So It Goes: even though the title could be the one for a contemporary bestseller with a happy ending for bored teenagers to read on the beach, Lucy Brydon’s short film is not one that can be associated to cheap drama. Her work tackles psychological issues and focuses on complex characters that are completely laid bare by her uncluttered style. In this nine minute clip, she exposes the paradox of art, which can be both overwhelmingly oppressive and liberating, through the character of a young woman who is struggling to free herself from the psychological domination of an artist who believes that she is his muse.
“You just take from me” is her final cry before she turns away from him, and is one of the rare spoken parts of the film. So It Goes is indeed largely speechless and there is not much dialogue or music to fill in the empty silences of the protagonists’ lives. A train passing, a phone ringing, a shower running: the sounds of real life become more powerful and build up a tense atmosphere that explodes at the end. In that way, Brydon’s scenario is extremely close to reality and it is almost as if her camera was stuck to the skin of her characters to reveal entirely their thoughts, their questions, and their emotional identities.
It is clear by the maturity of her style that Lucy Brydon already has experience in film making. She graduated in English Literature and Creative Writing from the University of Warwick, and then completed a Master’s degree in Film Directing at Columbia University, after expanding her experience in the field in Shanghai, where she worked for five years in journalism, film production and art shows. Today, she has an impressive list of contributions to films, festivals and exhibitions, and even publications (she was a contributor to the 2014 Introduction to Scottish Documentary Film). Her work has received international awards, including the Dewar Arts Award and the Panavision New Filmmaker Award, and she now runs Shy Film Productions in London. The icing on the cake? She is originally from Edinburgh…
“I enjoyed listening to the music that made me want to run upstairs and lay some ideas down.” Joss Ryan explains to me how a wide variety of musical influences at a young age have helped him grow into a self-taught musician. But for the East London DJ and Producer, there was always more on the musical horizon, and his explorations through sound have given him a more refined set of influences. Jazz, Grime, and Soul have played integral roles in shaping Ryan, and it shows in his latest E.P. entitled ‘Blaze Blu’ (Relseased on DVA music).
It’s difficult to categorise the music into a genre, and for good reason. Ryan’s studies of Audio Engineering at the London School of Sound, combined with his five years of production experience have allowed him to conjure a natural ability to intertwine contrasting genres and triumph where others fail in making it sound balanced and effective. In ‘Modesty’ thick Jazz brass introduces a progressive instrumental that evolves into a melodic synth-fest, complete with shuffling piano a soaring string crescendo. Undertones of modern oriental vibe are also apparent, perhaps a throwback to Ryan’s passion for orchestral music in video games such as the Final Fantasy series.
Ryan makes no secret of his desire to develop a sound he “can call his own”, he is constantly reinventing himself to stay fresh. Noting the limitations of playing at clubs, Ryan treads through the dense wilderness of the world of music to discover instruments that he carries with him through all of his productions, gradually scultping a DNA pattern that formulates his sound. ‘Blaze Blu’s’ title track, with it’s anticipatory bellow and pulsating brass, boldly embodies Joss Ryan’s intention to not just push the boundaries, but to attempt to draw new boundaries of his own. “I think to play at a festival like outlook or dimensions is the dream right now, and to develop a ‘live show’ to perform.” Having played at Cable and clubs in the Dalston/Shoreditch area, fans of experimental electronica would be wise to listen out for this highly ambitious artist.
At a time when we’re faced with a relative deluge of electronic music – the internet awash with new beats every day – I think we shouldn’t underestimate those moments when we hear a new producer and his music draws us in. When what you’re hearing is more than a pleasant backdrop to that essay you’re struggling to write, or (more likely!) that facebook stalking you’re indulging in. When it demands attention.
Enter, Bloomer White – aka Gary Kelly – who’s dealing in a fine line of beats, breaks, and choice cuts, measured tastefully against some ambient textures and delicate keys to create absorbing electronic music that still sounds fresh after the first few listens.
Originally hailing from Lurgan, Kelly is now based in London to study Music Computing at Goldsmiths and to further hone his craft. He self-released debut EP ‘Stolen Goods’ as a free-download through Bandcamp last year. For me, standout tracks would have to include the galactic-sounding beat-propelled ‘Space Cab Engineer’, and the retro vibes of ‘Tape Deckin’, which he balances nicely with softer and more understated moments such as soundscape ‘Adaption’, and his imaginative remix of Anneka’s ‘Shut Her Down’.
More recently, Bloomer has been uploading some new material to his Soundcloud, including a couple of 30-minute mixes that are worth a few moments of your time, and certainly wouldn’t sound bad playing-out if you were planning to have a party any time in the new future!
This pioneering young producer is one to watch.
Bloomer White will be playing a set at the Gola Charity auction in aid of ‘Art Against Knives’ on 29th November. I’ll definitely be listening.