From the album ‘Emergence’ out now Buy ‘Emergence’ http://bit.ly/2omlYRH For more information about the Emergence project visit http://bit.ly/2phfAsi Follow on Spotify: http://bit.ly/2qIcLSQ “For this chapter of the Emergence story I wanted to escape the computational and data-driven approaches often used in other parts of the project, and try something more humanised. I found an amazing artist called Sabine Volkert, who hand-draws every frame of her videos, which creates a very particular sort of feeling, and one that seemed to me to fit with the feeling of the music and of the concept involved – the tinkering of animal development via random mutation to create a rich variation of forms on which natural selection can act – the mechanism of Darwinian Evolution. Sabine told this story with warping morphologies, exploring the range of animal structures we see around us. All of these different structures have many shared underlying principles, such as segmentation (units built around analogues of a spinal cord), modularity (organs as individual units), and bilateral symmetry (mirrored body structure to give directionality for senses). There are many more of these common principles shared amongst animal forms, which are coded for and created by shared molecular mechanisms like the genetic code and gene regulation, which guide the process of development to create each different animal. Because of this mechanism of conserved systems and principles, random mutations in small regions of DNA can produce large scale, coordinated changes in bodily structure. It’s evolution of evolvability – nature has set up system which is likely to produce a wide range of potentially viable, but different animals, as the best bet for survival in an unpredictable world.” Max Cooper “For Max’ beautiful track Organa I grounded the video’s visual concept and stylistic choices in its thematic background, while leaving a lot of room for experimentation throughout the entire process. Following only a set of rules for the standalone animation chains and a rough overall structure, everything was pieced together gradually, evolving into the final compositions guided by the musical cues as everything unfolds over time.” Sabine Volkert http://bit.ly/2pWwlO0 Follow Max Cooper http://bit.ly/2phqiPn http://bit.ly/2pWdUc8 https://twitter.com/maxcoopermax http://bit.ly/2omD4Pd

Ten days spent in western New York during the cold months of January/February with it’s people and the local band Every Time I Die. Director/Editor: Kyle Thrash Producer: W. Ian Ross DP: Justin Derry 2nd Unit Grip: Alexa Carroll 2nd Unit Grip: Marc Baill Additional Editing: Nate Gray SPECIAL THANKS Sunday Skate Shop, Juan & Paula, Buffalo Fire Depot, Buffalo Film Office, Nashville’s Upstate K9, Hardtales Magazine, Tyler Vogel, Wollcott Guns, Lindsay Lessard, Kelly Seiracki, Patricia Seiracki, Charles, Tanesha. Nino. Iliane Jant, Rob J, Joe (skater), Tommie. Mike Albert, BJ Lyons, Dan DiPirro, Frank Dispenza, Chris Pogue, Nancy Wu, Anthony Haward, Jim Watkins, and everyone else from Buffalo and Western NY who shared their stories or support. Forever grateful. Copyright Epitaph Records

Sign up for a month’s free trial at The Great Courses Plus: http://bit.ly/2pTVysm The Great Courses Plus is currently available to watch through a web browser to almost anyone in the world and optimized for the US market. The Great Courses Plus is currently working to both optimize the product globally and accept credit card payments globally. Cinematic sound isn’t limited to explosions, musical cues, or the Wilhelm scream. Let’s take a few minutes and explore a more theoretical and storytelling-oriented approach to on-screen sound. Press the CC button for film titles. Interview w/Ben Burtt- see the Criterion edition of ‘Modern Times’ Sources/Further Reading- Composing in Sound and Image by Jonathan Rosenbaum – http://bit.ly/2h70G7h Nightmare Alley: Do We Hear What He Hears? by David Bordwell – http://bit.ly/1MT5g0b You can follow me through: Twitter- http://twitter.com/andymsaladino YouTube- http://youtube.com/c/theroyaloceanfilmsociety Music by Chillhop: http://youtube.com/chillhopdotcom Nothing But Luv by aso: http://bit.ly/2qFCCL2 Listen on Spotify: http://bit.ly/ChillhopSpotify

Music Video for COEUR CROISÉ, a song by POLO & PAN, Hamburger Records Director: Pablo Maestres Producer: Laia Barot Production Company: Frenzy and Primo Executive Producer: Elsa Rakotoson, Camille Semprez, Cédric Barus, Cecilia Salguero Main Cast: Yulia Tsymbal & Laurent Meri Director of Photography: Marc Miró Production Design: Anna Colomer Choreographer: Tuixén Benet Costume Designer: POLIÉSTER Make up & Hair Design: Javier Ceferino & Alba Guillén Edit: Carlos Font Clos Post-production: Metropolitana Colorist: Marc Morató Production Manager: Aina Salarich 1st AD: Gemma Sellarés

Animated on a smith corona galaxie deluxe typewriter. Sound by One Thousand Birds (http://otbirds.com)

“Azulejos" is a heartfelt tribute to Portugal. Emanuele Kabu’s illustrations reveal a personal view of Lisbon, disclosing the more mysterious, psychedelic and seductive side of the city. A kaleidoscopic journey through Barrio Alto’s narrow lanes, hopping on and off the Alfama tram, sailing down the Tejo river and under the 25 de Abril bridge, all the way to the feet of the Cristo-Rei. * More details about the concept here: http://bit.ly/2rwLQJ4 * First single from the upcoming album out on Wonderwheel Recording and La Tempesta Dischi http://bit.ly/2qyNso5 http://bit.ly/2rwJ8mz Purchase single on iTunes: http://bit.ly/2qyKyj8 Pre-Order ‘Azulejos’ LP/CD/Digital: http://bit.ly/2qyKyj8 * Populous contacts: http://bit.ly/2rx1dRu http://bit.ly/2qyKwYy https://twitter.com/populousmusic * Directed by Emanuele Kabu Thanks to: Laura, Faye and Andrea. * 2017 London