Monday, May 25, 2015

Monday Morning Song: "It's Over" by Roses (official video) directed by Cassandra Hamilton

Roses make music that seem like it is forever frozen in a dreamy high school prom in a John Huges film and that is why I love them so much. The line "You have fallen in love with the sound of your own voice"delivered with a sharp icy Bryan Ferry-esque coolness sticks in my head as I listened to "It's Over" which I rediscovered after finding the video directed with a trippy flowery loveliness by Cassandra Lee Hamilton.


On a past blog post about Roses [A three-piece band from Los Angeles made up of Marc Steinberg (Lead Vocals / Keys / Beats), Victor Herrera (Bass), and Abe Vigoda's Juan Velasquez (guitar).] I described their music as a kind of dance rapturous mix of romantic new wave, indie pop and post punk sounds evoking a sense of nostalgia and high school crushes. Check out our interview with Roses here.

Thursday, May 21, 2015

Miss YOU Dave Already (tears) - Check Out Awesome Montage spanning 33 years as theFoo Fighters Play an Inspired Performance of "Everlong"

Alan Singer/CBS via Getty Images

Wow, just wow.... I cannot believe that David Letterman will no longer grace late night television. The man dramatically changed what and why we watch late night TV. He gave a voice to those of us who's view of comedy, society in general and politics is a bit askew. His sense of silliness, smart wit and comforting appeal drew us in. He was that crazy uncle who we would delight in seeing at Thanksgiving.

The very last show was unpretentious and traded genuine heartfelt emotion for the usual comedic fare though there were many laughs as well. It is said that Dave was comforted by the Foo Fighter's music when he was recovering from his heart surgery and the Foo Fighter's were the very last band to perform on his iconic show. They even cancelled a tour to do so.

Check out the crazy montage of past moments over the last 33 years as the Foo Fighters play an impassioned performance of "Everlong":

Sunday, May 10, 2015

Built to Spill, Interpol, Fidlar, Speedy Ortiz, Wilco, Avett Brothers, The Black Lips and more KILL IT on Day Two of Shaky Knees

 Day two at Shaky Knees was full of killer performances and killer heat. By far any breeze of any sort avoided the areas of the Ponce De Leon and Boulevard stages plus the fact that the ground there was asphalt made it tough. Still people hung in there and, for me, one of the best performances I saw as Built to Spill. Just amazing. There also seemed to be more people than day one which meant more dust, longer lines for food and drink but the rewards were many. Kudos to the best deal for comfort and nourishment - the killer Popsicles and God bless the water stations!!

Other killer shows: Interpol, LA boys Fidlar, Speedy Ortiz, Palma Violets, Wilco, Black Lips and the Avett Brothers. More in depth fest experiences later.

Off to day 3--
Robb Donker

Saturday, May 9, 2015

Shaky Knees Festival (Atlanta 2015) DAY ONE- On A Scale between I and 10: An ELEVEN-!!

Day one of the Shaky Knees Fest was pretty amazing. Sure you have to contend with the normal large rock festival annoyances like seemingly outrageous prices on food and drink, having shirtless sweaty people rub up against you in a crowded pit and navigating through crowds while simultaneously avoiding stepping into a pile of vomit-- OK, seriously that only happened one time (high five). Besides all that normal stuff, day one was an absolute stunner!

The flow and position of the stages and food sections was laid out nicely and I must say that the Shaky Knees App is so incredibly useful so download it if you haven't. This is an abbreviated post and I will write a more in depth post late about the bands I experienced but they were many. By far, the highlight for me was The Pixies set. Hands down a life changing experience. Mac DeMarco was as funny, charming and cool as he always is and did his now trademark crowd surfing (while smoking a cig) at the end of his set. Wavves has never sounded better, great set. Manchester Orchestra pretty much melted my face off.  Haerts played raw two manned garage blues rock and the crowd loved them. Halsey was very cool. Death From Above 1979 killed it. TV on the Radio shined as the sun shined back in their faces as a drone hovered over the audience. Surfer blood seemed super casual but played a great set. When the Strokes finished off the night, the Peachtree stage and surrounding areas were just a sea of bodies. Everyone packed in to see them and they did not disappoint.

