This article from the NYTimes examines if Radiohead’s “pay what you want” credo has worked out for them with the release of “In Rainbows.”

The NYTimes take on In Rainbows with an interview. “Under a typical recording contract, a band receives royalties of about 15 percent of an album’s wholesale price after expenses are recovered. Without middlemen, and with zero material costs for a download, $2.26 per album would work out to Radiohead’s advantage”

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Daft Punk’s newest film Electroma was finished last year but is just making rounds in the states, thanks largely to a partnership with Scion that has been taking screenings of the film across the country. Last night was the Chicago stop and it was a definite chore to sit through the entire film. Not because of the film itself (which was, in my opinion, incredible), but the boozed up audience that had been chugging the provided free beer and making their own MST 3000 out of the night.

Granted, Electroma is more Matthew Barney than Martin Scorsese, but come ON.At the end of the film, Peter Hurteau (who played the silver robot in Electroma) fielded some questions and then I spoke with him afterwards as well. He’s an incredibly sweet guy with an earnest demeanor who moved from LA to Portland to escape the film industry. Apparently that worked well.

By the way, I apologize about the quality of the photo. The theatre was unable to turn up any lights at the front by the screen.

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What was the cost of making the movie?

I’m not sure what the budget was…it was a non-union job and there wasn’t a very big budget. The movie started as a music video for Human After All and that’s what Mike (Gold Robot actor) and I signed up for. When the footage was reviewed, [Daft Punk] liked it, came back to shoot b-roll and expanded it to make it a full-length feature.

How does an abstract film like this appeal to the public?

Well it’s an abstract film but there’s a pretty linear storyline. Still, it’s not made for a vast audience and it’s unapproachable for most people. Actually, a lot less people left in the middle of this screening than at the previous one. I’ve seen the film three times now in a screening environment and the reaction is always vastly mixed.

What did you get out of being in an abstract film?

Being a part of the film in general was an amazing experience. I’ve never acted before and I was asked to be in the film by the producer who liked my temperament and remembered me from a previous job we were both on. He basically just gave me a call, had me come over to his place and asked how well I could fit into a leather suit…no, no shenanegans. On a personal level, it was totally bitchin’. I got to meet some wonderful people and we’ve formed some tight friendships.

Did you get to wear their actual suits?

Oh yeah, Mike and I wore their actual suits. We all wore dummy helmets, but those are the only two suits in existence and were custom made for them by I think Christian Dior. We’re close now, we’ve shared sweat.

Is there any definitive analogy in the film or is it up to us to interpret ourselves?

It’s up to you to interpret it and I guess it depends a lot on what kind of person you are. There is a lot of reference to films like THX 1138, but they weren’t out to make a statement to the world. In the end they made it for themselves.

Do you like the film?

I like the film. Of course I like it for personal reasons, but I also like the subject matter, the idea of it, the shots and camera work and the imagery.

I didn’t hear any of their music in the film?

There was none of their music in the film. I was really excited about that as well…not that their music wasn’t in it, but the creation of the soundtrack as they went. They kept talking about artists that were on their wish list, like Brian Eno, and it was cool to watch that evolution as the filming went on.

What was it like for Daft Punk to be directors?

It was different for them. They kept creating everything as they were doing it because they had the story idea but they didn’t really know what they were getting into. They had never directed a feature, but this had always been an avenue they really wanted to explore.

Did you get to drive the car at all?

For the filming I couldn’t. Legally they had to have a stunt driver, but afterwards I got to drive it. It’s an ‘83 Ferarri with all the decals taken off and it was automatic, which wasn’t nearly as much fun. After the movie, Mike, the other robot, tried to drive it home and it broke down. But hey, they got it cheap at a couple thousand, mostly because of that automatic transmission.

Is the self-destruction of the robots a signal that Daft Punk will abandon the suits?

There has been a lot of speculation about that, but then again, they’re on tour in those suits right now. I’m not sure that’s going to happen.

Are they hot?

