de-VICE #2


C-CHAN happy snaps!
inane contact details
PAPRIKA: the new anime from satoshi kon - review
one photo says it all: TOKYO DISNEYLAND
TEKKON KINKREET anime preview
album of the moment: V/A - HIFANA presents NAMPOOH CABLE
ZU-ZUSHI, part 2: IF? Records return to Melbourne
is this the coolest show on JAPANESE TV?
the best ADVERTISEMENT of all time
JEFF MILLS launches his "one man spaceship" in Tokyo
jonathan more raps about Dr Who: COLDCUT stylee
BEN SIMS labels for Andrez, September 2006
PowerShovel, Ltd.
SPANK ROCK rant a bit to our Tim
FAMKE JANSSEN raps about "x-men 3"
george w. bush: the real state of da union
PLAID: all about greedy baby & i-warp
movie review: STUDIO GHIBLI'S "gedo senki"
new IF? RECORDS sites
WORLD CUP round-up
IFFY links
TOKYO TECHNO parties 2006
muzak of da month #1: joy division rejigged...
movie review: "CARS"
new LITTLE NOBODY info links
BRAZIL music demo competition!
T.O.E. TV 1994
5000 FINGERS OF DR. T - "barbequeued crickets" video-clip
TIM DELUXE: ego killer
DORAEMON: is this the best japanese anime?
cocoa-chan blog
"get yer mitts on it" book selection #2
completely archaic video-clip of the month
silliest video of the year
the world cup
yoko umehara, art et al
gloria gaynor: that '70s diva
movie review: "poseidon"
little nobody / schlock tactile / andrez bergen
nightmares on wax
kid 606 'sometimes' video-clip
vegemite: anime stylee!
movie review: "dreamer"
the winners: the coolest, kitschest tv themes
jeff mills 'life cycle' (1994) video-clip
jammin' unit vs. vj sniper (video-clip)
movie review: luc besson's "angel-a"
classic japanese movie previews
si begg / the noodles foundation 'mad as hell' video-clip
evangelion vs. rammstein
kid koala 'fender bender' video-clip
dj shadow 'six days' video-clip by wong-kar wai
plaid 'eyen' video-clip
neil landstrumm / scandinavia
ken ishii - 'extra' anime video clip by koji morimoto
mamoru oshii - 2006
peanut butter wolf / stones throw
mr. scruff
william shatner fuels-up
si begg / noodles 2006
kid koala
video archive: front 242 'Headhunter'
movie review: mamoru oshii's "tachiguishi retsuden"
from the back of the fridge: cristian vogel (2000)
tony leung: 2046 / in the mood for love
movie review: "the producers"
ninja tune: zen tv II tour
kenji kawai
classic movie o' the month
"get yer mitts on it" book selection #1
movie review: osamu tezuka's "blackjack"
wine guzzler of the year award
fantastic plastic machine
coldcut: 'sound mirrors', ad infinitum
gene farris: 2006
captain funk / oe
the glimmers
deep dish vs. madonna
zen paradox / steve law
khan oral / captain comatose
luke vibert / wagon christ
from the back of the fridge: claude young (1998)
schlock tactile
calvin & hobbes
the winner: best american comic book cover of all time!
from the back of the fridge: melbourne - voiteck & honeysmack (1997)
from the back of the fridge: ken ishii (1999)
from the back of the fridge: aphex twin (1997)
cyberdada: archive playlists (pbs-fm)
muzak of da month (march): prefuse 73
muzak of da month (april): tachiguishi retsuden soundtrack
de-VICE #1


text by the superlative
mr. timothy colman, esq.

These days if you want your music to make any sort of impact it needs to have an accompanying video clip. Most labels will milk five videos out of an album if they think it will sell them more CDs.

Robin Brunson and Stuart Warren Hill of English group, Hexstatic, took this
concept to the extreme. Both their albums ­ Rewind and Master View ­ have
been complete audio-visual affairs; essentially each track has its own
unique clip. This probably explains why the duošs releases are few and far

"It does take a long time," says Brunson. "I think it was four years between
our last two. Wešre always constantly doing things for the live show, which
can be used for the album, but it is very time consuming. It probably takes
four times as long."

Luckily for the pair, whošve been working together since 1995, itšs their
live marriage of music and visuals which holds the punteršs attention.
Musically they deliver a barrage of electro, hip hop and breaks over a
visual collage of animation and live filming. Theyšre even able to localise
the mix to the area theyšre performing in.

"It depends how much time we get in the city," says Brunson. "Wešre doing a
workshop in New Zealand and the idea is to make something that has reference
to the local area and then show it in the performance. Things like the road
crossing buttons here make this mad noise. Wešve sampled those before and
put them in the shows."

What reaction the local material elicits obviously depends on whošs in the

"I remember playing in South America there was this huge wall of graffiti
and we walked along and shot it all. It was about a mile long. We showed it
at the show and it just so happened the guys who had done the pieces were at
the show. They went crazy."

Advances in DJ technology have made it easy to cut up audio live. New
digital decks enable CDs to be manipulate in the same fashion as vinyl.
Unfortunately nothing similar existed for the live visual mixers or VJs.
When DJ equipment producers, Pioneer, wanted to exploit the visual market
they called Hexstatic.

"Pioneer asked a load of DJs worldwide what they wanted," says Brunson. "The
CD decks had just come out and we said if you could do that with DVDs it
would be fantastic. They were nice enough to manufacture them, which is a
surprise, cause Išm not sure what sort of market there is for them. Theyšre
extremely expensive."

Hopefully they gave you one for your efforts.

"They gave us two actually. That was very nice because I donšt think we
would have been able to afford them otherwise."

So where does one source visuals? Computer animation and filming can yield
ample material but it appears a lifetime obsession with recording the idiot
box is the answer.

"Stu has a huge library," says Brunson. "Basically a whole attic of old VHS
tapes and Beta tapes, which he can still get to work. His dad had one of the
first video recorders, which is some obscure tape format Išve never even
seen before. Apparently hešs got every episode of Top of the Pops for 10
years in the '70s on this format."


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