Ooops! Got head out the door for day Two. OH, one more thing- a shout out to Saint Greg who gave me a cold beer!!
catch you later-
Robb Donker

Day one pics Facebook: here

Friday, May 8, 2015

Built To Spill - Untethered Moon Review - Brett Netson : Interview - Scavenger Cult Review - Shaky Knees Is Here

Today is the first day of the amazing Shaky Knees Fest in Atlanta and I am stoked to be attending all 3 days (hope to see you there). I had the pleasure of speaking with Brett Netson of Built to Spill who will be performing at the fest and I decided to post up my review of Built To Spill's Untethered Moon album, Brett Netsons side project EP Scavenger Cult and the interview at one time. So enjoy and go to the fest if you can! If you do get to go you will be making memories that will last a life time!

ALBUM REVIEW- Built to Spill- Untethered Moon on Warner Bros Records

Built To Spill is a bonafide indie institution and Doug Martsch and the boys latest offering Untethered Moon (and their first album since 2009's There Is No Enemy) only further cements their place in rock history. It is a deceptively dense collection of songs with all the dynamism that we have come to expect from Built To Spill and while I have always felt / heard / appreciated the upfront guitar elegance that shares that kindred Dinosaur Jr spirit, on this album (in particular) I felt the presence or faint ghosts of other inspired artists as well. On the opening track All Our Songs with the rabid tom tom beat and charged up reflections it is divine Americana rock in that R.E.M sort of way. I love the breaks and that old school guitar vibrotone / tremolo sound that reminds me of an ancient Sears Silvertone spring reverb.

C.R.E.B with it's 60's beat sway feels a bit like Mark and the Mysterians blended with the Smithereens. Another Day is a heady swirl, noisey, wistful with grunge rock bones. The somber tone of Some Other Song is a slow headbanger. The lead sounds penetrate and sound so lush. It will induce smiles and dreams. When the guitar mirrors the lead vocal you feel at once inspired to sing along. The slow dance that is Horizon To Cliff is poppy with proggy genes.Some of the beautiful lead melodies felt a bit like Be Bop Deluxe (Bill Nelson).  When I'm Blind is a ridiculously fun, disjointed, crazy jam. When you think it won't go any further it does and does again. Of all the songs on the album it sounds the most spontaneous, the most live. It is a dark sweaty smokey rock club of a song. Living Zoo with it's sweeping arc of tones, textures is inviting and pure Built to Spill. It beckons you, pumps you up, makes you dance.

My favorite song on the album, So, is absolutely beautiful in it's dirty sustains. There is nothing like the biggest bad ass dirty sounding guitar playing stunningly beautiful melodies and that is what you have here. When the heaviness falls head first into Martsch's sweet vocal melodies it is so engaging and lovely. It is Black Sabbath meets the White Album. The song induces true goosebumps when the lead lines wrap around you and when it suddenly erupts into full out pandemonium it is a blissful thing.

Untethered Moon is an album that might just take you back in your head. The sounds are embedded with life experiences, gnarly bruises, ennui, hope and lots of love. The more you listen the more you will hear things that will touch you.

Robb Donker

EP- REVIEW- Brett Netson and Snakes: Scavenger Cult

Brett Netson of Built To Spill second incarnation "Brett Netson and Snakes" are up on Bandcamp with a short but terribly bad ass EP called Scavenger Cult that you should check out. Play On almost feels like Tom Petty, that is if Tom Petty played heavy roots rock. It is like 70's rock with 90's post rock with 60 psychedelia as well. The death march, plodding nature of All Creatures Kill while feeling bruised and battered also is hauntingly beautiful. As cinema it would be a cross between a spaghetti western and a Rob Zombie horror flick and amazingly in it's guitar sounds it also has that Dark Side of the Moon quality. While from a feeling standpoint, All Creatures Kill might be my favorite song, the third track Sharpening Knives may be the most thought provoking. It has an unrelenting movement like a car driving at full speed but when the lyrics creep into your head it feels like that car is heading straight for a cliff with the brake lines cut. It is a noisey heavy track that seems to be about the industrial war machine, conflict, the dehumanization of people, the moral decay of government and America as a world salvage operation (cleaning up the messes we made).

Robb Donker

INTERVIEW with BRETT NETSON of Built to Spill

AP: I want to thank you for the opportunity to chat with you a bit.

Brett: awww, sure yeah....

AP: The new album is just killer. There are a lot of Built to Spill fans that have been waiting over five years for it.

Brett: (laughing) Yeah...