They are EXTREMELY attractive.

Want to go to Moonshine with us after this?

I have to check with my friend Luke, I’m staying with him.

Expect a full report tomorrow

Hot Chip is a dear dear artist to me and I am more than looking forward to the third album, “Made In The Dark,” dropping on February 5th via DFA/Astralwerks. Below is the video for “Ready For The Floor,” which is track #3 on said album.The track is gorgeous but the visuals in the video are damn distracting. I suppose if Heath Ledger drops out of The Dark Knight for any reason Alexis Taylor could fill those shoes…or maybe not. I love the 60s television throwback costumes/sets, but Taylor’s outfit gives me the shivers. Who knows, maybe I’m wrong. Thoughts?  

01. Out At The Pictures
02. Shake A Fist
03. Ready For The Floor
04. Bendable Poseable
05. We’re Looking For A Lot Of Love
06. Touch Too Much
07. Made In The Dark
08. One Pure Thought
09. Hold On
10. Wrestlers
11. Don’t Dance
12. Whistle For Will
13. In The Privacy of Our Love 

Here is a newish Hot Chip tune for you to munch on while waiting for the album. “I Became A Volunteer” isn’t slated for the album…or for release at all at this point, which is too bad because I rather like it. It’s sweet and ethereal, quite easy to fall in love with.

  
I Became A Volunteer
Download (ZShare)   

James Murphy & Pat Mahoney :: Fabriclive 36

Reviewed on Monday, December 03, 2007 by Dani Deahl

While the rest of us have a “Finally!” moment with the release of LCD Soundsystem’s installment to the Fabriclive series, it seems the band themselves had major reservations about completing a mix CD. “We find doing mix CDs horrifying to a certain degree,” say James Murphy and Pat Mahoney, “because there’s nobody there, so it’s just like, ‘What are we doing!’ It’s like you’re just yelling into the air.”

One would never guess hesitancy was an issue judging by the care put into the project. With an awe-inspiring track list that should leave even seasoned audiophiles scratching their heads, the duo smartly decided to use a Bozak mixer to lend additional depth and warmth. The result is an hour of discovery for the listener as the mix flows between all that the fringes of disco, electro and funk have to offer.

Murphy and Mahoney are amusingly self-aware of their whimsical tendencies, though they call it by a slightly different name. As Mahoney puts it, “We both have a love for some pretty gay-ass disco.” However, One man’s “gay-ass disco” seems to be another’s undiscovered treasure as the mix bumps along from Lenny Williams’ funky bass-plucked “You Got Me Running” to the thumpy minimal loopiness of Gichy Dan’s “Cowboys And Gangsters.” The boys even make a nod to their day job, nestling their “Hippie Priest Burn Out” between the warm notes of Punkin’ Machine and electro-techy Junior Bryon.

In the end, despite all the oohing and aahing over the obscure selections, the duo’s mindset towards their own project is charmingly lighthearted. Simply put, say Murphy and Mahoney, “We’d like for it to be fun.” Amen.

Sorry kids but the Daft Punk remixes will never get old. You will have to suffer through endless samples of One More Time, Robot Rock, Around The World and Revolution 909 for years to come. The horror!

I only say this because Missing Toof posted a yummy mix of Around The World by Villains and some seemed to take offense to the fact that it was number 8,549 in a long line of Daft Punk remixes. Get over it, they’re rocking it in robot suits in a lit up pyramid. You’re not.

In any case, here is a remix of Technologic by Paul Anthony and ZXX, a duo that have been making waves on the Beatport charts lately. Paul even has a new electro mix called Electro Sessions Vol. 1 coming out on Moist Music in the near future, a label that also hosts names like Donald Glaude and Charles Feelgood.

The pair’s interpretation of DP has resulted in a track that’s straightforward dirty with ear-bleeding synths, perfect for peak-hour floor filling action. Yeeeeea boy!

Technologic (Paul Anthony and ZXX Remix)
Download (ZShare)