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Tuesday, December 4 • 7:00pm - 9:30pm
Neon Indian: Premiere + Retrospective + Live Score (Solo) Performance + *Keepin' It Weird Screening*

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Presented by Austin Music Video Festival and KUTX
 
The celebrated indie-electronic pacesetter Alan Palomo is best known for his music but did you know he's been making films this whole time? Neon Indian shares his body of music video work and introduces his latest short film with a live analog-synth score in theater. Stick around for a Q&A session with the multi-faceted musician/director.

From his acclaimed debut Psychic Chasms to Vega Intl. Night School and numerous live performances, Neon Indian’s work has been punctuated with a distinct visual aesthetic. Chillwave, lo-fi VHS, 80’s futurist, art school noir - all filter through the optical narrative of Palomo’s work.
Don’t miss this one-time theater performance.

Kicking off with AMVFest’s ever-intriguing “Keepin’ It Weird” screening (40min), this showing is sure to keep you guessing.

  • Keepin' It Weird Screening (40min):
    • Josh T. Pearson "Straight At Me" Directed by Fidel Ruiz-Healy and Tyler Walker
    • Young Fathers "Toy" Directed by Salomon Ligthelm
    • Bourgeois Mystics "Jaan Pehechaan Ho" Directed by Diego Lozano
    • MRK "Hyena" Directed by Zinzi LeMond
    • Broncho "Sandman / Boys Got To Go" Directed by Pooneh Ghana  
    • Femina-X "Black Tongue" Directed by Diego Lozano  
    • The Bright Light Social Hour "Missing Something" Directed by Jack O'Brien
    • Kazy Lambist "Be Yourself" Directed by Mateusz Bialecki


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86’d (short film)  Synopsis:
Directed by Alan Palomo


Neon Indian Biography:
Neon Indian is the ongoing musical project of Mexico born, Texas raised, Brooklyn
based Alan Palomo. It initially began as a creative exercise. After his stint as a
teenaged, newly-devoted electronic musician in his first band Ghosthustler, he
moved to Austin and laid the groundwork for his next disco-centric endeavour,
VEGA. In the midst of writing an EP, he found that the tedium of focusing on high fi
club production, in turn was killing the spontaneity and fun of just simply
making music.

One morning during his writing rut, he was stirred by a dream in which he took acid
with his high school girlfriend. As the psychotropic took hold he was suddenly awoke
and for the first few moments of the day, he had to evaluate if he was in fact actually
there or hallucinating. He was so taken by the experience, he reached out to her and
the two of them arranged to meet one winter break in San Antonio, where they grew
up. He would be unable to make the trip. Feeling the guilt of flaking out, he played
with a keyboard for a few hours and hashed out an apology tune to send her titled,
“Should Have Taken Acid With You”. He realized that instead of attempting to
reverse engineer his favorite pop songs on a dollar menu budget, he could embrace
the unsanded surfaces and cragular fidelity of this kind of sound. As an exercise, he
proposed to never spend more than a day or two per song and write entirely from
personal expirience . What followed next was a song a day until completing a full
album.

His 2009 debut Psychic Chasms, placed him on various year-end lists including the
likes of Pitchfork and Rolling Stone. Neon Indian’s idiosyncratic approach to writing
tape affected electronic music helped define an internet music genre explicated by
such pop essayists as Simon Reynolds in his book, Retromania. It’s doobie brothers
on peyote wonk would swagger its way to various television performances such as
Late Night with Jimmy Fallon.

For his sophomore album, Alan opted write in Helsinki, a favorite destination on tour.
It’s lack of consistent sunlight and sub temperature weather made for a more
haunted, disembodied narrative. He recorded it and mixed it in upstate New York
with Dave Friddman at his remote Tarbox studios. During the Friddman sessions he
also collaborated with The Flaming Lips on their ep ‘The Flaming Lips with Neon
Indian’. Influenced by cyberpunk manga and the sarcastic narcissism of songs like
Jesus and Marychain’s “The Living End”, he finished his techno jerk, post-punk
follow-up, Era Extraña. For it’s release he co-designed a synthesizer called the
PAL198X with Texas-based noisemaker company Bleep Labs. It’s 8-bit shoegaze
and robo guitar blitzes would take him on an exhaustive campaign ending in a 3am
performance at Primavera sound festival in Barcelona.

After two back to back records, Alan retreated to his Greenpoint apartment for a
palette cleanser. His longtime friend and visual collaborator Johnny Woods and him,
made a MOCA commissioned animated short film titled Outer Osmo Ghost Mode.
The experience rekindled his first love and focus; film, and unbeknownst to him
would begin to influence the broad strokes of his next musical move. In the downtime
until now, he traded anecdotes with Anthony Bourdain on No Reservations, sang
songs in renaissance garb on Yo Gabba Gabba, wrote a single for Grand Theft Auto
5, and gave a Ted Talk at Martha’s Vineyard.

Throughout his smaller more film-related projects he began to imagine a narrative
love letter to the timeless, chintzy allure of his years in NYC and a confessional to
the habitual behaviors it brought out in him. Once again, he would come full circle at
the realization that while attempting to write new VEGA material, that the developing
direction of Neon Indian had found a busy intersection at which the two could meet
and ultimately merge into one fast lane. He had also begun to collaborate with his
older brother, Jorge Palomo, on more guitar-centric songs and began to tread into
funk. The narrative of his album began to actualize when his brother took a job in the
house band of a cruise. In order to finalize his brother’s contributions, he set up a
small studio in a cabin one magic week aboard the Carnival Fantasy cruise ship.
Alan, Jorge, and Josh, their engineer worked as the ship traversed the Bahamas,
docking in nassau, and eventually making its way back to Florida. Upon his return,
Alan had the songs that would be the blueprint to develop the rest. The rhythms got
faster. The baeleric influences more apparent. And the approach to songwriting more
elaborate. He recorded at various location in New York including DFA’s Plantain
Studios, Midnight Studios in Greenpoint, Rad studios in Bushwick, and his own
home. Whatever had the right gear for the right tune. New York is a great place to be
your own boss but certainly not your own employee. At some point, the distractions
that fueled the rakish, altered misadventures peppered throughout in the lyrics of
these new songs would prove too apparent. He then relocated to Austin for the early
winter and set up shop at Pure X’s practice space in Austin. He would finish most of
the writing there. Upon his return, he immediately pinged back out of the city to
record some songs at Ben Allen’s studio in Atlanta. As he loaded the equipment for
the drive down, he slipped and cracked his face on a rack of equipment, leaving 9
new stitches clefting through his right eyebrow and a fresh sloping scar that seemed
to create a sideways exclamation mark. After his stint there he returned to Brooklyn
to attempt to finish locally. He teamed up with Alex Epton to mix the album at his
home in south Brooklyn and they worked for nearly 2 months until it’s completion.

They’d often play trashy b movies and new york flicks while working to see if the
visuals were thematically aligning with the music. Did this song fit over Abel Ferrera’s
Ms. 45? Was this interlude remnant of the punk show in After Hours? More than
ever, the goal of this album was intended to be a film score to an imaginary film
playing indefinitely at the neglected theaters or porno booths of Alan’s head. “I

Tuesday December 4, 2018 7:00pm - 9:30pm
Alamo Drafthouse Cinema Ritz 320 E 6th St, Austin, TX 78701, USA

Attendees (5)