Category Archives: Music

Different Shapes; My first stab at Animation

Written, Illustrated, and Animated by Joel Gonzales

Music by Django Reinhardt

My first dabble into animation from 2014. I worked real hard on this baby during the summer of ’14, but I came across a slight hurdle, became very busy, and forgot about the project. I came across it 2 years later, and figured I might as well render her, and well, here she is.  Feel free to leave any comments/critiques/questions below.

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Entropy – An Unorthodox Fragrance (Adobe After Effects Project)

 

 

My final project for my Adobe After Effects class. We had to film, and edit a movie trailer or a commercial for our final project and here is the end result! I decided to highlight a fabricated cologne brand I called Entropy, with emphasis on trying to capture the excess symbolism often seen in artsy fartsy films. This composition was storyboarded, filmed, and edited in the span of 4 days. Let me know what you guys think!
Actors: Justin Medearis & Graci Samudio

Music by: Justin Medearis a.k.a RubixGroove

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December 26, 2012 · 9:07 pm

Voxtrot – The Start Of Something

 

The career path of Voxtrot was truly one of long, simmering build, explosion, and almost instantaneous decay. Slowly, I am learning to replace any feelings of regret with positive memories of how amazing the whole thing was, and how it has, in an unexpected way, fortified my character.

Making great art requires one to be fearless, and sometimes I’ve given too much energy to fear. Whenever I read an interview in which a band
claims they are going to return to the sound of their earlier, more popular work, a small part of me aches for them. It doesn’t work like that-the popularity of the earlier work is based upon the sense of newness felt by the musicians at the time of creation. So, how to get back the newness…?

Approximately eight months ago, I spoke to my friend Simon and indicated that I was ready to give up on music, or at least leave it for the indefinite future, but he reminded me that you can’t dedicate yourself to another job or a degree, or some other distraction just because you’ve got nothing else going-if you have the feeling that you were born to do something, you’ve got to follow that feeling.

As he told me, “Do it because you love music. Do it with passion.”

And so I did what I had to do. I swallowed my pride and got two jobs, one of which involved clearing the dishes of the filthy-and-not-so-pleasant-rich, and while this sudden change in lifestyle was not altogether ideal, I was constantly aware that I was building towards something.

For me, the most important thing in life is leaving behind something beautiful, something that finds its way into the lives of strangers, and forever alters them in a positive manner. Sometimes, being able to do this means that you have to work the shitty job and serve bread to rich idiots, but whatever, it’s better than just cashing in your chips and spending the rest of your life wondering, “what if…?”

In the end, I’ve come to realize that there really isn’t any cause for disappointment. The fact is, the songs still exist, and the music of Voxtrot lives on as a sovereign entity which, outside of all criticism, positive or negative, belongs to the guys and me, and to everybody who ever loved it or believed. Taking into account every person I’ve met, every place I have visited, every emotional exchange I have ever had with a listener, there is absolutely no room for regret.

In fact, the other day, I was thinking about it in the shower and decided that my situation was analogous to Peter Falk’s glass eye. You probably don’t know this, but I am a massive fan of Columbo-it is the only detective show in which there is no mystery, thus the entire reason you watch it is because you just love him (Falk) so much. It is a true testament to the power of a strong character. Anyway, when Peter Falk was five years old, one of his eyes had to be removed, due to a malignant tumor. Obviously, this is bad, BUT, had it not happened, he would never have developed his signature stare, which, let’s face it, accounts for at least a small percentage of his overall appeal. Whatever I create from this point on, I will only create because of everything, good or bad, that has happened thus far.

Being in Voxtrot has been wonderful and amazing, but it is only one chapter in the book…

When I was in high school, I was a great fan of the Scottish band, Travis, and I have always harbored a secret desire to meet the band’s frontman, Fran Healy. Not so long ago, at my friend Lucy’s studio in Berlin, I had the fortunate experience of doing just this. He was buying a painting of hers, and we spent about three hours conversing. Eventually, our conversation drifted towards the ebb and flow of our respective careers, as well as the anger that comes with not knowing how to pull oneself out of a creative rut. Obviously, our two careers have been on different scales, but nonetheless, the associated concepts are universal. At the end of the conversation, he said to me, “You can’t to keep writing the same song. You have to throw away the map. AND you have to keep creating, even if it goes nowhere for a while, you have to always keep creating… and it’ll be great.”

And he’s right. I must leave again-take a risk, do something radical, but in order to do that, I need closure. This is not to say that Voxtrot will never play again, and certainly, if Voxtrot has never been to your country (or continent) we are open to ideas, but for all intents and purposes, this series of live shows will be the last.

Part of doing something with love is being able to say “goodbye” at the right time. Thank you for everything. On to the next one…

Love,
Ramesh

19, April 2010

 

(Quoted From: http://www.voxtrot.net/)

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The Helio Sequence – Broken Afternoon

 

http://www.myspace.com/theheliosequence

 

