This quarterly series kicks off with the ROOTFOP CINEFEAST on Sunday, July 14th. This PRIVATE rooftop party will feature a special menu created by IAN GRAY (The Gray House), exclusive cocktails mixed by JESSE HELD (Borough & Northstar Bartenders Guild), local beer brewed by Badger Hill Brewing, live musical performance from YEAR OF THE HORSE (featuring members of Solid Gold), and of course exclusive screenings of a secret film(s).

How do you get invited to these Pop-Up Cinefeasts and where can you purchase tickets? We’ve built this series to exude an air of mystery and exclusivity, which also means VERY LIMITED TICKETING. The location is also kept private until you purchase your tickets.

All you need to do is SIGN UP TO RECEIVE THE OFFICIAL INVITE: http://tinyurl.com/cinefeast

Tickets for the ROOFTOP CINEFEAST go on sale TODAY — Friday, July 14th. Ticket link will only be released to those who sign up for the Party Inviation.

For a man with such an extensive music career and fan reach, Andrew Bird has done an excellent job of remaining a mysterious enigma to much of the world. He’s a fascinating artist, though the man behind the art has, to this point, been somewhat elusive.

Enter director Xan Aranda, an independent filmmaker and a long-time friend of Andrew Bird’s. Aranda was approached by Bird himself, in the interest of preserving the memory of his most rigorous year of touring, culminating in a two-night run at Milwaukee’s Pabst Theater in March 2009. It was the end of a 165-date tour, and it was a year in which Bird was reportedly plagued by an almost constant fever. Aranda called the film Fever Year, and it’s screening tonight at at the Trylon Microcinema as part of Sound Unseen’s monthly film series.

Fever Year explores the music of Andrew Bird from the perspective of a scientist with the soul of a poet. Aranda’s treatment of Bird as an artist, and her capturing of his true self in the film, has been noted through a handful of prestigious awards: Jury Prize for Best Documentary Feature at the Omaha Film Festival (2012), Best Documentary Feature at the SENE Film, Music, & Arts Festival (2012), and Best Popular Culture Documentary at the Documentary Edge Festival (2012), among others.

For Twin Cities-based fans of Andrew Bird (and fans of extraordinary film), tonight marks the last opportunity to see the film Andrew Bird: Fever Year on the silver screen — or, rather, to see it at all. Per Bird’s preference, Fever Year will not be released on DVD or in theaters, so the showing tonight is truly the last chance to see it.

Gimme Noise caught up with director Xan Aranda to discuss the project and what it was like behind the scenes.

GN: I know you’ve worked with Andrew Bird in the past, but can you explain a little bit about selecting Andrew Bird as the subject matter for your directorial debut?

XA: It’s actually the opposite — it’s a commission. He asked me to make the film and I said no. [Laughs] We had already done live-show projections and two music videos together. [Andrew Bird] had been looking at recording these two shows as the Pabst Theater, and then he asked me, and I said no at first…. Then I remember riding my bike home from his house and I was like, “Oh, shit,” because I had an opinion and an idea of how it should be made, so when I got home I sent him a note and was like, “Okay, let’s talk about it.”

GN: Tell me about the style of the film. You’ve said that it’s not a “rockumentary” or anything like that — how do you define it? What was your approach?

XA: I knew that I wanted to shoot it in pungent color; his music is so rich that I wanted lots of color, and I like to use that in my work in general. I said I didn’t want to do [the film] if it was a concert capture–I feel like those things are just kind of a waste, because I feel like viewers don’t really get beyond the setlist, and then they view it once and it goes on the shelf. I wanted to create something that was more toothsome than even like an E! Hollywood True Story, and we kind of realized that there were a few things going on in Andrew’s life…. He had fevers, and when we talked about it, I asked him, “Are you a frog in hot water?” And he said “No. I’m more like a turtle or a bear.” Here’s somebody who, for what he does, is pretty mysterious even for viewers, and I thought I needed to make a film that was kind of an introduction but also something that encompassed fifteen years of music. It’s a lot of things, but it’s also about the creative process.

GN: The film covers some of the health concerns that Bird has as he is in the midst of this grueling tour–particularly the namesake of the film, Bird’s ongoing fever. Were you concerned, personally, at any point?

