A chat with Yosh Whale and Valerio Bulla

A chat with Yosh Whale and Valerio Bulla

Emanuele D'Angelo · 2 weeks ago · Music

Yosh Whale are Vincenzo, Andrea, Ludovico and Sam, four completely different musical souls that together generate a melting pot between Rock, R’n’B and Soul sounds. The diversity of each of them and of their artistic and musical training history is the real plus of the project, which manages to mix very different moods and sensations, bringing back a very evocative sound.

Yosh speaks only the Italian language which in the passages expresses moods and mental visions that oscillate between grey peripheries and luminous natural spaces.

On May 5 “NILO“, the first single of the Yosh Whale project, was released for INRI.
We had a chat with them and Valerio Bulla, the graphic designer who perfectly managed to translate their music described as a silvery alchemic substance on the cover.

Yosh Whale

Your music is represented as a silvery alchemical substance, which can be glimpsed in the cover and also in the video. Where does it come from? How did it take shape?
Both in the composition and in the realization part our songs can be represented as streams of consciousness. The music and opera as a whole are then represented as an artificial element that contaminates a natural environment. The union of artificial and flow made us imagine this material.

“Nilo” is a sensory journey of research. There is a strong sense of estrangement and of melancholy decadence, a footprint that’s slowly fading. Looks like impossible to make concrete elements so ephemeral and evocative that they seem to be appeal to an emotional and irrational dimension, and yet you have made it music and image.
What are the tools and sounds that have allowed you to translate this great concept in music?

The instrument that has given us extraneousness and melancholic decadence is the context in which we live, a periphery where nothing ever happens, forgotten by God. Here extraneousness becomes a necessity to free oneself from the boredom of the place. A place where cold cement joins in total cohesion with uncontaminated nature. The sounds that have allowed us to obtain these visions are the symbiotic union of natural elements such as voices and acoustic instruments with electronics.

The members of the band in the video are presented without revealing too much their integrity, actions are minimal and there is little introspection.
However, inside the piece there seems to be a piece of life, of life, a lot of life personal. How much of you is in this song?

This song is about very often conflicting personal emotions and feelings, which as they flow into an ordered world tangles in a twist of the world itself. These visions are an integral part of the need for estrangement that we mentioned earlier, and therefore represent our entire experience.

Valerio Bulla

How did you manage to make the magic of Yosh Whale’s music physical and visual translating it into the silvery substance that flows voluminously into the cover?
The guideline that I previously imposed myself to work on the first cover of the YW was to render a three-dimensional spatial concept in graphics. Not being a 3D designer, I started thinking about the possibilities of graphic formalization of space: at first I thought about orthogonal projections, but I was afraid that taking geometric or solid shapes could place the project on an aesthetic wake from the ’80s wave or recall – unwittingly – some historical avant-garde (suprematism, bauhaus, etc.).
The song ‘Nilo’ has an epic but also very rarefied and “cold” sound, at least as I perceived it. It suggested materials that were fluid and cold to the touch, like a silvery liquid – which is what I wanted to base the cover on. This idea of liquid could be combined with that of three-dimensionality; so I imagined a sort of waterfall gushing out of an epic, timeless scenario. I created a landscape and confined it in a circle, in turn metallic and silvery, so that the fluid would flow not only from the landscape but from a second spatial plane. To add another one, I placed the cover in a frame with the marks and the print coordinates. I liked the idea of provocatively “breaking” the boundaries of the digital cover (which by its nature is not material) and further accentuating the extrusion of the metal jet.

To return to the second question, what was it like to render image the magical Yosh Whale world?
The most exciting thing was being able to work from “zero” on the project. When Gabriella Esposito from Foresta contacted me we had nothing but the songs – which, despite the work I do, I hope are still the most important element.
To amplify the musical message we wanted to create an imaginary one that didn’t recall the aesthetics – now abused – of the so called ITPOP, also because the sound of the band isn’t based on that kind of styles. We talked to the guys and expressed the will to place ourselves differently, to make a wider aesthetic discourse (starting from materials and interfaces) and we met their favour. As in all the projects I’ve taken care of, for me the essential condition is to get me, the management and the band in agreement. That is to give life to an imaginary that is centered according to all those involved in the presentation of the proposal.
How it will be perceived, once out, is something that comes at a later stage. I like to think of it as “that’s what we wanted to say, no matter how it is received”. If it is received positively, the feeling that comes out of it is not only a reason for satisfaction but, in a broader perspective, it makes me understand why you love my work.

Photo credits: Cristina Troisi

A chat with Yosh Whale and Valerio Bulla
Music
A chat with Yosh Whale and Valerio Bulla
A chat with Yosh Whale and Valerio Bulla
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Andreas Levers and the mystery of the city at night

Andreas Levers and the mystery of the city at night

Giulia Guido · 7 days ago · Photography

While everyone is taking pictures of him working, while everyone is asleep he takes pictures. I’m talking about Andreas Levers, a photographer based in Potsdam who spends his nights in the streets of the city trying to capture their most mysterious and dark side. It’s not the first time we’ve talked about his series At Night, but after three years we were very happy to discover that Andreas didn’t get tired of this magical subject and kept shooting. 

The nights that attract the photographer the most are those dark, cold nights when the fog falls and covers the top floors of the skyscrapers and allows you to see only what is really close to you. The rest remains a mystery, amplified by the white lights of the street lamps and neon lights, unable to penetrate the mist. 

