While we initially wanted to release both Rainbow Season, The Album and Rainbow Season, The Film simultaneously, we (KidGusto and I) decided to stagger the releases, with of course, the record coming out first.
The last few years I’ve been releasing films with the records I produce, starting with the release of CANYON in 2016, though I had tried to do it with Spin Cycle back in 2010, but I didn’t have the infrastructure to execute.
Films with music is becoming standard practice to varying degree, and so with this effort, we tried to push that idea further, melding the experience between the two forms in a slightly different envelope.
The first trailer for the new feature length work went live today and we’re having a limited VOD soft release starting on Thurs 07-11-19, It’ll be available shortly after on other platforms, but we priced it to make it a no brainer for anyone interested in an early, ad-free experience. You can of course, buy it to own as well (DRM-Free). It’ll roll out to other platforms shortly after.
(ps: if you buy the film on pre-order (not rent), shoot me an email & I’ll get out the record to you in 320kbps mp3, DRM Free as a bundle. i’ll honor this through the pre-order period as a sincere thank you for the support ;) )
My new record is live!
Available for purchase & streaming worldwide including:
TrueGrooves presents Rainbow Season, the Mirs debut full-length album, a collaboration with KidGusto available on all digital and streaming platforms worldwide on Friday, May 24, 2019.
Executive produced by Pejman KidGusto & Amir Motlagh (Mirs).
©2019 TrueGrooves / ANIMALS
MIRS (my ongoing music project + collaborations) just re-released 7 standalone singles (including a new soundtrack cut) on a single "disc". The record spans 2012-2018.
Tracklist (with original release dates):
1) Kayla (2012)
2) Take Away (2012)
3) Summer God Complex (2014)
4) Woke up on the Moon (2015)
5) Moonlighting Mission Man (2017) ** - the link is to the visual short film**
6) Saturday (2018)
7) Hafiz Drinks from the Cup of Time (2018)
Chris loved cinema. He passed doing what he loved, (though that which he loved was immensely stressful), a quiet consolation. I hadn’t talked to him in quite a while, making this a bitter sting. He came from cinema royalty, his father being Celso Ad Castillo, the “enfant terrible” of Philippine cinema. Chris grew up as an actor, famous in his native country before making his way West and deciding that writing/directing was his calling.
Of course, I’d been meaning to call him for months now, to bury minor hatchets, every day putting it off for the unknowable future. He was in great spirits the last time I saw him at our mutual friend Rey’s play in Pasadena. Chris was one of the first people to screen a film of mine in LA (Still Lover), at a series he was curating at the ArcLight. He was also an OG member of LADS (L.A Death Squad), & had many great stories of 80’s LA punk street life (pretty hardcore stories I’d add).
May he rest in peace, the same peace he found on the 2d screen & while working to fill the flicker in his heart. A combination of sweetness and unpredictable anger rolled up in a soft Filipino shell. Rest in Peace, Christopher Ad Castillo.
While Chris was shooting a feature film (i had a minor acting role as MIRS), we teamed up to co-direct this MIRS music video (i just remembered the name MIRS was, in fact, his suggestion after bouncing the idea of a solo music project I was pursuing). We had collaborated a few times prior & after, but this was my favorite, mostly because of the spontaneity. We shot the performance in-between setups for his narrative feature project. That project never saw the light of day I believe, but nevertheless, it was an interesting time & actually fun in hindsight (time softens blows). Chris had caught the DIY bug from a sort of bubbling cabin fever from having multiple projects fall through the Hollywood development crack, and without letting anything get in his way, he steamrolled through the project, much to his cast/crews terror. But it was a grand learning lesson for him, and a jumpstart to being prolific after many years sitting on the sidelines.
Here it is! The second of three releases of the THREE MARKS, TOO MANY SIGNALS series. Only available on Vimeo On Demand (worldwide) over the weekend, then Amazon Prime (US/UK), and then the rest of the digital platforms.
I wouldn't tell you how to watch it, but I do think a solitary experience heightens the effect, preferably with some headphones.
The film is experimental in the structural sense, so, come with open eyes and let it unfold at its pace.
$2 bucks to rent. $7 to buy. A steal!
(ps: If you were part of the IndieGoGo campaign, we got cheat codes :) )
Took a long while to finish this out for a host of reasons, but, the video is now live. I collaborated with my friend Tom Flynn on the concept, and we where both so busy with other projects that it never finalized. The footage, sitting all alone, for many months, deep in the throes of a mechanical hard drive in Burbank. The song itself was released in 2012.
I recently picked up footage from a shoot we did over a year ago. We had some hiccups immediately during post, mostly because the world we were going to build in the box was a bit too complicated and time consuming without a larger team. This was an in-house production, so we aimed high, but the cost analysis did not add up. A little after that realization we actually continued forward with some progress, but life got busy and other important priorities took over.
Now, this happens now and again. Personally, I just move forward without the burden of the past. If the ship is moving, why hit the brakes?
However, deep down, I'm often bothered by projects left to burn in their own ashes. Mostly because other people put in the time.
This is different than long term projects that are continuous and take time because of aesthetics, strategies or just out of necessities. I'm specifically talking about projects abandoned. Nine times out of ten, these are just scripts, treatments or half baked ideas that get pushed aside for newer scripts; but every once in awhile, its actually raw footage being tossed. You took the time to write something, got people together, and you shot the damn thing, and without any hesitation, you just threw it away.
But here is where everything gets tricky. We are in the throes of "content world" now. Everything counts. The golden goose, and the piles of trash. They all have utility, serving the purpose of fulfilling the highs and lows of our culture. The stream of life is not historical. The origin story is now. Do you have enough material to feed this voracious monster?
With that in mind, I just salvaged some visuals locked away in harddrive hell. Conceptually, the idea has changed, I'll be honest. But, the adjustment actually makes more sense now, since it's more in line with a certain creative process I'm dealing with, NOW.
Here is a still from the upcoming MIRS TAKE AWAY visual. The record is two years old and the footage, recently rescued from the depths of a harddrive in Burbank California, is over a year old. Who the fuck would know if I didn't say anything anyways.
Here is the visual representation for the MIRS track SUMMER GOD COMPLEX. This video is a digital deconstruction of footage that originated from an infamous, lonely and appalling source.
That source was also the lead-in into the writing process, although it was just a jumping point, a kernel of story that evolved into something else.
The deconstruction of the source footage also plays into an internal, corrupt mind grasping at order, and at times seeing beauty in it's own destruction. The process involved the breaking down of codecs.