XA: No. I’ve known Andrew for ten years, I kind of know how he rolls. Unless he’s like an infant falling into the river… it’s that, “I’m not here to end the war, I’m here to document the war…” And there are just certain things, I wanted to let him be and I didn’t want to spook him. Besides, he’s a grown adult with a loving family, and is capable of taking care of himself.

GN: Did making this film change your perception of Andrew Bird as an artist?

XA: One of the reasons I wanted to make this film was because I’d known him for so long, and when you have that kind of knowledge of a subject, you kind of want to dig in there, but I wanted to make a film that was kind of a time capsule. I knew his life was about to change a lot, but it did put me in a position where I could articulate what I thought of him and put him in a new light… it’s definitely hard to guide a friend of yours through the experience of having a film made about them. It’s a very arresting process, like, “Oh, shit, there’s this movie about me,” and it’s like, “Yeah, that’s kind of what we’ve been doing…” [Laughs]
GN:
Were there any pieces of the film that you had to cut that you wish you could have fit in?

XA: We have 36 viable songs that we condensed into this film from two different shows, so there are two performances that were so wonderful. He enjoyed those performances, and for me I kept trying to fit them in the film and the film kept spitting them out–it’s that beautiful moment where the film starts to tell you what it wants.

GN: For Andrew Bird fans that haven’t seen the film, what do you think will be the most surprising or enlightening thing?

XA: We just released as a music video for Andrew the rehearsal-to-stage performance of “Lusetania” that he did with Annie Clark [St. Vincent]. That was the first time they performed together, and Andrew taught her that song in that moment… It’s also very rare to spend 80 min with Andrew, so it’s just a nice chance to hang out.

This is our first year in participating in Give to the Max Day and it’s all possible because of our wonderful fiscal sponsors: IFP Minnesota. As you may already know, Sound Unseen is primarily volunteer-based and our organization is fueled by passion, commitment to great programming, and pure love for our amazing community of filmmakers, artists, and musicians. Without the support of sponsors, partnerships, and individuals like yourselves, we wouldn’t be able to do what we do.

Sound Unseen celebrated its 13th year this year and we’d love to make it to 20 years. We are the region’s only “films-on-music” festival and it’s our hope to expand our programming in 2013. We love bringing you US and MN film premieres, we are over-the-moon about the local music scene, and we absolutely would love to continue bringing in visiting filmmakers. Our entire vision is to unite communities through film, music and art and creating longevity in the community through lasting partnerships and programs.

With your donation, we may continue our mission to foster a greater appreciation of cinema, to bridge cultures, create and expand community, provide cultural exchange, networking opportunities and educational outreach through regular interaction with great films, filmmakers, musicians and artists.

We thank you in advance and hope to see you at one of our monthly screenings or at our fest! DONATE HERE.

-The Sound Unseen Staff

Read Niles’ full write-up HERE.

To read the article, please vist WCCO MOVIE BLOG.

Photo by Erik Hess

In addition to the terrific slate of music-related films and documentaries that Sound Unseen has scheduled for their 2012 festival, organizers have also just released their eclectic music lineup for this year’s festivities. All of these scheduled performances are 21+ and absolutely free, and are set to run from October 10-13 at Harriet Brewing’s Tap Room in Minneapolis, with the exception of Mark Mallman’s CD release show for Double Silhouette, which will be held at the Ritz Theater.

The music lineup for Sound Unseen is a diverse blend of local DJs and emerging young bands, featuring Maggie Morrison and Cecil Otter’s new collaborative project, LaLiberte, as well as the promising high-schoolers Bomba de Luz, and the ethereal lo-fi act Strange Names.

Sound Unseen are also co-presenting Mark Mallman’s CD release show for his new album, Double Silhouette, at the Ritz Theater on Saturday, October 13.

Sound Unseen have also announced the locally-based short-films that will be shown before the features during the festival, highlighted by “People Don’t Change,” directed by and starring Motion City Soundtrack’s Justin Pierre, a special screening of “Ghost,” by Communist Daughter directed by Justin Staggs, as well as “Capybara,” the new video from Pierre’s side-project Farewell Continental.

