There's always something appealing about vintage logos - often it's a simplicity and straightforwardness that is lacking today. Typically I'd say that nostalgia plays a part as well but having a look at this archive of Canadian logos, I have no personal memory banks in reference to them - but I still find myself with that same loving enjoyment of a strong, simple, bold mark. That 1992 CBC logo should live forever!

There is something deceptively simple about the 3D design work of Stuart Wade. It's clean and simple but there's a lot of great personality and character coming through on every image. Even the very simple geometric pieces seem to have a life to them that I'd love to see in motion. Even the skeletons.

this is SO great. Using monetary weight to influence politics is the only way to get results.

Listen to "Hand in Hand" from Wilderness https://t.co/eAbSYiDmPc feat @jasminkaset

As I mentioned earlier this week, Makeup and Vanity Set has a new album, Wilderness, coming out in early April. It's a beautiful piece of work that I'm happy to present alongside Telefuture.

Take a moment to listen to the first revealed track, Hand In Hand - featuring vocals from Jasmin Kaset. It's a very appropriate indicator of the vibe of the entire album. So, if you like this track (and you should), go pre-order the album, you will love it.

There are several new pieces up from the KARBORN project Evidence of Time Travel. I love this I Was Always Trying To See You Through The Noise that is, basically, a very long form piece of a face staring back at you - for quite some time. The length and degradation is perfect.

There are more dynamic pieces as well but that face really entranced me.

Javier Grillo-Marxuach is a writer and producer, best known for his involvement with the much-maligned LOST. During it's run, I certainly counted myself as a dedicated fan to LOST. I was also equally disappointed with its slow downfall and it's sour end.

But this isn't about that. This is about The Lost Will and Testament of Javier Grillo-Marxuach, in which a great deal of behind-the-scenes history and insight is shared about the conception and first two seasons of the show (arguably the best). This is a long read, with a load of fascinating anecdotes throughout. Here's a good one:

So the reason the hatch doesn't come up until the end of the tenth episode of the series -- even though JJ was stumping for it since before the pilot was written -- was because Damon didn't fully believe in any of the ideas presented to him for what was there.

As a writers' room, and a think tank before that, we kept pitching possibilities, but nothing we threw out ever overrode Damon's concern that if we shat the bed on that reveal, the audience would depart in droves. The hatch was pitched as a gateway to a frozen polar bear habitat, the mouth of a cave full of treasure that would so entrance the castaways with dreams of avarice that Jack would ultimately be forced to seal it shut with dynamite, the door to a bio-dome whose inhabitants could only breathe carbon dioxide, and even a threshold to an Atlantis-style lost civilization.

Great, right? All and all, it doesn't really settle any of the sour taste that may still stem from the finale but it's nice, refreshing, bit of LOST history that is compelling to read. Highly recommended for anyone that felt themselves trapped with that series and wanting to know what happened, particularly at the start of it all.

Spirit humans http://t.co/Q1QdglLBop

nice VHX mention in this LA Times article about Vessel.

Transparency ftw. http://t.co/BnlhAdlOg6 @peard33 http://t.co/06ac9J9rNN

More critically for the prosecution, investigators found a brand-new cellphone, a map that included Florida and Cuba, a ?flesh-toned? latex mask and around $45,000 in cash. They also found a sheet of paper with a tracking number for a UPS package, which, when it was seized, contained another $117,000.

Made a little JS library, for in DOM ascii animations - http://t.co/BJjv4HosZj - its what the internet needs ;)

I keep seeing these at my local bodega and want to buy them and never open them. I'm basically their target demo

lazer focused instagram of Simpsons tattoos. into it.

The We Own This Town hibernation lasted quite awhile (about a year) but I was still listening to plenty of new Nashville music - just not compiling it into a listenable form. So, Volume 65 continues compiling pieces of that lost bit of time as well as some newer goods that have been popping up. Download MP3 | Download M4A | Stream It Long story short, here's 30 minutes of great new music that you probably haven't heard before that includes the late Dave Cloud and a slew of others - all worth your listening time.

Loving the textured illustrated works of Andy J. Miller. The man has done work for Snacks Quarterly - I think that kind of resume should speak for itself. I love all the characters and immersive worlds that he's able to create.

I've been a Birdcloud fan ever since stumbling across their song Indianer on Myspace many years ago. I've always thought of them a surprisingly accurate commentary (and a bit of satire) on Southern stereotypes but have never been able to fully articulate what it is about them that makes me consider them far more than a joke. Then I ran across this Noisey article and the articulation was done for me. There's not a single passage that sums it all up but these two bits come close:

Subverting the popular cliche that tries to reduce country songwriting to a single trope of self-pity, "Bandit" is the ingenious exception that proves the rule, a blubbering elegy with so much weirdly empathic depth and weight that it justifies the cliche's existence. The song doesn't mock the woman's probable alcoholism and casual negligence, nor does it rationalize her pet's wholly preventable death. What it does do, though, is give the loneliness of an anonymous woman a couple of absurd moments to strut and fret in your mind before disappearing once again into oblivion. Historically, this is what country music has always done best.

... "The last thing in the world either of us wants is to be seen as a comedy band, because, actually, I don't really think the music is all that fucking funny anyway," Green says. "Sure, life is fucked up and it's funny to laugh at that sometimes, but our songs are grounded in the real experiences of real people."

All and all, it's a great piece about a band that skirts the line of pathos and offensiveness. It's that underlying sadness mixed with their manic energy that makes the whole thing work so well. Dive In if you aren't familiar yet.

I haven't even played it yet but the aesthetic of Donkey Me is tugging at my nostalgic heartstrings pretty heavily. I was a big Donkey Kong fan and this takes that adoration and combines it with a shared love of Star Wars, Alien, Total Recall, Flash Gordon and more. I bet it's actually fun to play as well.

via John.

I have been listening to Makeup and Vanity Set for roughly eight years - ever since the release of the 8-bit remix album of songs from The Protomen. In that time, I've heard his music evolve from dancefloor anthems into dark, anthemic, soundscapes. Seriously, if you haven't heard Never Let Go or Manifold or 88:88, you are denying yourself some real pleasures.

So, with that in mind, I'm extremely happy to announce that his new album, Wilderness, will be released on my own yk records, in collaboration with Telefuture. The double vinyl artwork was designed by (version) industries and it's a beauty to behold. All in all, it's been a helluva collaboration.

The album is a companion of sound to a new short film from Joey Ciccoline entitled Eidolon. You could call it a soundtrack but it's more like a conceptual sibling - they exist in tandem to one another. There will be plenty more on this topic in the coming weeks but, for now, go watch this teaser and pre-order it now.

The new Makeup and Vanity Set is an inspired coupling with a new short film, Eidolon, from Joey Ciccoline. This teaser is the first bit of insight into what to expect. You can read more about it here.