It's good to be home.

The less we know, the more we sit still.

The Temper Trap Science Of Fear on Vimeo.

"I am but too conscious of the fact that we are born in an age when only the dull are treated seriously, and I live in terror of not being misunderstood." {Oscar Wilde}

Noesis and Noema.

A few months ago, I went to a concert at the Getty Museum to see one of my favorite pianists, Dustin O'Halloran, (second, if only, to Philip Glass) play (for lack of a better term.) Experiencing his talent in person surpassed my wildest expectations; every hair on my body stood like a soldier at attention, my eyes half-full of tears for nothing short of two hours straight. It shouldn't have surprised me to find other artistic geniuses in the audience, as his music is one of the greatest creative catalysts I've discovered to date.

Upon exiting, my guest and I stepped into the elevator heading down to the parking garage with none other than David Lynch, who was also there to see Mr. O'Halloran's astonishing performance. We made small talk about trying to remember where exactly we parked ("I think it was this floor?"), and ironically, his lackadaisical disposition somewhat reminded me of my own father. His unobtrusiveness and the casual nature of the encounter almost led me to forget that I was standing in the presence of one of our generation's most visionary minds. Without care or thought to whether one likes (or dislikes) Lynch's work, it is undeniable that the way in which he processes and communicates information offers a highly unique and unparalleled perspective. He transforms ordinary artistic mediums to a level of unprecedented ingenuity. (Feel free to insert your own "un"-something adjectives where deemed necessary.) Lynch's work has pushed my consciousness into both areas of extreme discomfort and paralyzing realization. Often times, I don't particularly care for the pictures he paints in my mind's eye, as he single-handedly has demolished the walls of my comfort zone on numerous occasions, but I've come to believe that is precisely what is the difference between art that is and art that is effective.

Lynch's current project, "Dark Night of the Soul" (a visual/auditory exhibit in which he has paired with musicians Danger Mouse and Sparklehorse) has moved to Miami for the next month. If you are lucky enough to experience this project first hand, then for better or worse, if nothing else, I have faith that it will leave you altered, thus truly succeeding in it's purpose.www.dnots.com

From the Dark Night of the Soul website :
Dark Night of the Soul is a full-length album and illustrated book, combining the talents of Danger Mouse, David Lynch and celebrated rock recluse Sparklehorse. In addition to the hardcover book, the album includes vocals from the Flaming Lips, Julian Casablancas of The Strokes, Frank Black of the Pixies, Iggy Pop, Nina Persson of The Cardigans, Suzanne Vega and many others. The exhibition consists of over 50 original photographs by David Lynch which are displayed alongside the accompanying soundtrack by Danger Mouse and Sparklehorse.

- C.

Reverie.

Phenomenal director, Stefan Nadelman (Menomena's Evil Bee, Saturday Night Live) lends his visionary mind, hand and eye to one of Portland's newest indie ventures, Ramona Falls. Even the most experienced artists and animators will have a difficult time denying his innovative technique and portrayal. In this music video, Nadelman creates a periscope in which the viewer is visually transported into an alternate reality, one of which I would like to revisit more often than not.

- C.

Ramona Falls "I Say Fever" from Barsuk Records on Vimeo.