To DIY for: Punk fanzines were as fast and furious as the music

The influence of punk can be seen everywhere, from Primark T-shirts to the font choices of wannabe-hip advertising. But while its sound and style, once a middle finger to society, now runs throughout pop culture, there is one element that has proven particularly galvanising: that do-it-yourself attitude.

Alongside punk's "anyone can play" musical approach, there emerged a DIY aesthetic in disseminating punk polemic. If words and pictures were more your thing than three-minute thrash-outs, you could start a fanzine or cut up and collage a poster. All you needed was a Xerox machine and something to say.
Jon Savage and Johan Kugelberg have collected hundreds of examples of punk ephemera in a new book, Punk: An Aesthetic. "The important thing about punk rock – apart from the energy, which was extraordinary – was that it opened up a space in which you felt you could do something," explains Savage. "The first DIY expression, after the bands themselves, were the fanzines. All these people were learning in public, growing up in public; the fanzine was part of that, definitely." Kugelberg agrees: "The punk aesthetic was the self-starter impulse, which empowered beyond conception."
He suggests we still see this legacy today: "We might say, 'I wanna protest Putin, I wanna start a blog, I wanna organise a neighbourhood bicycle race' – that's the self-starter impulse. You have to give punk mad props for that."
The book takes a broad look, rejecting the rhetoric that punk "arrives fully formed 1976, and nothing before matters", says Savage. So here's a poster from 1974, and here are the Ramones, not to mention Angel and the Snakes – an early Blondie. Or look at the 1970 cover of Fusion, featuring one of the very first uses of the term "punk". "There's lots of discussion of the word within fanzines – there's a whole fan culture seeking to strip rock back to basics and the term 'punk' keeps coming up," says Savage.
Fanzines were made fast and furiously; isn't it a little, well, ironic, to reprint them as a glossy coffee table book? "The short answer is – no doubt," concedes Kugelberg, although he also sees himself as a "good historian" in collecting these remains. Savage isn't worried: "Punk has been commodified for years and years. The point of the book is to make it look fresh; there's a lot in there people haven't seen. Hopefully people will buy it, borrow it, get it from the library – they might even steal it…"
'Punk: An Aesthetic' is published by Rizzoli, priced £35, on 15 September. An accompanying exhibition, Punk Graphics 1971-1984, is at the Hayward Gallery Project Space, London SE1, from 13 September to 4 November

New DIY "Set-Up-Anywhere" Projection Screen for Picnics and Outdoor Events

CERRITOS, Calif., July.  2, 2012 — Elite Screens, Inc. an innovative company that specializes in quality projection screens, today announced the release of its new DIY outdoor projection screen.

“We have been getting a lot of requests for a low-cost outdoor projection screens for picnics and barbecues lately. This is a versatile fabric that is professionally designed for video projection use without the drawbacks that come with projecting on regular cloth bed sheets,” said David Rodgers, marketing manager, Elite Screens, Inc. “I suppose everyone is chomping at the bit for summertime so it’s a good thing we are producing these now and at the right price too.”

 

When showing outdoor movies or presentations for summertime and holiday events, it is important to use a material that will allow the projector to give a clear, bright and artifact-free image. Elite’s new DIY Outdoor Movie Screen is a professionally engineered yet cost-effective solution that eliminates all of the problems encountered when trying to project on regular sheet fabrics. It is designed to have strong color neutrality so that projected images won’t have the red, green or blue color shifts encountered when projecting on regular bed sheets. In addition to this, the weave of most fabrics overlap with the pixels of a digital projector creating a “screen door” visual effect (aka. Moiré effect) that ruins the picture quality completely. Lastly, it is a tension material that in fastened at 4-corners to stand up to the effects of outdoor breezes that have ruined many a “bed sheet-theater” display. 

 

The DIY Outdoor Movie Screen is made using Elite’s Dynawhite theater-grade PVC material that is easily fastened into place by use of its corner grommets. They evenly spread out the material tension for a flat projection surface and readily attach to their surrounding environment such as garage door frames, walls, trees and pole supports. Its 1.1 gain matte white projection surface is textured to avoid hot-spotting while providing color neutrality, and a wide viewing angle that is perfect for social events. Each screen is professionally matted to enhance visual contrast and to absorb the over scan or “bleed” of the projected image. In addition to this, rigging cords and a 2-year manufacturer’s warranty comes with each screen. All these features plus its DYNAWHITE simplicity of use makes the DIY Outdoor Movie Screen a treasured asset for many seasonal events to come.

