There have been so many great music videos this week, we thought we’d dedicate an entire blog post to them. There’s something for everyone here, with psychedelic stop-motion animation from Tame Impala, hand choreography from Falty DL, cardboard typography courtesy of Lushlife, and the story of a lonely golf ranger, as told by Dog Is Dead.
First up is this charming short animation, created by Dan Britt for children’s TV show Yo Gabba Gabba, and with music from The Pains of Being Pure At Heart. You’d be hard pressed to find a more aggressively happy song or video.
Lushlife’s Magnolia, directed by Lamar + Nik, is a bit of a play on Bob Dylan’s Subterranian Homesick Blues, but with chunky cardboard letters instead of signs. Watch all the way through to the end to see all the lyrics of the song laid out, in cardboard form.
The video for Daphni’s Ahora, created by Jane Eastlight, is more of an ever-morphing artwork than a video, but one that’s mesmerising nevertheless. Eastlight has also created artwork for label No Pain In Pop, which you can read about in our January 2012 feature about independent labels and their artwork.
Falty DL has replaced carefully choreographed dance routines with hands, in the new video for Straight and Arrow. Descibed as “a symphony of fingertips”, the video sees a host of hands and other limbs move in time to the music. Watch for long enough and it starts to look as if the hands are the ones responsible for the music itself.
There’s psychedelic animation made from what looks like plasticine, for Tame Impala’s Feels Like We Only Go backwards, directed by Joe Pelling and Becky Sloan.
Director Jordan Bahat has created a beautiful but sad story of a lonely golf ranger, for Dog Is Dead. It’s ok though, she’s secretly saving all those golf balls so she can build a friend.
And there’s a bit more on the subject of loneliness from The Peach Kings, directed by Paul Trillo. The girl tied to the chair might seem to be alone, but it turns out she’s surrounded by (almost) invisible friends.
And last, but definitely not least, is Noisey’s found footage extravaganza for SOHN’s The Wheel, which splices industrial scenes with sweeping landscapes.
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CR In print
In our November issue we look at ad agency Wieden + Kennedy in a major feature as it celebrates its 30th anniversary; examine the practice of and a new monograph on M/M (Paris); investigate GOV.UK, the first major project from the Government Digital Service; explore why Kraftwerk appeals so much to designers; and ponder the future of Instagram. Rick Poynor reviews the Phaidon Archive of Graphic Design; Jeremy Leslie takes in a new exhibition at the Whitechapel Gallery dedicated to experimental magazine, Aspen; Mark Sinclair explores Birmingham’s Ikon Gallery show of work by the late graphic designer, Tony Arefin; while Daniel Benneworth-Gray writes about going freelance; and Michael Evamy looks at new telecommunications brand EE’s identity. Plus, subscribers also receive Monograph in which Tim Sumner of tohave-and-tohold.co.uk dips into Preston Polytechnic’s ephemera archive to pick out a selection of printed paper retail bags from the 70s and 80s.
The issue also doubles up as the Photography Annual 2012 – our showcase of the best images in commercial photography produced over the last year. The work selected is as strong as ever, with photographs by the likes of Tim Flach (whose image of a hairless chimp adorns the front cover of the issue, above); Nadav Kander (whose shot of actor Mark Rylance is our Photography Annual cover); Martin Usborne; Peter Lippmann; Giles Revell and more.
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