compelling take on acceptance–via our trailer–at both her blog and Gaper’s Block:
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:
Ripperton - Prends-Moi Avec Toi (Isolee Remix)
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:
SoulClap - Great White Hope Vol. 4 (podcast)
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:
Yes, Giantess - Can’t Help It
We’re still taken with the productions of Coralcola. Here’s a recent ambient track from him:
Coralcola - Sleep Is for Dreamers
And Basstown resident DJ Die Young gets better at remixes every time he does another one. Here’s a new one where he’s working with Chris Wade of Providence, RI:
Chris Wade - Broke (DJ Die Young Remix)
And another remix of Mystery Roar:
Mystery Roar - NYC Balloon (DJ Die Young Just Right Remix)
Whether these, ourselves and others are accepted in the end … time can only tell.]]>
So far, there are 9 festivals currently deciding whether or not Speaking in Code will have a screening in their city. As the Sheffield Doc Twitter account says: (Programmer) “Hussain is sleeping on a pile of screeners.” Or, from others, “the Programming team is already working overtime.”
Deciding amongst thousands of film submissions must be insane, as our co-Producer Jason Redmond, of the Independent Film Festival of Boston, could likely attest.
The website Without A Box is massively helpful in submitting and sorting to these festivals, and surfing around we found hundreds of other festivals we had never heard of. We’re happy with the 9 we’ve whittled them down to. Most of these festivals happen in October or November.
Which means that, if accepted, Athens will host the European premiere of Speaking in Code.
Which is certainly fine by us. Greece has long held a thirst for dancing and art, going back to, well, the beginning of Western Civilization. Lately, techno music has been buzzing in the land of Zeus, consider EnTechno, the electronic music festival that takes place in September 09. So far they have enlisted Speaking in Code stars Ellen Allien, Wighnomy Brothers to participate in the fest. Check out their Facebook page here.
Greek techno label Kilk Records started in 2003 and has grown to include artists such as Hiroshi Watanabe (aka Kaito), SCSI-9 and Jonas Bering, all of whom are also on Kompakt Records, which makes an appearance in Speaking in Code.
It’s worth saying that paying for shipping and entry into these festivals is putting the project even deeper into a money hole. It seems to be that the financial commitment never ends when you make a movie.
We are hopeful it will all be worth it, however.
One benefit of festival submission: an official entry on The Internet Movie Database. The Speaking in Code entry is here. Withoutabox is owned by IMDb (which is in turn owned by Amazon).
Musically, the mission remains the same: bring people together to dance and form a community of minds. In today’s tough times, such a concept is even more crucial, it seems to me. Recently, BPitch Control celebrated its 10th anniversary on a boat.
Podcasts are all the rage in the land of beats, with blogs and labels jumping on board at every turn. Both Freude-Am-Tanzen and Kompakt have recently launched their own podcasts, recently, featuring label artists DJing their music, their label’s music and beyond:
Shumi - Dance With You Forever (Kompakt Podcast #1)
Freude am Tanzen Podcast Episode 1
While others use podcasts to show over their distributed labels, such as What People Play, complete with commentary and phone-in interviews:
That’s What People Play Podcast #1
And still others, like Optimo, some of our favorite DJs in the world, push the envelope much further with a mix of obscurities and dark beats that always seems to point to an upcoming trend in dance culture:
Optimo - Podcast 001 Synth Mix
Could a SiC podcast be far behind? As with everything in this endless process …
Speaking in Code is in the midst of submitting to numerous European, North American and South American film festivals. By the time 2009 has ended, we hope that markets like Chicago, Sao Paulo, Sheffield, Stockholm, Deauville and more will all have the opportunity to host Speaking in Code through the many festivals that will happen from now until the end of the year.
In the meantime, work has begun on the DVD product of SiC, which will most likely come out near Fall of 2010. The vast amount of footage we have access too will make for some great DVD extras for Speaking in Code. Director Amy Grill and Jason Blanchard recently met up to make a few extras. Here is a sneak peak:
– Monolake at Dub Plates & Mastering: How records get cut
– Juan MacLean pre-show chat in Miami
– Bryan Kasenic promotes minimalism in New York City
Uncut Concert Footage:
– Modeselektor at Sonar
The Wighnomy Brothers:
– 2 years later
There are also many outtakes which will be included and who knows what other extras will come about as things come together. Every film has a press kit, which details the making of and acknowledges the contributors in an official way. The first draft, and every other subsequent draft, can be found at this link. Check it out.
The official film page has been updated, with links more screenshots from Speaking in Code.
The movie also now has a Wikipedia page here–feel free to add and edit it–and the Facebook fan page has an official URL here.
There’s a lot of activity out there for our featured artists as well. Robag Wruhme has a new, stellar 12″ out, having just returned from a successful US tour with the Wighnomy Brothers. At the same time Gas (Wolfgang Voigt) played to exuberant rooms in Montreal and New York (click here for a review from friend of sQuare Vicki Siolos and pictures from Ricardo De Lima). Freude Am Tanzen has started a podcast and the Wighnomies appear on a remix 12″ from Gui Boratto. As for Monolake, stay in touch with his free music page here. And who can forget Ellen Allien, who’s autumn and winter fashion line recently hit Berlin Fashion Week.
Here in Boston, a new night has started up which relies on the modern Berlin style more then ever. It’s called Secrets and it launches this coming Tuesday. Here’s the inaugural DJ mix from residents Lynch and Sarah Joy:
Sound Stream - “Live” Goes On [Sound Stream]
Nekes - Cristal (Sascha Dive Remix) [Oslo]
Masomenos - Travel Master [Welcome to Masomenos]
Christian Burkhardt - Doubledub [Raum… musik]
Jus Ed - Yo, This Shit is Hot! [Underground Quality]
Kreon - Jauce [Cécille Numbers]
Matthew Styles - Palladium [Horizontal]
David Pher - Harare [Glueckskind Digital]
Delano Smith feat. Diamond Dancer - A Message For the DJ [Still Music]
Black Jazz Consortium - New Horizon [Soul People Music]
Melchior Productions Ltd. - Water Soul [Perlon]
Lynch and SarahJoy - Secrets (Direct DL)
Local producer Tanner Ross, who has made it a habit to DJ at events all around town, from Soulclap to Basstown, recently released the Voodeux full-length project to the world. With partner KiloWatts, who played at Boulder’s Communikey, he’s garnered the acclaim of the world’s greatest DJs with this hit, “Just A Spoonful”:
Voodeux - Just a Spoonful (Radio Edit) (Buy here)
And I’d be stupid not to note the passing of dance music icon Michael Jackson. I grew up idolizing him very much. Now his music speaks for him, which is the only good thing about his tragic death:
Michael Jackson - Rock With You (Frankie Knuckles Classic Mix)
RIP Michael, we’ll miss you.]]>