Here’s another strange, murky clip paired with the warped electronics and dusty beats of Belgian producer Cupp Cave, the burgeoning artist born François Boulanger whom we profiled just last week. As we pointed out toward the end of that article, we can expect a new Cupp Cave record to drop next month via Ramp, the nine-track Retina Waves, from which “Kid’s A Loner” is lifted. Though we had a hard time deciphering what exactly was taking place in Boulanger’s previous video, “White Out,” it looks like this piece features some kind of underwater painting. It’s surprisingly mesmerizing to watch, which explains why it works so well with Cupp Cave’s mysterious tune.
Vis-Ed: Feel Good Lost

In a cultural climate where rehashed VHS footage spliced together with found YouTube clips and fuzzy JPEGs constitutes most brand-new, independent music videos, it’s a welcome change of pace to discover people who are dedicated to pursuing the arts of cinematography, production, storytelling, editing, and directing. Sure, there are likely many nascent filmmakers scattered around the globe who are hard at work honing those exact skills, but few are doing so with such distinct style and exuberance as Brendan Canty and Conal Thomson, the Irish pair who makes up the production studio Feel Good Lost.
“Originally, I was putting [my work] under my own name, but I wanted to build a kind of collective-type production company,” shares Canty. He and Thomson, a cinematographer whose first love was still photography, met while attending film courses at Cork Institute of Technology. Though each started out doing all of their own class work and expanding their portfolios alone, the two wound up working together on their final school project in the summer of 2011, creating a 30-minute short film about a US paratrooper lost in Normandy during World War II. “We were delighted with how that came out,” Canty says of the first Feel Good Lost movie, The Kid—which, incidentally, made it into the 2011 Cork Film Festival. “It taught us so much about the process and the production and all the stages of making a short movie. It forced us to discipline ourselves.” But the experience wasn’t without its difficulties, too. At first, Thomson had a hard time transitioning from his SLR to a film camera. “It’s a bit different thinking in moving images, as opposed to single photos,” he confesses, but Canty seemed to know exactly how to overcome the hump. “Conal would struggle to get shots, and I would say, ‘Con, just set up the shot like it was a photograph,’ because [his] photographs are amazing.” Canty continues, “And [he] started to do that, and we started to get amazing shots as a result.”
Thomson and Canty have worked together ever since, amassing an astounding number of pieces in a very short amount of time under the adopted title of an instrumental album by Canadian post-rockers Broken Social Scene. “We needed a name,” explains Canty of his shared moniker, “and I was in love with the phrase ‘feel good lost’ and the idea [of that phrase].” Feel Good Lost may have begun with a short film project, but outside of that, the pair has almost exclusively made music videos. They started out crafting unofficial, experimental pieces for tunes from the likes of Clams Casino and Panda Bear, which were more or less for practice, but the filmmakers now work with up-and-coming acts—such as Keep Shelly in Athens, Sun Glitters, and Blackbird Blackbird—to create purely original pieces. As Canty puts it, “We started doing music videos because it was a great way to build our portfolio and show that we can direct and what [else] we can do. It went so well for us that it became what we do.” And it makes sense; Feel Good Lost makes each video very quickly, but nonetheless maintains a high level of quality rarely seen in truly independent music videos. Thomson adds, “I guess we’ve got, like, two separate styles that we’re [working with] at the moment, which are videos with all the blended images together and normal, film-like narrative ones.” According to them, an experimental/visual project takes about a week to complete, while a narrative piece could occupy two weeks of work if they have a proper budget. With that time frame, it’s no wonder Feel Good Lost premieres multiple videos a month online for artists from around the world.