 

Pricing, Availability, Warranty

Elite Screens’ DIYis priced starting at $ 89and will be available in June, 2012through the retailchannel.   It comes with Elite’s two-year manufacturer’s limited warranty, which is twice the industry standard.

 

About Elite Screens, Inc.

Elite Screens Inc. is a US based company with its world headquarters in California, United States and satellite offices in China, Taiwan, Japan, France, Germany, and the Baltic States. Elite is an ISO9000-2001 certified manufacturer that specializes in producing retail, commercial and home-theater projection screens for the diverse needs of the various AV sales channels. As a leading American screen company, we deliver our promise of award winning quality for today's discerning video enthusiasts. We produce a variety of front, rear and acoustically transparent projection screen design concepts for virtually any projection environment. Elite Screens, Inc. is located at 16410 Manning Way, Cerritos, CA 90703. For more information, please call 877-511-1211 or visit http://www.elitescreens.com.

Wynter Gordon Goes D.I.Y. for New EPs: Exclusive Song Premiere 'Stimela'

Wynter Gordon, a singer/songwriter best known for her club hits "Dirty Talk," "Buy My Love" and her vocals on Flo Rida's top 5 2009 single "Sugar," is going the D.I.Y. route. Though still signed to current label Atlantic/Big Beat after the release of her single "Still Getting Younger," Gordon is prepping a self-released collection of four free EPs called "The Human Condition" - the first of which, "Doleo" (Latin for "pain") is out July 9.

Each EP will explore a different emotion (look for "love and lust" next) and sees Gordon exploring all sorts of genres that go beyond her dance-pop niche, with all the songs written by Gordon. "Doleo"'s lead single "Stimela" (exclusive stream premiere below), for example, was inspired by Hugh Masekala's anti-apartheid song of the same name and features a chorus sung in Zulu and African-pop production reminiscent of early-80s Genesis and solo Phil Collins. Elsewhere, Gordon explores rock, trip-hop and what she calls "down-south hip hop and Celtic, classical music" that delves into deeper thematic material than the bubbly dance cuts for which she's best known.

"The music I'm making now is music I've always made, I've just never been able to release it on a label," Gordon tells Billboard. "I was growing into this person I am now, and I had to make the music that felt right and was passionate about. I didn't feel like I was singing everything I wanted to sing, doing dance music and pop music. I wanted to make something that felt real to me. These EPs include every genre of music I like. I really just felt like I had to by myself."

Gordon previewed some of the new tracks on her spring tour with fellow dance-pop singer Dev, and was relieved by the early fan reception. "A lot of my fans, they really know my past and present, but the masses don't really know who I am," she says. "This is a great opportunity for me to establish myself in a different way."

Gordon will play New York's Santos Party House the day of "Doleo"'s release on July 9, with more shows to be announced soon. It was because of her sharp turn in musical direction that Gordon felt a free, self-release strategy was the best route to get old and new fans acquainted with the sound - with smaller gigs to boot. "I plan on playing hole-in-the-wall clubs before doing anything bigger because I still feel like it's paying my dues," she says of the new gigs. "There'll be time to make money later. I really just want people to enjoy it."

The EPs will be released through WynterGordon.com. Gordon is also working to develop The Flying Unicorn, her independent label, where she is looking to sign artists primarily from the New York music scene where she first came up (she was born and raised in Jamaica, Queens.) Recent collaborators include rapper The lllusion ("I just saw him on the street and he was really striking, in an A$AP Rocky way," Gordon says, "he's just spilling over with talent.") "The scene in New York, the family and the brotherhood that's forming, is really strong and exciting. It's like a rebellion," she says, alluding to another artist, Game Rebellion.

How to setup a DIY recording studio on your computer

By Louie Herr

May 25, 2012 By Louie Herr

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From choosing microphones to distributing your polished songs, learn how to setup a DIY recording studio on your computer and start getting your music out there.

Want to be a rock star?
If the answer is yes, you’re in luck: There have never been more or more affordable tools available to help you pursue your dream. With today’s hardware and software, it’s possible to set up not just a high-quality recording studio, but a fully-fledged record label — all from the comfort of your own home!
Below, learn how to set up your own record label — from recording, to producing, to distribution and promotion.

