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Archive for March, 2011

Posted on: March 30th, 2011 by robin

A large project I took up soon after finishing uni. I joined Gothabilly Luton band Bride of the Atom on the live circuit, acting as the 6th band member and projectionist. I provided a variety of film and live projections for the band using a mix of found footage, stock, my own creations as well as hunting down super 8 film reels of old B movies. I would use both a digital projector and an old super 8 projector with film reels and project the images live to a sheet pinned to the wall while they played. There were a few ocassions where I set fire to the film reels I was projecting much to my own chargin.

I planned to create a video for every single song they played, which was pretty daft and unrealistic considering I wanted a lot of control of each film. I also stupidly did not purchase a laptop to rig up my digital projector with and insisted on using a shuttle pc. I had to carry around so much stuff to every gig.

Here are a few bits I created

bridemontageplaybackmovie from Robin Van Rijn on Vimeo.


A live video of there first performance:

Posted on: March 30th, 2011 by robin

This is what I consider my first real piece. It was made at College for final year project.

oneminutewarn from Robin Van Rijn on Vimeo.

Posted on: March 30th, 2011 by robin

Live visuals that were created for the band Deprovera for a Without Dead Time gig at the Hat Factory in 2006. The videos were mashed together on the fly using lots of different clips and rendered through the real time instrument for live audio visual performance called Resolume.

oktopay from Robin Van Rijn on Vimeo.

Posted on: March 27th, 2011 by robin
Posted on: March 27th, 2011 by robin

Roman Anglais

Cover design for Felicia Atkinson & Sylvain Chauveau — Roman Anglais

Sketches are by Felicia Atkinson. The material for the cover is not card as appears but actually scanned card.

From Boomkat:

Accompanied by Sylvain Chauveau’s beautiful instrumental backdrop, Felicia Atkinson intones captivating, mesmeric spoken passages in both French and English. Ordinarily, this reviewer tends to find it hard to truly embrace spoken word albums, but Atkinson’s bilingual tracts unexpectedly draw you in. There’s an aesthetic congruity between these withdrawn, strangely emotive utterances and Chauveau’s opium haze background noise, which at times sounds like something from Charalambides’ “A Vintage Burden”, while at others you’ll think you’re listening to the pulses and bleeps of hospital life support machinery. It’s all quite strange, and often unsettling, yet beguiling all the same. The lulling electric guitar passages of opening tracks ‘Aberdeen’ and ‘How The Light’ transplant you to a mindset somewhere on the brink of consciousness, only for ‘Dans Le Lumiere’ to confuse and disorientate you over the course of its ten-minute journey toward the static absoluteness of its droning coda.

The eighteen minute title track that closes the album is probably the most remarkable of the four pieces, with Chauveau fashioning a far more densely woven musical setting for Atkinson’s voice. Interlocking, sustaining guitars meet and overlap while soft electronic activity hums in the background, retaining a blissful harmonic cogency throughout. It’s all very poetic, and the kind of album you could happily immerse yourself in for hours at a time. Highly recommended.”

Posted on: March 27th, 2011 by robin

Meek Tiger Cover

Meek Tiger (the origin of the name is a story for some future date) sounds like disaster movies, opaque and dimly lit hollow caverns, the noises made by heavy objects impacting against brittle ones (and vice versa) – imagine, if you will, that all geologic sedimentation observable in the world today was actually a product of the US government performing a seance, resurrecting Alberto Giacometti in1987, and getting him to paint all the patterns in by hand – then claiming they had always been there, and proceeding to use this as an argument for creationism.

The title of his debut release, SyNkr07iK N3kr0N124t10n splits the difference between synchronic necrotization and necrotic synchronisation: the timed and simultaneous death of all life, or a snapshot of the death of one organism. (The School of Unthink would like to be noted, however, that misreadings using other words, such as syncretic, synthetic, and Necronomicon, remain both welcome and encouraged.) Copies are available: contact daniel@vstmrecords.co.uk .

