I'm Too Smooth Christ & here are stuff I like or do. Here is my music.
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Coming out soon on Kalahari Oyster Cult VIOLET 29 #korg03rw #Tx7 #amenbreak #thinkbreak
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dernières copies dispo https://lostdogsentertainment.bandcamp.com/album/in-search-of-the-dog-scepter
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NEW EP out on Supergenius Records ! You can buy it it amongst others : https://clone.nl/item45623.html Drawing on the flip by Pauline Nuñez
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Preview of my forthcoming album on Nocta Numerica #noctanumerica #houz #electro
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Supergenius Records, Dj Koyote and Myself Imprint, will be launch in May with these two releases ! Pre-co here https://clone.nl/search/supergenius%20records?page=0 Distribution by Clone, Rotterdam Spread the word ! #93houz #supergenius #label #wax
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Too Smooth Christ - Dawn People . Dope Video by @moskalus :)
BUY the wax here : https://villenouvelle.bandcamp.com/album/vnc003-ld-fantasy-tracks
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Mini 6 tracks album released on parisian imprint Ville Nouvelle. Buy it here: https://villenouvelle.bandcamp.com/album/vnc003-ld-fantasy-tracks And get a poster designed by my friend @jeanphilippebretin
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Deep Valley (2015) by Jean-Philippe Bretin: Comics, Drawings, Space and Panels
Deep Valley (2015)
We see a page of comics from the outside of the comics. Panels depict various passages. It reminds me of Jean-Philippe Bretin’s previous zine, No-Stop Road (2014), in which he drew a panel or two of distinctive roads on each page. The irregular boundary of panels is also similar to No-Stop Road.
No-Stop Road (2014)
One way to read Deep Valley is its intertextual relationship with No-Stop Road. Both show various drawings of roads with panel boundaries, some of them unusual. However, Deep Valley goes further by deploying the different presentations for drawings.
Deep Valley (2015)
While there are about a dozen panels over a spread of two pages, like familiar comics, plentiful panels are enlarged so that we see a panel over a page or even a spread. As this large drawing appears, we confront the enormous space with the depth, compared to the flat page with panels. Even a blank panel with nothing inside possesses some physical weight. Sometimes the panel itself (not just the boundary) is twisted so that the space in that panel is contorted. After facing the vast space, we encounter a page with several panels and dynamic and crowded lines of different panels stand out.
Although the drawings themselves are similar to No-Stop Road, this sublime spaceness and dynamism is unique to Deep Valley, as the title suggests. I believe that it is the contrast of enlarged, original, and disparate images. This indeed is the power of comics, juxtaposed images.
This work may be interpreted as an allegory to comics reading: If we just look, not read, the comics, what we see is the flat plane with confined drawings. However, as we read comics, panel by panel, we realize that each panel has its own world and that it was not just a part of a page.
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