“Brandon Summers was disenchanted at a time when he thought he’d be anything but. Following two epic, self-produced albums on Portland’s Cavity Search, The Helio Sequence had just released Love and Distance, the duo’s shimmering 2004 debut on Sub Pop. Brandon and best friend Benjamin Weikel were traversing the country with their impressive collection of synthesizers, pedals, guitars and massive amps all jam-packed into a brand new tour van (a two-seater obtained during Benjamin’s stint as the drummer for Modest Mouse). And heck, the pair had even left their day jobs at their hometown music shop in Beaverton, OR. After eight years of playing together (they met when Brandon was in middle school), The Helio Sequence had finally arrived. But after six months of tours in the U.S. and Europe with Blonde Redhead, Modest Mouse, Kings of Leon, and Secret Machines, Brandon’s vocal chords were severely shredded. When he lost his voice in the midst of the first batch of these dates, he was bummed but made the best of it [enter the whiskey]. Halfway through, though, he could hardly speak—let alone sing—and literally had to stop talking during daylight hours. To kill the boredom of forced silence during the day and the frustration of dissatisfying performances at night, he polished off 60 books in about as many days, beginning with Bob Dylan’s Chronicles. Upon returning to Portland, Brandon’s doctor forbade him from singing for almost two months. “I really hit the wall,” he recalls, “Going into 2005 I actually had to think, ‘If I lose my voice, what will I do?’”

Trading whiskey for Throat Coat®, Brandon taught himself vocal exercises and mic technique. He took up jogging and vowed not to be another lazy musician; from that point on, recording and practice sessions were to begin at 9am sharp. In light of such devotion, it’s not surprising The Helio Sequence regrouped and went on to record their most dynamic, extraordinary work to date. Keep Your Eyes Ahead marries the duo’s signature layered keyboards and impossibly big guitars with crisp songwriting and a newfound appreciation for minimalism. The finger picking on “Shed Your Love” is backed by exquisite strings and ambient noise, but Brandon’s serene, self-assured delivery remains front and center. While songs from the band’s early releases spanned up to 7 minutes, even the longest, lushest, catchiest track on Keep Your Eyes Ahead (fiery anthem “Hallelujah”) clocks in at 4 and a half minutes, evidence of just how refined their craft has become. Beyond the health regimen, Brandon’s brush with silence helped him deconstruct and refocus his approach to expression. Lyrics increasingly became stream of consciousness. Vocals were recorded spontaneously in bedroom closets and living rooms, which may explain the haunting urgency you hear in Brandon’s voice, especially on driving tracks like “Keep Your Eyes Ahead.” The band also took its time on the album. After the bulk of official recording was completed, a listen through all the demos and snippets on Brandon’s hard drive convinced Benjamin there were more gems in the rough (which is how both “Hallelujah” and “Keep Your Eyes Ahead,” as well as the mid-tempo “Back to This” were rediscovered and retooled).

The collective wisdom of Wikipedia currently describes The Helio Sequence as “indie electronica” (bonus points to whoever fixes that one). One listen to Keep Your Eyes Ahead, which was self-produced by the duo and then mastered by Greg Calbi (Iron and Wine, Interpol, and Paul Simon’s Graceland), confirms The Helio Sequence teem with an energy and a range that continues to defy such narrow categorization. Unapologetic pop and folk meld seamlessly to create songs that are bigger, more epic and polished than anything they’ve ever done. Keep Your Eyes Ahead is the sound of a band and a decade-old partnership that’s been invigorated. And that’s exactly how the songs will make you feel: invigorated.”

 

(Quoted from: http://www.subpop.com/bio/the_helio_sequence)

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JG – Something Pretty

Just a little something I threw together today when I had some free time. I enjoy it’s soft melodies.

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Casiotone For The Painfully Alone – Toby Take A Bow

http://www.cftpa.org/home.htm

Owen Ashworth was born on April 22, 1977 in San Francisco, CA.  Since 1997, he has written & recorded pop albums under the name Casiotone for the Painfully Alone. Most typically, Ashworth accompanies his vocal performances with the sounds of keyboards, drum machines, & other electronic devices, although recent releases have included more live instrumentation.

The music of Casiotone for the Painfully Alone has also included guest performances from Jenny Herbinson, Jason Quever, Jherek Bischoff, Nick Tamburro, Sam Mickens, Katy Davidson, Gordon Ashworth, Tyson Thurston, Anthony Lukens, Tim DeNardo, Sam Sprague, Jessie Gulati, Alex deLanda, Nick Krgovich, Julie Lispector, Stan Tangeman, Jamie Stewart, Caralee McElroy, Maurina Lioce, Karen Mitchell, Cass McCombs & Amanda Hughes.

Owen Ashworth currently resides in Chicago, IL.

You can write to him at:

Owen Ashworth
P.O. Box 471563
Chicago, IL 60647

 

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Tokyo Police Club – Listen To The Math

http://tokyopoliceclub.com/home/

“Tokyo Police Club took its first baby steps toward finding that voice with its formation in 2005. The band was off and running the following year, releasing the debut EP A Lesson In Crime to instant and universal acclaim. One more EP (Smith), a digital-only single (“Your English Is Good”) and a few world tours later, Tokyo Police Club’s first full length album, Elephant Shell was released in April 2008. Elephant Shell’s release was preceded by multiple sold out shows in New York, Los Angeles, San Francisco and Toronto, and followed by appearances on The Late Show With David Letterman, The Late Late Show With Craig Ferguson and, bizarrely enough, Desperate Housewives. Critical response to the full length was even more enthusiastic and diverse, with the likes of GQ (“Strokes-caliber catchiness”), Elle (“a smart, furiously played sugar-rush debut”), Rolling Stone (“poised to become the biggest Canadian export since Molson”) and more giving thumbs up. The guys circled the globe in support of Elephant Shell for approximately a year and a half, finally coming off the road in August of 2009.”

(Quoted from: http://tokyopoliceclub.com/bio/ )

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