Kat & Mason, attendees of the Black & White & Red All Over Ball at the Red Lotus Room in Crown Heights, Brooklyn. August 21st, 2011. ©Steve Prue.

Squeeeee!

Photographer Steve Prue’s huge collection of photo booth portraits from the Ball are now all up on our Flickr account! Flickrites, please feel free to go in there and tag or comment on photos. We’re eager to start putting names to all of those beautiful faces.

• Photo Booth Collection, Part One
• Photo Booth Collection, Part Two

A massive “HOLY CRAP, WE DID IT!” thank-you post is imminent as well.

Have a great weekend, everyone.

Nyx of Asha Beta Industries, crew member/art donor for the Black & White & Red All Over Ball at the Red Lotus Room in Crown Heights, Brooklyn. August 21st, 2011. ©Steve Prue.

In 2005, Banana Park produced this Oscar nominated short, based on George Herriman’s seminal comic strip, Krazy Kat. It is the perfect primer for the strip, should you ever consider diving into the collected series, giving a brief and concise look at the bizarre love triangle at its center. Banana Park did a fantastic job of capturing the look of both the characters — Krazy Kat, Ignatz Mouse, and Offissa Pupp — the strange, otherworldly version of Coconino County, Arizona.

(It should be noted that, even though Krazy is referred to as “he” here — as, indeed, was the case in the comic — it is gender neutral, Herriman refusing to ever give a definitive answer as to Krazy’s gender.)

Via Drawn

The lovely people at Ghost Pictures just sent us the link to their new official trailer for the upcoming Rowland S. Howard documentary Autoluminescent, which is slated for an Australian theatrical release of Oct 27, 2011.

“Autoluminescent traces the life of guitarist, songwriter and artist Rowland S. Howard. Rowland S. Howard was an influential figure in contemporary music, particularly renowned for his role in seminal post-punk bands The Birthday Party, Crime & City Solution, and These Immortal Souls. In a career spanning 30 years Howard worked with the best artists of his generation, including Nikki Sudden, Henry Rollins & Lydia Lunch. His was a singular talent, cut short by an untimely death in 2009.”

No word on further screenings yet, but if there’s any creative justice in this world, Autoluminescent will eventually be shown internationally and run the festival circuit. Fingers crossed, anyway.

Previously on Coilhouse:

• Farewell, Rowland S. Howard
• Sneak peak of Autoluminescent

I’ve featured Nelson Boles’s work before, specifically his trailer for non-existent film Orfeu. His newest is called, simply, Little Boat and features the same painterly style that I find so endearing about his work. Little Boat is also far more minimalist than Orfeu, something he uses to great effect. Beautiful, beautiful stuff.

Via Cory Schmitz

From the profoundly sick ‘n’ twisted punsters innovative educators behind Art of Bleeding comes this morning’s “anatomy lesson” in the form of a extended satirical mashup that riffs off the name of Body Worlds creator Gunter von Haagens and the moniker of a certain time-honored, faux-Scandinavian brand of ice cream.

This video is not safe for work, nor the squeamish, nor the lactose intolerant. TASTE DEATH.

Thanks, as ever, for keepin’ it real strange, Al.

After the tragic death of bassist Sean Stewart last year, the remaining members of Australia’s HTRK –Nigel Yang and Jonnine Standish– have continued to record as a duo. Their latest release, Work (work, work), marks the beginning of a new route.

HTRK’s debut album, Marry Me Tonight (2009), produced by The Birthday Party’s Rowland S. Howard, was a modern take on the familiar musical connection between Berlin and Melbourne, a route frequented before by Howard himself, Nick Cave, Anita Lane, Phil Shöenfelt and other heroes of sultry, sticky new wave. Acute guitar structures and thick, uneasy basslines added an aggressively shuddering, no-wave influenced quality; Standish’s detached, blasé vocals completed the impression of intriguing discomfiture.

HTRK vocalist and co-composer Jonnine Standish, wearing Poltock & Walsh.

Work (work, work) is a different story, devoid of previous aggression, and filled instead with aloof blankness and withering instances of resignation. The music draws from popular retro-futuristic sources, exploring an imaginarium of digital decay, postindustrial wastelands, soulless end-of-days decadence and chemical cures for chronic anhedonia. There are echoes of mid-90s dystopian reverie, in which humans seek respite from their growing boredom and anxiety in cyberscapes or mechanical sex practices or drug delusions… although HTRK paints these millennial fears in more fashionable dress, using a production palette of all the sounds currently en vogue. Work (work, work) presents indifferent vocals, deeply steeped in slowly pouring, liquid-metal synths and distant waves of guitar noise. The songs, languidly spinning, encourage the listener to melt them together into a thick soup. Or paraffin. Or diesel oil.

