A few weeks ago I attended Contakt, a yearly event hosted by the people from Minus. I came out feeling completely blown away, and the memories of the event flashed obsessively through my head for many days after. But apart from the musical side of things I was most taken by the visuals, the work of Ali M. Demirel and Burak Arikan. In a similar way to Minus’ sound, these visuals were MINIMAL, but had a catastrophic impact that was jaw-dropping.

Here’s an interview that might give you an idea of how Ali plugs into the Minus team.

One of the setups they made was based on a grid of dots, each with their own small square-shaped boundaries, watch it in action here, made by Burak. This is one of many other ideas based on a single concept called Meta Control: “Collection of visual/kinetic performative artifacts. These software pieces have a single organizing principle: their control mechanisms are not hidden and often exposed.”

The grid idea in particular has been stuck in my mind since I first saw it, probably because it was one of the few that I managed to figure out, so yesterday I tried to re-build it in Flash.

Stupidly, before I started building it I didn’t look for a video to refresh my memory, in fact I’ve just realized by watching this video that he didn’t actually use any vertical/horizontal lines to connect the dots, which is how I built mine.

Anyway, you can check out my first version, which I’ve creatively named MinusGrid here. Maybe I’ll upgrade it one day.

I also made a mac screensaver: download

Smokin Jo and her new project, TRNSSTR, are going to be performing live over the next few months, starting towards the end of December. So she asked me if I fancied doing some visuals for the event, and I immediately said yes.

I’ve been doing the odd bits of visuals for small parties here and there, using a mixture of “static” animations and physics-based graphics (all in Flash). But for this event I really wanted to use some real footage, especially as I have access to an EX1 camera through my brothers’ production company, which is a lot nicer than the camera I usually use (FX1). It has a variable framerate that can capture between 1 and 60 fps, which means that you can do some nice slow-motion stuff, and it also gives you the option of changing the lens, which gives the footage a real filmic look, losing a lot of digital traces..

So the other day, on my 1-hour break from a Flash project for Orange, I wrapped myself in clingfilm and set-up the camera (maybe it wasn’t in that order), with the help of brother #1.

We agreed that the clingfilm wasn’t right, and that if shown to a crowd of [temporarily] mentally and emotionally fragile people, would have been the perfect way to empty the venue – as well as crushing the poor souls of those who happened to be there.

However the lighting and the feel is just perfect for what I imagined, so based on this idea we’re going to shoot it again next week, with the help of my friend James who knows a bit more about lighting and styling than I do. I’ll be behind the camera this time. And Jo’s hidden the clingfilm.

I often play records together with my good friend (and now flatmate) Robbie on his decks in his tiny little bedroom. The other day, after playing straight for three or four hours, Robbie had lay down on the bed, exhausted, while I continued playing.

Banging techno isn’t really the most favourite thing for someone trying to sleep, but for Robbie it’s actually not that bad. In fact he often falls asleep listening to the sounds of Richie Hawtin and Anja Schneider. Nonetheless, I felt compelled to play something with a bit of warmth.

I like to think of this mix as an abstract representation of Robbie’s Sleep that day: it starts off low and warm as he’s drifting off, then gains pace while he’s fast asleep, and as he begins to wake up it ends with one of my favourite ‘morning tracks’.

REBELRAVE is always wrapped in drama, and this episode has been no exception. This was meant to be released a couple of months ago (or maybe more), but my computer’s hard-drive suddenly died just a few days away from the video being released. The files for this episode had disappeared, but miraculously made it back without a scratch, thanks to the help of a bunch of crazy technicians with white frizzly hair who live in a tiny basement of Spitalfields. You can read more about this story here

This episode of REBELRAVE has a slightly more developed format than the other episodes. We have been wanting to upgrade the format into something more cultural and a bit more appealing to people who aren’t necessarily techno-heads.

One of the additions to the format is that we now have a presenter, who also happens to be my girlfriend (what are the chances?), Anna Bosworth. Having a presenter gives the video a new dimension, and gives me a lot more to play with both when filming and when editing. There is now a story.

Another new element is that we don’t just focus on the club experience. From this episode you will see an interview with Seth, and a quick chat with the illustrator behind the Crosstown Rebel record sleeve designs.

To celebrate the new format I have launched REBELRAVE.TV, which will be the portal for all our films.

Hope you enjoy.