But speed and tenacity isn’t everything. The burgeoning artists will also tell you that their location helps in tremendous ways. “It’s a small enough place,” says Canty of his hometown, Cork, “but there’s a lot of variety in the landscape. We’ve got the ocean, forests, mountains… We’ve got a city, which isn’t great, but we’ve got a lot of changing landscapes, which really suits us for videos.” Idyllic surroundings notwithstanding, Thomson and Canty make sure to get out of town every now and again, too. It seems that some of their favorite work—like the Slow Magic piece that Canty filmed while on holiday in Tuscany or the video for “THNX” by fellow Irishman Mmoths—has been shot outside of Cork. “We went down to Mizen Head, which is at the very southern tip of Ireland, and we spent the day at amazing locations shooting amazing footage,” Canty shares about the making of the “THNX” video. He goes on to explain that travelling might be the biggest reward for what Feel Good Lost does. “Just the fact that we’re getting paid to climb this mountain or find this abandoned castle which is right on a cliff edge where you can look around you and get a panoramic view of all of West Cork… That’s pretty amazing. Even if we weren’t getting paid, that’s just what we love to do.”
People—actors, specifically—play an important role in the work of Feel Good Lost, as well. Not all of the duo’s projects can be composed of bucolic landscapes shot with dreamy filters and edited into abstraction. Stories are important, too, and Canty and Thomson have slowly assembled a cache of reliable actors for their productions. “Over the last few years, we’ve just met enough people [to work with],” explains Canty. “In school, when we were doing little short movies, we got our friends [to work with us]. They might be terrible at acting, but they’d do it as a favor. Now, at this stage, I think we’ve met enough people who are really talented at what they do, and want to be in [the videos] either just to be in them or to improve their portfolio.” Even with that team of talent, however, we’re not likely to see another narrative film from Feel Good Lost in the immediate future. As Thomson puts it, “We have ideas. If we turn them into short films, that’s another question. We just have to find [one] that we really like. And it would be handy if we have some money by then, so we don’t have to do it like the last one, with no budget.”
Regardless, Canty and Thomson are keeping plenty busy. They’re currently working on loads of new music videos for electronic-music upstarts, including another piece for Mmoths and Slow Magic both, and will also soon unveil a brand-new endeavor, Feel Good Lost Records, the first release from which will be a digital EP (with limited-edition physical copies) from Cork synth-pop duo Young Wonder. Canty is humble about the whole thing, saying, “It’s more of a personal project that’s fun for me and that I love to do. But you never know. It might do well, and I might make something [more] out of it.” Along with all of that, the production company will ring in its first birthday on May 10 at the Pavillion in Cork. Keep Shelly in Athens is scheduled to headline the auspicious occasion, along with performances from Dublin-based outfit Sacred Animals and Young Wonder with Canty and Thomson providing live visuals for the whole event. It’s obvious they have plenty to celebrate, and after a year as productive and promising as the first, it’s anyone’s guess what the second will bring Feel Good Lost. “We’ve been quite good at doing videos for the right songs or the right people,” says Canty, quickly summing up a hypothesis for his and Thomson’s successful year before he adds, “But we definitely want to move on and do a few more short movies this year.” With the kind of ambition they’ve exhibited, it would be no surprise if Feel Good Lost continues to grow and accomplish everything it sets out to do.
Duct “Blackheath (Fybe:One Remix)”

This dark, textured slice of bass music finds one Shades of Grey co-head, Duct, enlisting label partner Fybe:One for remixing duties. On his slightly elongated rework, the UK producer plays around with miniature percussion, descending synths, and a few distant rumbles for roughly three minutes. Then, following the customary drum-dropping breakdown, the man gets serious, and unleashes some monster bass tones and appropriately huge side-chained pads which chug at a steady neck-snapping pace for the rest of the tune. The original version of “Blackheath” dropped today as a part of Duct’s new EP, Circles (artwork above), previews of which can be found, along with the accompanying tracklist, after the jump.
01 Jessica’s Garden
02 Blackheath
03 Love Crazy
04 Pensive Star
The Whendays “Untru Love II (The Whendays Nu Love Mix)”

Late last year, Stockholm-based duo The Whendays dropped its first release, a self-titled EP that arrived via the oft-reliable Cascine label. Now, rumor has it the duo in the midst of writing and recording its debut full-length (which should see a release on the same label later this year), but in the meantime, the pair have cooked up a fresh version of its EP’s lead-off track, “Untru Love II.” Noticeably toning down the compression-heavy crunch of the original, this new version is a much smoother and more upbeat affair, one that lays down a four-on-the-floor kick amongst a housey bassline, pillowy synths, and just a touch of pitched-the-fuck-down vocal snippets.
Levon Vincent Reveals Details of ‘Fabric 63’

Earlier this year, we reported that Levon Vincent would be responsible for putting together the next edition of Fabric‘s fabled mix series. Now, the Berlin transplant has revealed the details of the forthcoming mix, and shared some insights into his creative process. Chatting with Resident Advisor, Vincent was rather candid about his approach, saying of the mix, “I didn’t really showboat or anything so much as just showcase the music as well as I could. I think that gives it a better shelf life.” The tracklist appears comprised of many of Vincent’s own productions, as well as a number of artists who have ran in related circles—resulting in a mix that is said to reinforce the modern, deep-house sound Vincent has made a name for himself with over the years. The New York-reared producer/DJ explains further, “I wanted to use this opportunity to push my signature sound. I have plenty of other stuff, sometimes I experiment and dick around, but if I’m hit up for a commercial mix, it’s gotta be the one concept I’ve been doing for so long… I hope people say that I had a commercial opportunity and that I used it to do something artistic, cause that was the idea.” Fabric 63 is set to drop on April 23 in Europe and May 22 in the US. For now, you can check the tracklist below and head to RA to read the full interview.
01 Joey Anderson “Earth Calls”
02 DJ Jus-Ed “Blaze (Do Dah Dab Mix)”
03 JM De Frias “Intrinsic Motivation”
04 Levon Vincent “Stereo Systems”
05 Levon Vincent “Polar Bear”
06 DJ QU “Times Like This”
07 Levon Vincent “Fear”
08 Levon Vincent “Double-Jointed Sex Freak II”
09 Joey Anderson “Hydrine”
10 Anthony Parasole “Tyson”
11 Levon Vincent “The End”
12 Black Jazz Consortium “Blacklight”
13 Levon Vincent “Early Reflections”
14 Levon Vincent “Rainstorm II”
15 Black Jazz Consortium “Far Away”
NHK’Koyxe? “587”

