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- - Rather than explaining the "artistic" approach of evilspins in too formal a manner, I prefer to freely share the notes and sketches as a testament to the project's long genesis (2019 -> 2024) : --
- "The idea of the name comes from Anton Newcombe, who defines music as something that must remain independent, - hence his quote "keep music evil", from which 'evil' and 'spins' refer to music as an object that turns (cassette, - vinyl, CD...), music is a living object in perpetual motion and it's 'evil' / independent / unmanageable because - it makes you dance, it takes the listener without even realizing it. --
- - Each compilation is the original soundtrack of a non-existent film. It must leave room for imagination and - reflection. - A compilation tries to produce the effect of a film, to provoke imagination. - It's an opportunity to decontextualize forgotten, outdated, or unconsciously caricatured musical genres - (bluegrass, - punk, folk, hip-hop...) or simply to discover new genres. - Approach music without thinking about the stylistic references of the piece, like in a film. --
- - A compilation can therefore offer several readings, - - a panel of characters, - - several versions (short, long like a director's cut, side A/B (side B could be a parallel version with the same - artists in the same order but with different titles very close)) - - several possible reading modes (mode 1: only the mixed sound and artworks (only play/pause is available), - mode 2: portraits and names of the protagonists, anecdotes, quotes, and web links (possibility to go to the - next/previous track and to 'seek')) - - an artwork (square format (vinyl) or 16/9 + black band (cinema)) - vocal samples to make characters speak? - (samples of artists in interviews, for example) - - a mix must follow this order: - List of quintessence sound : - 1. accessible but instrumental - 2. more researched and instrumental - 3. more rhythmic instrumental - 4->7. rhythmic sung - 8. rhythmic instrumental - 9. Instrumental - 10. bluegrass final Evils spins from the idea that music needs the imagination of its listener. - 11. hidden track --
- - Design: timeline of the player like the itinerary of a journey on a map OR like a display board at a train - station/airport "A problem created cannot be solved by thinking in the same way it was created." "God only depends - on the imagination of men" Drawing situations where you meet someone you think you know well but who doesn't have - the same vision of things as you. Example: discussion about music and completely divergent points of view, (Nick - Waterhouse = completely inaccessible jazz) Going to see local labels inventing a religion and therefore a god, is - only a way to personify one's conscience. The projects converge on the concept of a "cyber residence of artists" - drawing a face to one's morality. Dreams are nightmares, nightmares are dreams. Starting from reflections on the - use - of new technologies; questioning one's use of the internet on one's computer, phone, etc., allows one to wonder - what? when? why do I need the internet, to watch a movie, to listen to music... In my case, the answers to these - questions propose a use that mixes tools and methods from different eras. TOOLS & METHODS FROM DIFFERENT - ERAS/CONTEXTS Just like in the film 'La fille du 14 juillet', it can be very interesting to play on the contrasts - between different eras by mixing them in the same visual and sound realization. Idea of realization graphic novel - or - comic book: Observation: with the revolution of the internet and new technologies, cinema has become a major art - that everyone masters more or less. The public's gaze is sharpened and everyone knows how to apprehend - cinematographic realization. The plans, camera movements, sound effects are a language that everyone knows how to - read (cinema is carried by all through downloading & streaming) ... and even write (I can make a film with my - phone, - reflex cameras have become affordable). How to draw cinema? Try to take key scenes from cinema, draw/paint them - and - animate them. fixed plan? traveling? zoom? panoramic? plunge? counter-plunge? wide-angle? long focal? work on the - Wikipedia of 'film noir' re-watch film noir link with the polar noir? film noir has a pretentious approach at - first - glance. so we need to find a technique (visual? sound?) to disarm this bad image. to do this we need to start by - isolating and understanding the possible pretentious aspect of film noir. --
- - The solitude of the character? The - voice-overs that narrate the thoughts? The appearance of the protagonist? The cliché (visual & script) of the - polar - noir too worn out? (the detective alone in his thoughts, in his apartment smoking a cigarette on the balcony) the - cigarette can still be a more powerful visual element than a cliché transition with animation of the cigarette? - cigarette = huge filmographic symbol == we find it in most films especially in the era of film noir == commercial - influence tool == influence of American culture (cowboy), == symbol of the ephemeral, like life, like the - characters - of a film, like a film. the 2 mega clichés: Nicholson/Polansky in Chinatown & Ridley Scott in Blade Runner How to - integrate the cigarette? = 3D animation? (often ugly, technically very difficult, aesthetically difficult) = - hand-drawn animation? (long... very long to do but good pretext to train) = vector-drawn animation? (technically - moderately difficult but aesthetically difficult) = film excerpts? (technically easy & aesthetically very easy BUT - not really creation (montage), and illegal... to check) = animation of the spin (film zoom in Cassette, CD, Vinyl, - the plates of a hard drive (joke -> why not make a montage effect), find an equivalent for digital (server bays, - server fan? (joke))) why not call the box to meet at Slift to turn it properly and start a collaboration? - otherwise, - a lot of material to Bellecours photo + ... Fnac? no, much more interesting to go through a collaboration. Take - out - the rushes of films. --
- - - The thinking of Jack Nicholson in Chinatown No visual drawing during the reading of the piece, - only why not the log / cover / artwork of the album the reading should not look like a PowerPoint, the - counter-example is everywhere on YouTube. On the other hand, a drawn and animated artwork in parallax why not. See - 3D js cover -> at the mouse movement: preview with animation -> At the click fade of the box zoom on the cover the - animation is no longer manual but automatic (linear movement? random?) after the cigarette... the smoke... too - cliché? possible but the smoke can make a transition between 2 listens / animations. the listening ends the smoke - arrives brings us to the cigarette which brings us to a protagonist who brings us to a film excerpt. why - evilspins? - The spin obviously refers to the movement of music both by its format (cassette, vinyl, CD) and by its effect - (membrane, air movement, dance) possible sound effect: end of the piece Purple Mercy - Purple -> the end of the - piece ends with an abrupt snare with a subtle reverb -> effect felt: conclusion on an impression of grand space -> - effect analyzed / symbolic: grandeur of the proposal but above all empty room -> no public -> therefore call to - the - public -> idea expressible: maybe too pretentious again. film noir has a pretentious image at first glance. we - need - to find a technique (visual? sound?) to disarm this bad image. to do this we need to start by isolating and - understanding the possible pretentious aspect of film noir. The solitude of the character? The voice-overs that - narrate the thoughts? The appearance of the protagonist? The cliché (visual & script) of the polar noir too worn - out? (the detective alone in his thoughts, in his apartment smoking a cigarette on the balcony)" --
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