The Indie Cred Test: yet another hipster shenanigan?
Chunklet’s third book (and first that is self-published)! 192 pages of hate, love, facts and lies. It’s like what a standardized test would be if it grew a pair.
A year in the making and a successful Kickstarter campaign behind it, The Indie Cred Test is almost 200 pages of seething hate and muffled giggles. Composed by the diligent staff at Chunklet Magazine, The Indie Cred Test is Chunklet’s crowning achievement.
Chunklet’s crosshairs are trained on everything and everybody in their path. Musicians, authors, hipsters, hippies, miniature toy poodles and everything in between. Sixteen chapters, countless sidebars. Do you think you have what it takes to take the test? Like, REALLY take the test? Then crack this monster of a book open on any page and see if you have what it takes. Intense.
From the look of it, Chunklet Magazine seems a little too Death Cab For The Cuties for my liking. Besides, I got an impression that the head honcho of the magazine on view is surviving like a relic of the 90s – a kind of guy who would often be sighted nerding at Beulah shows and date plain-looking Kindercore type girls with whom he made out to Apples In Stereo songs. The kind of guy I could have been in the 90s of The Elephant Six had I been born in the states.
He might have looked like this dude back then.
Q: BTW, who’s this evilly twee emo chump?
A: His name starts with R. He pwns P*tch*ork.
The above video has a spritzy atmosphere peppered with I-Don’t-Age acting-naives and ironic self-caricatures, and for some reason brought to my mind that muchly enjoyed Hipster Olympics from years back. And also the book inevitably summoned The Hipster Handbook from its irrelevancy, though I haven’t read any of the two. But The Indie Cred Test is supposed to be bonafide and right on the heart for it is written by seemingly credible those in the know. I look forward to reading an extensive review of this book by some discerning fella at VICE like that Rettsounds fruit. That funny snob may be too haute and profound for it.
This movie rubbed my pseudo-feminist feathers the wrong way. Although exuding riveting elegance at times, it was egregiously square and embarrassingly tacky not only in its plot and narrative, but also in its empathic techniques and articulation of emotions – so much so I was compelled to presume the bad brain nutrition of the people involved.
Renowned artist Vik Muniz and a group of landfill scavengers take an emotional journey from a giant garbage dump in Rio de Janeiro to the most prestigious auction houses and museums in the world. Ultimately, the alchemic transformation of trash into art also transforms the artist and his collaborators, taking them to entirely new worlds.
by Bailey Roberts. Click her name if you’re interested in the work of a Parsons attending purty photographer
At the risk of irritating the people to whom this piracy may concern, I dare to breach copyright once again as the album is such a masterful work of sonic pulchritude that I could not resist spilling it all over my surroundings. And in a sense, it wouldn’t be so selfish to say this material goes along the line of copyleft in nature, oh well, is it?
Via ever fabulous CookShop, whereby I have been able to be exposed to lots of great music I wouldn’t have been otherwise, and I learned so much from there.
Lux Payllettes is french Turntablist and concrète whiz eRikm’s latest. Expect to be whisked away into a phantasmagoria of blood-transmitting images that are being invoked by metabolizing sounds. A splendid meta-noir full of psychic chases and catches. Explore the jostling inside of a carnivorous cinephile’s irony head. And dance to the interknotting screams of imperishable memories.
“With this piece, I have worked with the sound material of Western cinema in its many manifestations: from optical film sound to videotape, DVD and also with sounds that I have recorded in cinemas during projections. My interest in media perception was ostensibly in one’s own relationship with the act of listening to motion picture sounds: its clichés, tensions, diminutions, sound effects, and the emerging emotional palettes. Yet Lux also reviews the process of one’s identification with certain actors or sections of the population, suggesting the potentially schizophrenic relationship with these projections. My desire, on this occasion, was to support the emergence of psychic images so that the listener would seize different elements to create his own decorations, lights, landscapes. Via this range of acoustic suggestions, the listener would let him be led to the centre of his own interpretations.” -eRikm