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The official video is here (under a Vevo account), but it’s region-locked so doesn’t even show up in search in other countries.

Powder’s ‘New Tribe’ with animation by AC-bu. They have a bunch of other videos in a more flat style, mostly for Japanese pop artists, and some ads: e.g. ‘Sushi Tabetai’.

Run Wrake’s videos, the most psychedelic stuff ever put on video: e.g. Howie B’s ‘Music for Babies’ and ‘She Called Again’, or Future Sound of London’s ‘We Have Explosive’.

Funki Porcini’s ‘Incredible Thing’, ‘How Banking Works’, ‘Conservative Apocalypse’.

Music made to existing videos: Spastic Ink’s ‘The Cereal Mouse’ and Blotted Science’s ‘Cretaceous Chasm’.

Nadia Lee Cohen & Charlie Denis’ video for AFX’s ‘Korg Funk 5’.

Señor Coconut’s ‘Tour de France’.

Almost anything by Michel Gondry, e.g. The Chemical Brothers’s ‘Let Forever Be’; but also his early stuff like Oui-Oiu’s ‘Bolide’ (in which band he also played drums).

And of course, Nekrogoblikon’s ‘No One Survives’.

Oh please feel free to tell me how I’m wrong about things happening in my country, jackass.

Fun fact: that song only became a hit after having been included in David Lynch’s ‘Wild at Heart’ and then being played on radio by Lee Chesnut, fan of the director.

I’m pretty sure that compared to the US, the only relevant social program we have is cops chasing homeless people out of sight, as opposed to letting them hang out wherever.

Aside from universal healthcare, of course.

I’m more partial toward ‘Watermelon Man’ reinterpretation from the same album.

Yeah, I’ve lumped them together in my mind, because subway is typically not called ‘train’ in my language. But the situation is about the same. Just looked it up: a subway car here has the ‘full capacity’ of over 300 people, commuter cars around the same, but probably less in practice. And the numbers sure push toward that during rush hour.

Explain then how it is that there are no dirty smelly masturbating crazies on buses and subways in my country.

Crazies hang out doing crazy stuff in spaces that are conducive to such behavior. If normal people ride public transport because it’s expected that public transport accommodates normal people, then crazy behavior isn’t tolerated on public transport.

Oh suuuure. Except maybe you haven’t noticed, but I can read English, and peruse US-dominated social media. In the threads on mass transit it’s always “truly these are complex and multifaceted problems”, and then outside that thread it’s “I had to use subway today with all the masturbating weirdos like a peasant”.

That always sounded to me like a chicken-egg problem. People don’t use buses and subways, because buses and subways are populated by weird dirty hobos. Well guess what…

Buses seem to be shafted in that comparison by the fact that no one uses them in the US. Where I am, a bus gets just seven passengers only in the middle of the night. At other times, buses would be easily at the top of the table if not for the fact that our trains also move more than twenty people per car.

I’ve been a fan of Laswell for about twenty years, and it’s fascinating to dig through his catalog and see how easy production comes to him, how he always had his fingers in a lot of projects and how he gathered a whole bunch of other musicians in his orbit. ‘Future Shock’ also has Nicky Skopelitis, who did guitar on some of Material’s albums and was in The Golden Palominos with Laswell, and whom Laswell pretty much dragged from one project to another for decades.

Eraldo Bernocchi is another illustrative example. He had an ambient project with some dudes, released something like four records, and then did a collaboration with Laswell, inevitably falling into his gravitational sphere. After that all of Bernocchi’s later releases in the project and under his own name were clearly marked by Laswell’s methods and the library of sounds and effects, even without latter’s involvement.

Huh? With my ears, normally.

Indeed, admittedly Westerners are free to visit Israel as they see fit and get spat on and kicked by the Orthodox Judaists as much as they want, in excess even.

I’ve been posting jazz-fusion and jazz-metal some time ago in the music communities, see in my profile: the posts are marked with the genre. You’ll probably want to start at ‘Jonny Greenwood — Bodysong’ and go in the chronological order of the posts, which is also approximately by increasing craziness. Fugu Quartet/Quintet in particular did jazz with doom-metal, so in kinda related spirit.

I also posted some regular jazz and other stuff, see if anything catches your eye or ear. It’s all from the personal selection.

That album reminds me of The Kilimanjaro Darkjazz Ensemble, Bohren & Der Club of Gore, and perhaps The Mount Fuji Doomjazz Corporation, so you can try those if you want vaguely similar sound.

It’s because ‘Rockit’ was made by Bill Laswell, Michael Beinhorn, GrandMixer DXT and three other guys on turntables. Hancock basically turned up at the end to play some synth lines.

Laswell and Beinhorn were in the band Material, and turned it into a production outfit, plus Laswell was a producer at the label Celluloid at the time, which label was a pioneer of hiphop. He also participated in the New York no-wave jazz scene as musician and composer.

Hancock was in his early forties, and his career was getting stale. His manager, twenty-five years old, pitched the idea of making a track to both him and Laswell. Hancock was taken by Laswell to hear some popular djs, but still required more coercing by the manager.

Material’s early stuff might be closer to ‘Rockit’, although it’s more disco-funk. Dunno about Celluloid’s output, as I’m not really into old hiphop. Laswell used scratching in some of his genre-clashing projects well into the 2000s, e.g. in the ‘Axiom Sound System’ concert with Tabla Beat Science and a bunch of other folks (including Grandmaster DXT). Laswell also co-produced and played bass on the rest of Hancock’s ‘Future Shock’ album and the next two albums ‘Sound-System’ and ‘Village Life’, and did other collaborations with him.

(Yall might be familiar with Time Zone’s ‘World Destruction’ with Afrika Bambaataa and John Lydon; and Material’s ‘Seven Souls’ with the voice of William S. Burroughs. Both of these were featured in ‘The Sopranos’, and both were produced by Laswell, just like PIL’s album ‘Album’.)

This video showcases the kind of math that Angine de Poitrine have to constantly do: ‘Angine de Poitrine’s Math Rhythms Explained’.

Imo honey works better with cheese. Also can handle some added sausage, as suggested by another commenter — though I prefer parboiled sausage like hotdogs rather than that with globs of fat.

‘Stalker’ isn’t a studio film, same as Tarkovsky’s other films. They are ‘auteur’ films. ‘Stalker’ doesn’t even really follow the novel, it’s rather Tarkovsky’s ideas put into the same setting.

Directors who want to make slow films, make them still. See e.g. ‘Boyhood’. Of Russian films, try ‘Hard to Be a God’, the last film of Alexey German, made in 2013. There’s a whole movement called slow cinema, with extreme examples like Lav Diaz’s work having runtimes of up to ten hours. The second-longest ever cinematic film was made in 2024.