More information on the films that are being screened throughout the festival and their corresponding show times can be found at the official Sound Unseen website. And, if you “Like” Harriet Brewing’s Tap Room and Sound Unseen on Facebook, you can receive drink specials for Harriet Brewing during the festival.

Here is the full schedule and set times of the music performances at Sound Unseen 2012:

Wednesday, October 10

8 p.m. DJ Shannon Blowtorch
10 p.m. Apollo Cobra

Thursday, October 11

8 p.m. DJs Lady Heat
10 p.m. LaLiberte

Friday, October 12

8 p.m. Gallupstar
9 p.m. DJ Don Cuco
10 p.m. Journey Karaoke

Saturday, October 13

8 p.m. Bomba de Luz
9 p.m. DJ Don Cuco
10 p.m. Strange Names

Saturday, October 13 (At Fitz Theater)

7 p.m.  Mark Mallman Double Silhouette CD Release Show – Tickets $10/advance, $12/door

In the wild category, there’s Beware of Mr. Baker, the SXSW-award winning doc on the prodigious and volatile Cream/Blind Faith drummer, early Afrobeat champion, and battler with drugs, women, and the law; and Bad Brains: A Band in DC, which chronicles three decades of the massively influential punk/reggae band and their enigmatic frontman, HR. Hardcore is also at the heart of xxx All Ages xxx, a history of the early ’80s Boston punk scene, while Radio Unnameable profiles in appropriately collage-like style the free-form radio pioneer Bob Fass.

For weird, there’s The Source, the tale of religious cult-cum-psychedelic band the Source Family (aka Ya Ho Wha 13), their outlandish heyday in early ’70s LA and later reformation. Or try short film Life and Freaky Times of Uncle Luke, is a remake of the late Chris Marker’s avant garde classic La Jetee set in Miami and starring 2 Live Crew’s Luther Campbell. We suppose that might also qualify as wild.

The marquee slots go to films that are perhaps more on the heartwarming tip. The opening attraction is An Affair of the Heart, a funny-sweet examination of the abiding love affair between pop idol-turned-working rocker Rick Springfield and his deeply, deeply committed fans. The “centerpiece film” on Friday the 12th is Don’t Stop Believin’, the Tribeca premiere about Arnel Pineda, the formerly homeless Filipino tapped to replace Steve Perry’s leather lungs in Journey after band members spotted him belting on YouTube.

There are also films about Charles Bradley, TV on the Radio, and aliens playing future folk in Brooklyn (that’s one of the fictional ones), plus live music at assorted Twin Cities venues. We’ll have more on some Sound Unseen titles in the weeks to come.”

“This is a copy of my letter to my friends. I thought maybe you would like to read….

Dear friends,
 
Many of you already know I have been a big fan of, Arnel Pineda, the new singer for Journey. It is not in my professional area and you may be very surprised to see a different side of me. There are two main reasons why I have been rooting for him for over 4 years now. The first one is easy to explain. When I was in high school (music major high school in Osaka) I practiced piano after dinner until 10:30 every night then did homework listening to Journey. When I practiced Beethoven, Chopin, Debussy and e.t.c., I listened to every layer of melody, harmony and was checking the tone carefully. When I listened to Journey (of course LP records), I simply enjoyed the sound and allowed it to release my tension from practice. Listening to Journey brings back good memories. The second reason is:  Arnel Pineda was born in the Philippines, never had any voice lessons or any music education, but he could always sing very well. He sang for food and for a place to sleep and for his family. In my case, with two music professors as parents, I started ear training and piano at age of three.  I can’t help respecting Arnel for what he has achieved, even though his world of music is so different from mine. As Journey’s lead singer since 2008 he sings nightly in front of 15,000 and performs amazingly despite the pressure of joining an established band. A documentary about him – “Don’t Stop Believin’: Everyman’s Journey” – will be in Minneapolis for one night only on Friday, October 12th at 7pm at the Ritz Theater (345 13th Avenue NE, Minneapolis, MN 55413) as part of the SOUNDUNSEEN13 Film Festival.”

– Reiko Imrie