AP: The album has such a rich sound. It is so well engineered. I know Doug Martsch and Sam Coomis produced it but who engineered it for you?

Brett: They're were various engineers. I wasn't there for all of it that you know. A friend of ours from New York who plays in the band "Warm Air" - Travis at Serious Business Studios in New York, he engineered a fair amount of it.

AP: Well all involved did an excellent job.

Brett: Yeah cool. We focused on getting good performances with good guitar tracks.

AP: And the drum sound is so excellent and that tremolo or vibrotone sound on the guitar on "All Songs". It sounds so old school like a spring reverb on a Sears Silvertone or something.

Brett: Yeah- well that's just Fender, old Fender Stuff.

AP: The album is so varied. You obviously hear the Dinosaur Jr influence which you guys have always had but I think my favorite song on the album is "So" - It is so heavy, yet beautiful. It's like Black Sabbath meets The White Album.

Brett: (Laughing)

AP: It's really crazy...

Brett: Well, for me personally, that's my favorite part of Built To Spill when it does that trick.

AP: What does it feel like to be the enviable position to be one of "those" bands. I mean, clearly if it wasn't for you guys bands Modest Mouse or Death Cab and bands like that wouldn't sound the same because of your influence. That must be a pretty cool place to be.

Brett: Uh, yeah I don't know.... it might make me feel more awkward than good actually.

AP: You guys have had an amazing ride.

Brett: Cool yeah. Well one thing is for sure, is that we are very lucky to have been geographically where we were in the early 90's (laughing). That's all there is to it. Any band who were in that area who were any good at all and kept their shit together are probably still playing today, ya know and have a wide audience, that's how that went. So Modest Mouse, they were pretty good. They worked hard and now they are what they are now. I haven't really followed in quite some time so I don't know what they are doing but you know, you see them everywhere.

AP: Do you think the fact that you guys started in the early 90's before file sharing and all that, do you think that was a better time.

Brett:   Uh....., that's a tricky question. My first response would be absolutely of course. There is such a thing as the diminishing returns of technology.

AP: That's right.

Brett:  (laughing).

AP: And it's harder and harder for musicians to make money.

Brett: Yeah and it's just easy, I mean, yeah... just because you can doesn't mean you should. Also you may be getting in now because who knows what's coming next. That's whats interesting thing to me. It's a weird thing, it has almost become a patronage at this point through corporate patronage. That's how Modest Mouse made a lot of their money, TV commercials AND I am not a big fan of that myself sooo.... I prefer a direct relationship with the audience, the people who buy your music. Even a label is fine, ya know, because they can be doing all the selling business for you which would be great. I am not a big fan of selling myself either. But when you have a patronage system and bands get money for corporations making television commercials that's problematic and unsettling. And all the old Jello Biafra's in the world that taught us how to be musicians. I still take that stuff to heart. I'm not totally psyched on the online thing.

AP: It's a double edged sword- on one hand people can rip your music off easily but at least you can self publish (for people who are starting out).

Brett: Well that's true but it's also bad because it is so saturated with everybody else who may just be a casual hobbyist.

AP: The bedroom recorders...

Brett: That's fine but like if people really want to work hard, tough it out and go on tour, those people should be noticed instead of people spending everyday on the internet. It would be cool if the physical reality of bands playing shows only came towards the internet instead of the other way around where if you spend more time on the internet you get more people to go to shows... whatever (laughing). But, uh these things like Bandcamp are actually fantastic.

AP: As a matter of fact I was checking out your new project Scavenger Cult on Bandcamp. The music is unreal. I'm really enjoying it.

Brett: Cool... Thanks.

AP: The first track, "Play On" has that real Americana rock thing going.  It's funny, I was almost getting a Tom Petty vibe IF Tom Petty did really heavy ass rock.

Brett: (laughing) sure. Cool, I thought it sounds like Christian Death or something to me but that's cool that people get different things out of it.

AP: For sure. Music is like a sonic Rorschach test that people put their own stuff on.

Brett: Yeah

AP: And the second track has got that bruised and battered plodding heavy sound. Sounds like you had the drum kit in the middle of a huge empty warehouse at the back end or something on "All Creatures Kill" - I always think of weird things when I listen to music and I thought of a Spaghetti Western meets a Rob Zombie Horror Flick when I listened to that song.