Recording hardware: Turning ideas into sounds

No matter what kind of music you want to produce, it is likely that you will need a microphone to record some of it. Luckily, you will find plenty of affordable options for entry-level recording.
Built-in microphone - If you’re just getting started, or perhaps recording demos (rough songs that will later be re-recorded), then don’t overthink it! Your computer’s built-in microphone may be a surprisingly effective audio-capture tool, and can add a unique character to your sounds. Cinema Minimal’s excellent Week Ends is a terrific example of the quality of music that can be created even when working under this constraint.
USB microphone - Those desiring higher-fidelity audio may want to purchase a USB microphone for better-quality recordings. Not all USB microphones are created equally, however, so make sure you’re using one that was designed with music recording in mind.
The $149 Blue Microphones Yeti is one popular choice. The Yeti is a large-diaphragm condenser microphone, a type of mic well-suited to a variety of different recording applications. It’s also a multi-pattern microphone. A mic’s pattern is the way that it accepts or rejects sounds from different directions. As versatile as a large-diaphragm condenser already is, a multi-pattern condenser is even more so, because user-selectable pick-up-patterns make them suitable for more applications.
The Yeti also packs a headphone jack, mute switch, and volume dial, all built in to the unit. These features and Blue’s excellent reputation make the Yeti a great first microphone. If you’re even more flush, consider the Blue Microphones Yeti Pro, which, in addition to the Yeti’s features, offers higher-fidelity audio encoding and an analog XLR output.
USB mixer - You could consider a small desktop mixer like the Mackie Onyx Blackjack if you are feeling more daring. Mixers that pack USB-outputs serve as analog-to-digital interfaces, meaning you can use any traditional, analog-connecting microphone in your recordings. This greatly expands your microphone options, though at the cost of a more complicated recording chain.
Of course, you will have to purchase a microphone in addition to the USB mixer. A large-diaphragm condenser, like Rode’s NT1-A or the Audio Technica’s AT 2020, would be a good choice to begin your microphone collection.

Mixing software: Making sounds into music

You will need software to take the digital signals from your microphone or USB device and record them to your hard drive. Later, you will likely use that same application to combine multiple audio signals into songs. Choose this application well, because it is a window you will spend a lot of time with.
Audacity - If you want to spend your entire recording budget on hardware, you can — because the excellent, open-source Audacity can take care of all of your software needs.
Audacity is a Digital Audio Workstation (DAW). DAWs allow you to record, edit, modify, and combine audio files. In the computer recording environment, the DAW controls the way signal is captured from recording device to hard disk. It also maintains the arrangement of various audio files within each song, as shown in the image below.

Further, the DAW performs various useful post-production operations. Audacity, for example, facilitates amplifying, equalizing, compressing, leveling, normalizing, and a variety of other functions. The effects and plugins found in different DAWs will be similar to each other, as they all attempt to recreate pieces of analog hardware that previously performed the work of each. They can, however, differ greatly in quality and in price.

Though Spartan compared to other options, Audacity is highly functional, and, as freeware, its price can’t be beat. It’s a great option for those on a budget or only wanting to experiment with recording.
GarageBand ’11 - At just $14.99 in the App Store, the OS-X-only GarageBand delivers massive functionality and a beautiful interface at a very affordable price point. Though, essentially, it does the same things as Audacity, it does so with Apple’s traditional polish. It also gives the user a lot more options when doing so, packing a ton of useful effect pre-sets and audio samples to punch up your recordings. Further, GarageBand offers templates for some of its most often-used projects (“Podcast,” for example), making it even easier to get going with the program.
OS X users with a bit of spare money should strongly consider GarageBand as their first DAW, if only because it is so easy to set up and use.
Other options - Though there is no direct corollary to GarageBand for Windows, though many speak highly of Reaper, which can be purchased for as little as $60. Other affordable options include Fruity Loops Express ($49), Acoustica Mixcraft ($75), Sony Sound Forge Audio Studio ($70), Steinberg Sequel 3 ($80), Cakewalk SONAR X1 Essential ($99), and Ableton Live Intro ($99). Some of these applications may be more suitable for some kinds of music than for others, so consider what you want to produce and do a bit of research before your purchase.

