4/18/2006

JFF PFM and SiC



Funny how things work. This Thursday, we have a special guest at the club night we co-host, called Make It New (a name inspired by Ezra Pound, fwiw) and he was reviewed in hipsterati music site Pitchfork Media just this morning.

James is an industry friend (meaning we met him at conventions and so forth) who's turned into a better friend, and, more importantly, a nationally-known DJ. And I'm going to try to open for him. Here we go.

We'll use the opportunity to promote the film a little bit (naturally) and keep the interest up in electronic music in general. It may not be an entire coincidence that PFM and sQuare linked up, being that I used to write for them early on (visit some pretty awful early reviews here) and our co-producer writes for them. More likely, though, is that PFM is just a stand-up organization.

They are fast becoming the first stop for industry cats and music heads worldwide, and have done a brilliant job maintaining independence and thier enthusiasm for electronic music. That they have Dominik Eulberg and Koln's own Ada playing their music festival is awesome enough, but they also give careful consideration to a lot of the music that's in our film. Long live Pitchfork.

We have plenty of screen shots of our investor DVD forthcoming, as it turns out. Director Grill has set up an edit suite in the dining room and the more footage we log and splice together (over 120 hours at this point) the more it's clear the film is about people and a desire to see things change through independent means.

James is independent, so is Mutek, Bunker, Forced Exposure and the others who have made it to the edit screen. They're all so well-intentioned and unique it makes for good footage, and apparently our initial investors agree.

As we prepare for the rest of the shoots this year, songs jump out as relevant, true and nourishing. One such track comes from a recent compilation of the Hacienda club, perhaps the greatest club of all time. The inclusionary, deliberate sound and look of the night still remains a standard for every dance party that's thrown. The final track on the 3CD set (it's a brilliant set, btw) is Candi Staton's gospel-tinged, deep electrohouse anthem "You Got the Love".

There's no denying that the dedication some people have to dance music borders on the religious, and the song sums up the pinpoint strife of maintaining in a world where you think nothing you do matters.

The Source - "You Got the Love (with Candi Staton)"

The new electronic underground is soulful, determined and full of enthusiasm -- especially when enthusiasm might be all you got.