Brett: (laughing) yikes, that's perfectly acceptable. That drummer is really good and the drum kit was actually by itself in a big room but.....

AP: What's interesting about that song, it has a Dark Side of The Moon quality too.

Brett: Wow... really?? Cool.... yeah that song,  I have been listening to a lot of underground metal stuff and it's just so beautiful and it's too late for me to ever learn how to play metal sounding guitar but I was really into trying to do something like that cuz there is a band called Mournful Congregation from Australia and it's just like this metal that is sooo beautiful and sad. It's the coolest thing.

AP: Going back to Built To Spill, that is why I love "So" sooo much because there is nothing more beautiful than a dirty heavy bad ass guitar playing a beautiful melody.

Brett: Oh Yeah sure.....

AP: I gotta talk to you about "Sharpening Knives"

Brett: Ok

AP: It's got this unrelenting movement to it and then when you start listening to the words, it is like a car heading straight for a cliff and then driving off of it because it's got some pretty heavy lyrics about the industrial war machine, you know and the dehumanization of people, turning people into numbers. What are the thoughts behind that song?

Brett: Well, that is what it is. For me personally, after a period during the Bush administration trying to be sensible and paying attention to facts when all that madness was happening. Any decent kind of person would think that facts would matter but now where we are now and especially living in Idaho. That song is post politics mobilize your tribe or your cult or your whatever and just get on with it and hope for the best. That's just talking to my friends.

AP:  Yeah it is...You gotta get on your soap box sometimes... it's important.

Brett:  That's not what it's supposed to be... I mean it's post politics. That's not even a soap box, that just like saying the obvious and get with it, you know. Post politics would hopefully be the last when there are no..... like fuck shit up and mobilizing, take what's ours, you know that kind of stuff.

AP: I like the line (from Sharpening Knives) "America's salvage operation" you know. Some parts of it you could apply it to, unfortunately any time because we keep getting in these messes but I was thinking for some reason about Vietnam when I was listening to a lot of the song.

Brett: Yeah, yeah totally. It's like that too, like we've been doing these same mistakes over and over again forever so which time do we fuck up so bad that it's gonna be the last time. Who the fuck knows?....... meaning extincting ourselves. I have the feeling it could be coming soon but I could be wrong. (laughing) I try to have a sense of humor about it and continue to just have a good time, a good kind of dark wild ass good time. I'm just tired of being mad.

AP: So how are you splitting up your time, I mean I am so looking forward to seeing you (with Built To Spill) at the Shaky Knees Festival but with this other side project are you doing a lot of live shows with that as well?

Brett: Well that's the thing, with Built To Spill we are doing so many shows this year.

AP: (laughing) Why don't you just have Scavenger Cult ( Brett Netson and Snakes ) open up for Built To Spill??

Brett: Cuz you know what? We were gonna do that but these days with corporate influence being what it is there was issues with insurance and workers compensation.

AP: What??

Brett: Which just started happening a couple of years ago we had to deal with that miserable bullshit! It ended up being a huge hassle. I was thinking about doing a tour in the fall with Helvetia you know Jason's band.

AP: It's weird that workers comp somehow stifles music.

Brett: It's the bigger corporate conglomerate owned venues. It's a miserable bunch of bullshit.

AP: You guys are still on Warner Bros. right so is there any pressure from the label to put out stuff or do they give you free reign to do what you want to do?

Brett: They've been so awesome. Again, you know I think Doug was so lucky to be where he was in the early 90's and dealt with the contracts at that point. You know bands had leverage because that scene was starting to make money. That community was being bought and there was major labels that wanted to buy "it" - so therefore you got a little bit of leverage and Doug did a fantastic job you know and some other people did a pretty good job. I, myself, Caustic Resin could of been up there but we just sucked (laughing).

AP: Sometimes the hippies win and sometimes the hippies lose.

Brett:  (laughing) We were too crazy, on too many drugs and too drunk. Doug did a fantastic job of making it work for him and for all his friends.

AP: It was a pleasure speaking with you and I hope I get a chance to meet you. Have a great rest of the day.

Brett:  Cool, Thanks man.

Saturday, May 2, 2015

Album Review- Little Red Lung : Beware - A Kaleidoscope of Sonic Stories Traverse Time

The title track Beware from Little Red Lung's upcoming full length album of the same name opens with an ominous drone as a chorale of backing vocals quietly lift Zoe-Ruth Erwin's vocal performance to the forefront. Her presence is as powerful as it is pained and vulnerable. The opening track feels majestic, mysterious and a bit out of this world. It feels like a giant monster awakening and by the second track that monster roars.