Publishing platforms: Turning music into products

Though MySpace is unfortunately (or, fortunately) a thing of the past, there have never been more ways for musicians, even those just starting out, to make their songs available to a wide audience.
Bandcamp - Bandcamp makes it stunningly easy to distribute digital music online. Feed it audio files, connect a PayPal account, and you can be up and running in moments. There is no set-up fee for Bandcamp. Instead, the service takes a 15% revenue share. After Paypal’s 2.9 percent take, plus a 30-cent transaction fee, your revenue share takes a considerable hit. However, many artists opt for Bandcamp after balking at the set-up fees charged by companies such as Catapult.
In addition to being great for music distribution, Bandcamp is incredibly important as a way to appreciate music. As MySpace has declined, Bandcamp has neatly stepped in as the service most-often-used by independent artists to distribute their work. That hip new local band you’ve been hearing about? Chances are they’re on Bandcamp. Now, go buy something from them! They could probably use your support.
Kunaki - Though it’s never been easier to distribute one’s music online, it can still be difficult for artists to produce materials and media to sell at their live shows. Many CD companies enforce a minimum production run of 100 units or more with a minimum cost often greater than $400 — a stark contrast to the $0 it costs to set up a Bandcamp account.
Don’t worry — a company called Kunaki has solved most of the problems associated with CD production. Where production at larger manufacturing companies (like Portland’s excellent Cravedog) is managed by humans, Kunaki’s system is complete automated. This leads to much easier setup and far lower prices for the end user.
Kunaki provides a Windows application to configure your product for delivery to its production facility. Following a series of simple steps, your CD is uploaded to Kunaki’s servers, after which it can be ordered in quantities as small as one-at-a-time for around $1.75-each (plus shipping). Outside of burning them yourself, there may be no easier or more affordable way to produce CDs.
Licensing - Many artists miss an income and promotional opportunity by failing to make their music available for licensing. “People are starting to realize that licensing is the best way for the little guy to make money, and music supervisors for TV shows see that they can get decent music for much cheaper than they’d have to pay Lady Gaga,” said Alex Arrowsmith, who licenses his own catalog through Pump Audio (now the Getty Images stock music library).
Pump Audio allows anyone to upload tracks to its online catalog. Though the service only pays our twice-yearly, those payments can be substantial. Arrowsmith, whose work is most-often used in TV productions, derives more of his music income from licensing than from any other source, and has received checks totaling several thousand dollars on payout day.
Marketing media: Turning products into profit (though likely not)
You’ll need to connect with an audience to achieve your dreams of music stardom. Though they require some effort, there are tools available to everyone that can give you a massive head start when establishing your fan-base.
Social media - Social media is largely about self-promotion — just embrace it! Facebook, Twitter, Tumblr, and other services are an excellent, free way to engage with your audience over time. For best results, it’s important to post a variety of engaging content — both band-related and more personal. By doing so, you will increase your social media audience over time, allowing you to contact an ever-larger network with news about your events and releases.
AdWords and Facebook Ads - Self-serve online advertising provides a more-efficient marketing channel for musicians than has been available before. Savvy artists can, with a little work, target advertising to a very narrow audience, and follow-up with analytics to determine how those ads have performed. This data may also indicate how different pieces of content perform, offering an interesting new input in the band’s decision-making process.
Kickstarter - Kickstarter isn’t only a great fundraising tool, it’s a phenomenal marketing opportunity. Coordinating the campaign is a lot of work, but the best projects will engage their audience to share news of the project widely online. Even smaller kickstarters can garner hundreds of social media shares, each of which is an opportunity to connect with new fans.
Remember, it’s all on a spectrum
The products and services outlined in this column can provide a good start for your music efforts, but it’s only a start. Though you can create competent recordings with a $149 USB microphone, you can achieve much better results with better, more costly gear. Similarly, professional artists may use Pro Tools to record their music, produce costly vinyl records to distribute it, and pay any number of expensive firms to market and license their work.
No matter what, though, their careers began with that first step. So could yours. Get to it!

