Curió Curió Turns Distance into a Collage of Voices
Luiza Monteiro sings in Portuguese to find her way back to Brazil, slipping between the characters a theatre stage taught her to inhabit.
Luiza Monteiro sings in Portuguese to find her way back to Brazil, slipping between the characters a theatre stage taught her to inhabit.
Beijing-based artist Mixol discusses manifestation and tarot, the self-doubt that once made her quit songwriting, and the eight-bit narrative game she built to play alongside her debut EP, 'The Fool.'
Long before YouTube built its pipeline and Spotify buried its royalties, two films were already asking whether you were a victim of the machine or complicit in it. Warning: contains spoilers!
Recorded in an off-grid Spanish farmhouse during a brutal La Niña winter, 'The Exit Diaries' is the sound of a musician who scrapped an entire album's worth of dark orchestral music, listened obsessively to Alice Coltrane, and arrived somewhere he hadn't expected.
Wang's grounding in Beijing opera, Peel's synthesizer instincts, and their shared Taoist faith in following the flow converge in a series of improvised sessions tracing the full arc of the Chinese solar calendar.
Inspired by Werner Herzog's argument that film must evoke the emotion of poetry, Beth Ann Hooper built 'Poetry in Motion Picture' from three poems in her collection 'Haunting the Dead,' pairing each with original symphonic music as the project heads for the festival circuit.
'The King of Comedy' imagined Rupert Pupkin as a cautionary figure, but over four decades later, his blend of dogged persistence and indifferent craft has become the standard operating procedure of the content era.
Named for the Finnish concept of resilience, 'sisu' documents Kodomo's Chris Child working with vocalists for the first time, chasing analog serendipity, and making a deliberate case for the album as a form still worth defending.
Markus Sieber's 'Chambers' came together across three days at Berlin's Funkhaus with no revisions permitted and no instrument off-limits, built entirely on the conviction that intuition knows more than planning does.
Ondi Timoner's rockumentary follows the Brian Jonestown Massacre and the Dandy Warhols through the '90s music industry, but its most vital lesson has nothing to do with record labels—it's about the communities and collaborations that sustain bands.
In his 1959 comedy 'Good Morning,' Ozu captures the precise moment when Japanese families confronted their first screens, revealing how the promises of connection through technology often deliver isolation instead.