That masterful second track is Porcupine Sheet and in my opinion is the signature track on this album but let's step back a bit. The kind of progressive rock that L.A. based Little Red Lung crafts has been mined before and like all great genres it will be mined again. This kind of music that conjures up flash and fantasy and has a pure melodramatic cabaret sense about it would fall into that baroque pop rock label or art rock with experimental rock around the edges. What makes Little Red Lung different than other forms of this musical genre is that they blend in such a mix of progressive rock, orchestral rock, glam and indie sounds. As I listened to this album I thought of Pink Floyd, Kate Bush, The Dresden Dolls, Radiohead, Flo and the Machine and more.  As Rob Hume's dirty bass opens Porcupine Sheet as a tortuous pound, Erwin's over modulated vocals take center stage.  As the time signature changes the song free falls as Ali Nikou's lead lines and Erwin's keys stair step down while John Broeckel highlights each emotional shift with such well placed drum fills. This stair stepping style is repeated throughout the album in spots giving the album a cohesiveness, making it feel like a concept album whether it is intended to be or not. Nikou's guitar work truly shines throughout this entire ambitious project but the melodies he teases out on this track truly captivated me.

Get on the Boat prances with a bottom heavy cello sound (I think courtesy of Hume's ultra heavy and effected bass). Dead Weight shifts from a kind of light free rock sound to a luscious half time chorus and back again. Rock opera comes to mind when I listen to the Bell Tower. It has an art rock appeal and some of the musical melodies made me think of The Beatles and the wide cinematic scope of a Cirque Du Soleil show. Other songs stir other flavors. Civilian Tiger has a mid-eastern sound with faint hints of Andalusian melodies. The musical break is so engaging and mesmerizing and gives away to a spartan intimate end where you only hear Erwin's intimate vocal performance (even if other sounds exist). This track is so encompassing and has such an arc to it's story that it makes you realize what Erwin and the boys have achieved here. This might not be a concept album after all. Instead, each song feels like a concept album unto itself taking you on it's own journey. Each song shape shifts into something else.

Our Ghost truly feels like a fable, like a movie could be written and based on this song alone. It feels like science fiction that is retro and new at the same time. Operate has a decidedly 80's New Wave Romantic feel with it's sultry catwalk cadence. A dirty fender Rhodes sound opens Bad Blood. It is a trippy art rock waltz and for me, inhabits this place between Dresdon Dolls and Muse (when they venture into the glam feel). "Beware" ends with Tightwire Spinning and something about it made me think of Lena Lovich circa 1979, at least the upbeat parts. Of course, it does not stay in that mode for very long. Zoe-Ruth Erwin ends the song and the album with yet another side of her multi-faceted vocals. She tends to sing with an almost classical presence and yet here strips that style completely away. In that instant I had the sense that any artful pretense fell away, like the stage actress removed her make up.

On "Beware", Little Red Lung spins a kaleidoscope of sonic stories that seem to traverse time and space. While my musical tastes are pretty eclectic, I can tell you that this kind of art rock has not been (as of late) my normal cup of tea. Over the last few years I have been steeping in the raw immediacy of proto punk, punk pop indie sounds, That being said, Little Red Lung's brew which feels as if it is spiked with absinthe is a trip well worth taking.
Robb Donker

In anticipation of Beware. Little Red Lung is releasing one track off the album monthly. Experience track one (Beware) below:

Thursday, April 30, 2015

Interpol Coming off a Killer Show at Coachella Playing Shaky Knees Festival (May 8th, 9th, 10th)

I know where I will be next Saturday May 9th at 5:45 pm. I will be planted in front of the Piedmont Stage in Atlanta at the Shaky Knees Festival to see, to experience Interpol. Having come off their acclaimed performance at Coachella and still in the afterglow of their new LP "El Pintor" which many are regarding as their best record in years, Interpol is a band at the top of their game fully 18 years after their inception. If you see me come say hi. I will be wearing the American Pancake baseball cap and a big smile.