Why A Jazz Festival Is Asking Musicians To 'Do It Yourself'

by Giovanni Russonello

 
The Undead Music Festival, which lifted off last night, has grown every year. On Friday, it will outgrow New York City.
Now in its third year, this jazz festival typically seizes small pockets of Brooklyn and Lower Manhattan, as it did yesterday, building immersive urban playgrounds where largely young audiences flood venues with colored admissions bracelets. It is jazz as both heady experience and social happening. But on Friday's Night of the Living DIY, the venues scatter across five Brooklyn neighborhoods, as well as a half-dozen cities across the U.S.
Still, the festival's expansion — and its use of "do-it-yourself" spaces rather than traditional clubs — is really a way of asking audiences to think smaller, to look closer to home. To turn off (computers and stereos), tune out (from your MP3 collection) and drop in (on a snug, local gathering).
As the head of Capitalbop, an organization that seeks to engage local jazz audiences in Washington, D.C., and presents informal shows in service of that goal, I find this development exciting. Search & Restore, one of the groups responsible for Undead, has decided to feature living-room venues simply because they are already thriving: A quiet movement of artist-produced, anti-corporate jazz concerts is creeping across the country. Here are a few of the motivations that I've perceived for this idea, and for Undead's decision to embrace it.
  1. Jazz thrives in unmediated spaces. The venues at the Night of the Living DIY range from artist studios to musicians' lofts. Some don't have event permits, let alone liquor licenses. One, in Bedford-Stuyvesant, is the living room of Search & Restore director Adam Schatz's friends. In these settings, "You're just in a room with the music, and that's what's important," Schatz told me earlier this week. "On the artistic side, that's usually where it starts — people playing this music in their homes — and it's kind of cool to perform it in a similar, raw setting. Not just physically raw, but emotionally raw: There's a kind of vulnerability to [these spaces] that I think really magnifies the humanity of the music, which is what makes it so special."
In my experience, Schatz is exactly right. With a crowd of curious listeners bunched up in a small room, nothing but a share of the floor or a spongy couch to sit on, the musical experience is remarkably direct. It's no coincidence that historically, jazz's most generous gardens of innovation have included low-lit New Orleans brothels, Harlem brownstones and Soho lofts.
2. A technology-drowned society demands raw experiences. The critic Whitney Balliett famously described jazz as "the sound of surprise." As I see it, this is the music's strongest claim to importance today.
Many of us now attach ourselves to machines, and they're increasingly engineered to deny us surprises. The Google ads that accompany our browsing form a closed circuit, tailored to the terms we've searched or the subject line we've sent. The IT age has brought us mammoth businesses with a firmer grip on our everyday actions than ever before, and a more insidious ability to invent their own necessity. Last month, in a New York Times op-ed, psychologist Sherry Turkle weighed in: "We've become accustomed to a new way of being 'alone together.'" (The jazz allusion seems incidental.) "[W]e are together, but each of us is in our own bubble, furiously connected to keyboards and tiny touch screens."

The question for me is, 'How can I connect people with things that are so explosively real and present that they can sort of combat the idea that everything you need in life is on the Internet?'