The downtempo qualities can even evoke an image of post-2000 trip hop: washed out soul, dub influences, marijuana-induced laziness. Work (work, work) maintains  just as suffocatingly stuffy an atmosphere – and becomes equally as decorative as trip hop eventually grew to be. At times, it sounds like a nihilistic version of electronic sentimentalists and mood creators like The XX. The band’s new music has an oddly warm quality, yet it’s a warmth more resembling an engine cooling down than a sentimental smile.

Press photo: Nigel Yang & Jonnine Standish.

Purchase Work (work, work) and other HTRK output at your local indie record shop, or directly through their record label, Ghostly International.

Upcoming HTRK Tour Dates:

• Sept 06 Portland OR – Mississippi Studios
• Sept 07 San Francisco CA – Public Works
• Sept 11 Los Angeles CA – The Echo
• Sept 14 New York NY – Home Sweet Home
• Sept 17 Brooklyn NY – Secret Project Robot
• Oct 12 Krakow PL – Unsound Festival
• Oct 24 London UK – The Garage
• Oct 30 Kortrijk BE – Sonic City Festival

A brilliantly edited montage of public statements by a motley assortment of local denizens, no rx documented at fairly recent meetings of the Santa Cruz City Council/County Board of Supervisors:

Via Fitz, with thanks.

From Sveta Dorosheva’s “More Book Illustrations” portfolio.

Sveta Dorosheva‘s fantastical art could be compared to a brilliant dream collaboration among noted artists, for whom the goal is a visionary book of enchanted tales. Imagine an artistic hybrid comprised of the intricately-lined illustrations of Harry Clarke or Aubrey Beardsley, the luxurious art deco magnificence of Romain de Tirtoff (Erté) fashion plates, and the beautiful-on-the-verge-of-grotesque visages drawn by the enigmatic Alastair.

But! In this imaginary scenario, the artists realize there is something… some je ne sais quois… missing from their efforts. They entice illustrator Sveta Dorosheva to join their endeavors: she flits in, and with a mischievous smile and a gleam of amusement in her eye, announces “yes, yes, this is all very beautiful… but let’s make it FUN!” Although comparisons to the above-mentioned artists may be obvious upon first glance, the sense of enchantment, whimsy, and joyful wit present in Dorosheva’s work ensures that one not only appreciates they are gazing upon something technically pleasing or beautifully rendered; one also genuinely delights –and even emotionally invests– in the engaging imagery as well.

Though born in Ukraine, Sveta Dorosheva currently resides in Israel with her husband and two sons.  She has worked as as an interpreter, copywriter, designer (be certain to peek at her Incredible Hats or Fashionista portfolios!) , art director and creative director in advertising, and is currently pursuing her lifelong dream of academic training in art. Dorosheva recently spoke to Coilhouse about her lifelong love of fairy tales, and her inspired,  imaginative new project, The Nenuphar Book, which will be published in Russia this autumn.   See below the cut for her illuminating ruminations and a gallery selection of her extraordinary illustrations.

From Sveta Dorosheva’s “Weird and Wonderful: Fairy Tale Illustrations” portfolio.

via Whittles

You can thank David Lewandowski (lead animator on TRON: Legacy) for the nightmare juice. The Jean Jacques Perrey music makes it extra disturbing, capsule somehow.

Three day weekend coming up for us Americans, so this has to be a quickie, seeing as I have to amass the alcohol and ammunition that every holiday celebration here requires. Today’s FAM is “Inside the Labyrinth”, an hour long behind-the-scenes documentary about the making of Labyrinth.

Labyrinth, for the one or two readers who don’t know, is the 1986 Jim Henson film starring pre-rhinoplasty Jennifer Connelly, David Bowie, a whole mess of puppets, and David Bowie’s package. While short, the documentary does provide a look into the complexity of the creatures that Henson and company were building, exemplified by the image of a severed, yet moving Hoggle head speaking lines whilst perched on a wooden post. (Bonus for Star Trek: The Next Generation fans: Hey look, Dr. Crusher was also a choreographer.)

Thorough as it is, it does not address the decision to pour David Bowie into nut-hugging spandex for a children’s film; something that, for now at least, remains a mystery.