Kouhei Matsunaga is a veteran of experimental electronics, one who has seen his music released in many forms across a number of imprints since embarking on a production career back in 1992. Lately, the Osaka-based artist has utilized his talents as one-half of the NHK duo, but here, the artist chooses to fly solo under the name NHK’Koyxe?, offering up a cut from his recent Dance Classics Vol.1 LP (artwork above). For his new album, Matsunaga has gathered up a collection of his more club-appropriate material, picking productions that focus “more on bass/base electronics, music for the dancefloor and/or altered-state reflection.” In truth, these songs come nowhere near to what we currently think of as club bangers, but on “587,” the Japanese producer does find an intriguing—and rather unique—middle ground between dancefloor grooves and his more experimental inclinations.
Lando Kal to Drop New 12″ via Hotflush

It would appear that Berlin-based producer Antaeus Roy (a.k.a. Lando Kal, one half of Lazer Sword) has been quite busy these past few months. In addition to preparing his outfit’s forthcoming second album and getting ready to drop live knowledge at SXSW tomorrow night, he’s also releasing a new single via the illustrious Hotflush label next month. “Rhythm Sektion” b/w “Inquisition” is said to contain “kinetic percussion” along with “multi-layered paranoid rhythms,” and will be released on April 9. You can check out the record’s label art before then, below.

Man Without Country “Puppets (Error Operator Remix)”

Here, London up-and-comer Error Operator (pictured above) has tried his hand at reworking fellow UK outfit Man Without Country, warping the group’s “Puppets” tune into something much more XLR8R-friendly. Error Operator strips the original track’s live drums in favor of an array of percussion patterns and club-ready kicks and snares, on top of which he drizzles spacey vibraphones and a host of slippery chords. Touches of Man Without Country’s vocals come through drenched in effects processing, nonetheless giving the production some pleasant refrains between the instrumental sections of bubbling beat work.
Rinse Preps Debut Brackles Album

Blunted Robots honcho and Rinse FM resident Brackles, who just delivered this excellent mix of classic UK garage, has announced that his debut artist album will soon arrive, courtesy of Rinse. Simply called Rinse Presents: Brackles (pictured above), the 10-track LP features collaborations with UK vocalists Lily McKenzie and Terri Walker (of Funkystepz and T. Williams fame, respectively), with music that is described as “razor-sharp club tunes,” “deep, percussive house tracks,” and “some of [Brackles] most upfront and pop-friendly music to date.” You can check out the tracklist while you patiently await the album to drop on May 7, below.
01. Never Coming Down
02. I Can’t Wait
03. Lighthouse
04. DPMO
05. Walkin’ Out
06. Chasing Crazy
07. Square Head
08. Too Much
09. Go Head
10. Earphone Memories
Redshape, Thomas Fehlmann, and More to Contribute to Juan Atkins Remix Series

Berlin’s Tresor label is approaching its 250th release, and to celebrate, the label has planned a reissue series of Juan Atkins (pictured above) tunes made under his moniker from the mid-to-late-’90s, Infiniti. The three-part series will showcase a handful of Infiniti tracks, all of which lean a bit on the harder side of Detroit techno than Atkins’ more widely known Model 500 project. The bi-weekly reissues will begin its run on April 2, and will feature new remixes from Thomas Fehlmann, TV Victor, Function, Redshape, and Sleeparchive, as well as Moritz Von Oswald’s well-regarded—not to mention hard to find—1994 rework of “Think Quick,” in addition to Atkins’ original tunes. You can check the complete tracklist below.
Part One:
A1. Walking On Water (Original Mix)
A2. Thomas Fehlmann’s Rain On Water Mix
B1. Thought Process (Original Mix)
B2. Thought Process (TV Victor Edit)
Part Two:
A1. Flash Flood (Original Mix)
A2. Flash Flood (Function Remix)
B1. Skyway (Original Mix)
B2. Skyway (Redshape Mix)
Part Three:
A1. Think Quick (Original Mix)
A2. Think Quick (Sleeparchive Remix)
B1. Think Quick (Remodelled by Moritz Von Oswald)