Meek Tiger explores dub soundscapes in search of a sense of self, joining the front lines of the sonic conflict that currently characterizes community dance music. Multiple sound sources — guitars, keyboards, samples, pure accidents of MIDI programming — jostle against each other, struggling to make their voices heard in the mix.

About the Artwork/album cover

Daniel is fellow member of the school of Unthink trusted me to re-create from his sketch what the album cover of his album “Meek Tiger — SyNkr07iK N3kr0N124t10n” should look like. From my own listening experience I devised a textured and warm artwork, I wanted to put across how surreal and warped the music was but at the same time how it seemed to follow a linear plot with pathways, scenes and meeting points.
The city forms a paradox looking inviting and inhabitable in the background, whilst in the foreground I wanted the cryptic clues given to me (which to this day I still don’t understand) to be very prominent and static within the artwork.

This artwork was quite possibly one of the longest and most detailed pieces I have ever made with a photoshop layer count of over 300 layers! Shadows within shadows and very finely cut, warped and manipulated objects that I tried to give some realism to and somehow map as a collage to fit into a very unrealistic photo of a large lake. I really like how I’ve tried in my minds eye to create a photo realistic version of the sketch but failed miserably but at the same time created something with the sonic elements of the music and it’s surrealism that do not fit together quite right but seem to make this sonic map and drawing that I feel perfectly aligns to the story and music.

CD Package photos and description:

  • Cd package includes Arigato pak case, green watercolour hand painted.
  • Front artwork – glossy full colour photo print
  • Back artwork – Hand Calligraphy and spray-painted Godzilla footprint.
  • Cd-R with inkjet green Godzilla footprint.
  • Linear notes 12 page green booklet 100 gsm, staple bound.
Posted on: March 27th, 2011 by robin

Piano Tragic by Robin Van Rijn from Robin Van Rijn on Vimeo.

An animation by Robin Van Rijn. Music by Creeping Jaw Society. The track “Piano Tragic” is from the album “9 works for Piano” more information can be found at http://tisar.wordpress.com/

The animation is a meditation and reflection of the song.

This post is about a new film work. “Piano Tragic” is a track by Creeping Jaw Society. This is what creeping Jaw Society has to say about the track: “From the album Nine Works for Piano) Piano Tragic, which was the second track of the nine, was constructed using left over piano parts I had recorded five years previously at Luton 6th Form College, as well as single notes culled from a friends piano. The idea was to create a piece that had some emotion to it, but one built around the development of generative effects, and not just ‘a man playing a sad piano song’. I like to think it works…it at least turned out the way I heard it in my head.”

The track to me felt so composed, ordered, sequenced and filled with emotion but I could understand how it was quite self generative the way the notes and sound were so stretched and bunched together they took a life of there own forming patterns and fragments of a tune. I had wanted to do a video for music such as this for so long. My previous work with Canidae used so little precision and accuracy and was haphazardly edited with just a rough idea of how the piece structured together to form a loose narrative than typical screenplay or story-boarded animation.

With this piece I wanted to tie the sounds and editing to be precisely edited so that there was an entirely fluid, hypnotic and immersive in feeling and become completely engrossing in nature.

It was not until after 10 months of deliberating after making just 30 seconds of the animation before I found out this was the best way to go. I originally started this video in early 2009 and plotted out the animation until I got tangled around a trying to have a big idea. I felt the need to subject a theme and story into the animation to give a better cohesion between the visuals and music I was attempting to make and give the piece the same dramatic tension that that music has. Then I realised it would be pointless to give a piece such as this narrative and literal story as music of this type is far better left for the listener to interject his own ideas to the meaning and themes to the abstract nature of film and music.

Surrendering to my subconscious I just listened to the music with my eyes closed and worked out how the music could be represented visually as shapes and texture. The animation then only took a month to make and was a enjoyable and rewarding process. On that note I leave you with some still images. The full video will be uploaded soon.