But while the light, of course, cannot reveal what is beyond the visible, our mind has already embarked on a fantastic journey: like Andreas Levers, we too walk in the dark, trying not to be seen, as if we were following someone, or as if someone were following us. 

The calm, the awareness of being alone, the only awakenings surround us and accompany us once again in scenarios that never lose their charm.

We hope that At Night will never end, that like us can’t wait to see the next picture, Andreas Levers can’t wait to go down the street, when the city falls asleep and the magic becomes reality. 

Check out the new shots from the At Night photo series below and to stay up to date on Andreas Levers’ work go to his website and follow him on Instagram

Andreas Levers and the mystery of the city at night
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Andreas Levers and the mystery of the city at night
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Cinematography – The Grand Budapest Hotel

Cinematography – The Grand Budapest Hotel

Giordana Bonanno · 6 days ago · Photography

Friday is here, again, and this weekend we’ll have some time to dedicate to our favorite hobby: watch a movie. If you run out of ideas don’t worry, you won’t waste time because we have already chosen The Grand Budapest Hotel, a movie that everyone has seen once in their life, but two are always better than one.

It’s certainly Wes Anderson‘s most intricate and interesting film and most likely also the director’s aesthetic and narrative masterpiece. It won nine nominations at the Oscars in 2015, triumphing in the categories “Best Costume”, “Best Set Design“, “Best Makeup” and “Best Soundtrack”; at the Globe, instead, the film won as “Best Comedy or Music”.

(Still undecided whether to watch it?)

The story is certainly as bizarre as the characters in it, sometimes so intricate that it seems impossible to get out of it, yet there’s nothing impossible inside that mysterious hotel because everything is suspended in a surreal, earthly world.

Wes, with the director of photography Robert Yeoman, creates every single scene taking into account the most imperceptible details in order to produce perfect images even in the pause; the color choices are his strong point, all the films have a palette of reference so as to conquer memorability among the memories of anyone who has already seen them.

Colors play an important role since they determine two types of scenes: for the harmonious and calm ones the selection of soft and pastel colors prevails, while the pressing and alienating ones they appear under strong color combinations. Needless to say that photography represents the key element in the cinematographic realization and needless to say that in this Wes is its master.

There is no doubt: his aesthetic and artistic imagination is unique, but there are those who, letting themselves be inspired, have built their photographic work on a chromatic choice and framing at the limits of precision. This is the case of Teresa Freitas, a young Portuguese photographer who, through her shots, shows us common scenes with meticulous attention to the elements that build them, proposing something that perhaps we have already seen but never through this perspective.

Did you know: for the outdoor shots of the hotel Wes used a 3-meter-high scale model, made entirely by hand because if this had been done on the computer, in the director’s idea, it would have appeared to the audience too offset from reality.

Film: Comedy
Director: Wes Anderson
Writers: Stefan Zweig (inspired by the writings of), Wes Anderson (screenplay)
Stars: Ralph Fiennes, F. Murray Abraham, Mathieu Amalric

Cinematography – The Grand Budapest Hotel
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Cinematography – The Grand Budapest Hotel
Cinematography – The Grand Budapest Hotel
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London in lockdown, photos of Jan Enkelmann

London in lockdown, photos of Jan Enkelmann

Emanuele D'Angelo · 6 days ago · Photography

When we think of London, we immediately think of a city with chaotic rhythms, frenetic and tireless, like any self-respecting modern capital. Because of the pandemic, however, everything came to a sudden halt almost suddenly.
Prime Minister Boris Johnson, following in the footsteps of his illustrious colleagues all over the world, has frozen the entire city until at least June, waiting for the contagion curve to slow down.

The English photographer Jan Enkelmann decided to document the deafening silence of his city, never seen before.
So on 23 March, the night the lockdown was announced, the photographer climbed on his bike to admire deserted London, never seen like this in 20 years of his life. A few weeks later, he took his camera with him and decided to capture the whole thing.

Like many others I felt compelled to document the lack of crowds in usually crowded locations. But looking at the set of images I have made over the last weeks, I feel this project has taken on a life of its own. Maybe these photos are less about the lack of human presence and rather about the stillness of a city being allowed a breather to reveal a beauty that often goes unnoticed.

London in lockdown, photos of Jan Enkelmann
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London in lockdown, photos of Jan Enkelmann
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InstHunt – The 10 best photos on Instagram this week

InstHunt – The 10 best photos on Instagram this week

Giulia Guido · 6 days ago · Photography

Every day, on our Instagram profile, we ask you to share with us your most beautiful pictures and photographs. 
For this InstHunt collection of this week we have selected your 10 best proposals: @davidecannavo, @carla_sutera_sardo, @eyepyre, @m_streetphoto, @kei_scampa, @_hartemis, @matteotriola, @userid019, @wonmin.9, @erikaconlaci.

Tag @collateral.photo to be selected and published on next InstHunt.

View this post on Instagram

Broken nature Model: @mai_stanca

A post shared by Kei Scampa (@kei_scampa) on

View this post on Instagram

💦

A post shared by 최원민 WonMin Choi (@wonmin.9) on

InstHunt – The 10 best photos on Instagram this week
Photography
InstHunt – The 10 best photos on Instagram this week
InstHunt – The 10 best photos on Instagram this week
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