 Shaky Knees Fest

Wednesday, April 29, 2015

Grounder's "No Ringer" Single Ends Way Too Soon

When you hear the driving dirty bass sound on "No Ringer" by Toronto based Grounders there is a subdued mania below the sultry slow burning build. Disjointed horn sounds percolate as the vocals keep it low and in control. The whole thing sounds so cagey, so cool in it's forward movement that at well over four minutes it seems to end way before it's time. There is not one iota of misplaced sound.

"No Ringer" is a little stunner and the single from Grounder's upcoming self titled full length debut album dropping this summer (2015) via Nevado Music, It is so damn tasty I am looking forward to hearing more from these guys.

GROUNDERS are Andrew Davis (vocals and guitar), Daniel Busheikin (keyboards), Mike Searle (Bass) and Evan Lewis (guitar). -
Robb Donker

Tour schedule

Sunday, April 26, 2015

EP Review: Front Lines by Masks We Made - Beautiful, Cathartic Sonic Landscapes

When you think about why certain kinds of music appeals to you it can open up a personal can of worms. For some of us, music is no more than background noise that helps pass time. For others it may primarily be beats and sound, passion percussion that fuels movement and dance and for others, songs may push deep emotional buttons.

And sometimes music acts as sonic Rorschach tests that we cast our own emotions, our own situations onto, good and bad. Sounds that truly help get us get through life's trials and tribulations.

Mask We Made out of Long Beach, California create atmospheric songs that feel so laced with emotion that you are immediately engaged and their latest 3 track EP "Front Lines" will take you places. The seriously somber tone of  of the title track built on some truly pretty (yet starkly dark) guitar lines sweep around you dramatically. When Andrea's vocals come in the tone is set in stone and the song feels like a monument to fallen soldiers whether the battle field imagery is metaphorical or not. I forgot to mention that Masks We Made are just a two piece band even though they do sound like more (even live). Nando's guitar work superbly sets moods a plenty. He uses his well crafted and emotionally wrought guitar lines as more of a set rhythm section than traditional leads and build a tapestry of accompaniment that perfectly offsets Andrea's poetry and evocative vocals.

 Speaking of her vocals, the character of her vocal delivery feels strong and her words feel firmly (almost stoically) placed. Rusty Hinges almost feels like a indie folk protest song. There is a late 60's retro edge almost. I thought of the iconic folk singer / songwriter Joan Baez who meant so much to my older sister. Andrea does not sound like her but there is a serious tone to her vocal sound, an emotional gravitas that is so heavy and present in Rusty Hinges with it's beautifully sad warm embrace. The first track, Hands Race, kind of rides on the rails. It has dashes of wanderlust and folk Americana. It feels wide and expansive.

"Front Lines", as my own personal introduction to Masks We Made, is a powerful one. Andrea and Nando paint moving sonic landscapes that are easy to embrace, easy to feel deep down inside because they are beautiful and cathartic at the same time.

Robb Donker

Friday, April 24, 2015

LA Based Filmmakers Gantz, Cohn and Mullen Partner with Sadgirl on Ambitious project Via Kickstarter

(from Baby Fleas - Candy Bar)

I am a big fan of  Los Angeles based directors David Gantz and Theo Cohn who along with cinematographer and producer, Ben Mullen create short-form projects that play like full fledged films. This creative trio first came to my attention with the well crafted "The Spaceship" music video for the band Corners of which I wrote:

Corners' new video for "The Spaceship" plays like a pulpy passion play. Directed with an insane amount of detached flair by David Gantz and Theo Cohn it feels like a campy combination of Wes Anderson, Jean Pierre Jeunet and John Waters. Perfectly cast actors Samson Kohanski and Austin Carr vie for the affection of the comely Giselle Gilbert with deadly consequences. The tone of this mini movie captures the pulse of the post punk song which charges forth in it's over modulated glory amidst a thumping bass line, drums and edgy surf guitar. I love everything about this perfect meld of sound and imagery and if Gantz and Cohn decide to direct a full length movie I will be in line to see it.

After a dozen envelope pushing projects behind their collective sleeves they are partnering up with LA punk surf-wop band Sadgirl. It may very well be their most ambitious project to date, will be shot on film and they are jumping into the crowd funding pool to bring this dream, this vision to fruition. I encourage you to visit their Kickstarter page (here- do it now!) and help make this happen. Here is the video that clued me into their skills:

Ben Mullen - 2015 Cinematography Reel from Bellpepper Pictures on Vimeo.