- Adam Schatz

The focus at the Night of the Living DIY combats all that by building community, one makeshift room at a time. Close-knit gatherings, where women and men are urgently making music just feet away from their listeners, are an excellent way to encourage triumphant compassion. Schatz is conscientious about the importance of such lifelines to humanity. "For the large part, social media makes me sick to my stomach," Schatz said. "The question for me is, 'How can I connect people with things that are so explosively real and present that they can sort of combat the idea that everything you need in life is on the Internet?' [Jazz] is something that happens differently every single time."
Lucas Gillan is a drummer who co-runs a concert series called House Party Starting in Chicago. For the Night of the Living DIY, he's helping to present a show in a gallery. "I feel like it is very appropriate" to showcase jazz in homes, he said. "It's a conversational music. You go to a party to talk to people you've never met before and to have a conversation, and hopefully you can learn something new about somebody. And you go to a party to hear some music that's going to be in the moment and part of the atmosphere."
3. Doing it yourself is easier than ever before. For all that the Internet has done to lure us out of the crowd and into a cloud, it has also fostered an equal and opposite force: democratizing the tools of making and doing. Individuals now have remarkable means for entrepreneurship. No matter the realm — presenting live music, assembling a recreational sports league, community organizing — it's relatively simple to build something that guides people to each other. Inviting all your friends to a house concert, and encouraging them to invite all of their own friends, is as simple as creating a Facebook event.
Search & Restore, which started in 2007 as a small concert-presenting outfit, blossomed online. Schatz launched a website in 2009 as a hub for promoting the organization's shows, plus other mutinous elements of the New York City jazz scene. The following year, a crowd fundraising campaign on Kickstarter earned him more than $76,000 and a profile in The New York Times' Sunday edition. Schatz used the money to launch a video documentation initiative, and today Search & Restore's website features about 100 videos of live jazz performances around New York.
The means of growth might have been digital, but the ends remain planted in the real world. "I'm always conscious and concerned about the thousands of people who have never gotten the chance to experience this music," Schatz said, defaulting to talking about its live expression. "For now, doing it through the videos is an important first step."
Jamie Breiwick is a trumpeter and the co-founder of Milwaukee Jazz Vision, an advocacy organization that will present a Night of the Living DIY show at a multipurpose arts space. His group's website is robust, offering a calendar of Milwaukee jazz events, a guide to the scene's hotspots and a multimedia archive. However, "the ultimate goal in our case is to get people to come out and see shows live — get people out of the digital world and into the real world," Breiwick said. "Using Facebook and Twitter and all that stuff is just another method by which to let people know what's really happening."
4. The punk ideal of DIY resonates among alternative-minded youth. When Schatz named the festival Undead, the idea was to resist the idea that jazz is "dead" or "dying," while evoking some accepted tokens of outré youth culture: namely, zombies. The term DIY, as it applies to music, dates back to punk rock's origins in the late 1970s, when bands resisting or rejected by commercial venues and record labels struck out on their own. They held their own concerts, self-released records and published stapled-together fanzines. Undead appeals to a similar type of audience: young, educated, imbued with (perhaps more vague) anti-establishment notions of hipness, searching for genuine experiences.
This isn't without its perils. To me, Undead and its sister jazz festival Winter Jazzfest fail to attract enough young people who aren't middle-class, white males. Aligning with an underground method of presentation potentially brings us further from inclusivity: Who is being invited to the performances, and who feels welcome?
5. From musicians' perspective, DIY pays. Schatz thinks traditional jazz clubs, with drink minimums and hounding wait staffs, have done as much to harm jazz's popularity as have those clubs' own scarcity. (It's why Search & Restore typically favors standing rock clubs and other alternative venues.) But as a saxophonist, Schatz also sees clear advantages for musicians to playing at house parties and artist-run spaces. "Aside from the fact that it's hard to get a club to even check out your music, it's much more likely you'll have a crowd [at a DIY show]," Schatz said. "It's much more likely you'll have people there who actually care. And it's a good way to meet people."
Some of the shows at Friday's nationwide Night of the Living DIY are being organized by people whom Schatz met while crisscrossing the country with his band. "Adam actually played in my living room last May," Gillan said.

---

Giovanni Russonello is a regular contributor to JazzTimes and the founder of Capitalbop.

Animal Collective, Deerhunter, Lightning Bolt Live Videos Drum Up Support for French DIY Venue

The Lyon, France DIY collective Grrrnd Zero is asking for letters of support to fight Lyon city hall's plans to evict them by the end of 2012. Since 2004, Grrrnd Zero has hosted unconventional shows for the likes of Animal Collective, tUnE-yArDs, Dirty Projectors, Black Dice, A Silver Mt Zion, Deerhunter, No Age, Deerhoof, Wavves, Liars, Xiu Xiu, Zola Jesus, Tim Hecker, Ducktails, Julian Lynch, Boris, Times New Viking, Kylesa, Wolf Eyes, Mi Ami, and many, many more.

To promote this call for support, Grrrnd Zero is offering free downloads of two video compilations featuring performances from past shows. The first, "Un futur bien peinard (A Cushy Future)", features Animal Collective, Black Dice, Deerhoof, Xiu Xiu, Daniel Higgs, and more. The second, "Fin du monde bientôt (The End is Nigh)", features Lighting Bolt, Deerhunter, Melt-Banana, and more. Watch both below.

You can express support for the space by writing to the mayor of Lyon, Gérard Collomb (gerard.collomb@mairie-lyon.fr), or the deputy for cultural affairs, Georges Képénékian (georges.kepenekian@mairie-lyon.fr). Grrrnd Zero asks that all letters include the name of the venue in the subject line. Physical letters can be send to: Gérard Collomb, Mairie de Lyon, 1, place de la Comédie, 69205 Lyon cedex 01, France.

"Un futur bien peinard (A Cushy Future)":

"Fin du monde bientôt (The End is Nigh)":

Lana Del Rey posts DIY video to new song 'Carmen'

Lana Del Reyhas posted the video for 'Carmen' online, the next track to be taken from her Number One album 'Born To Die. Scroll down to watch.

The video is made up of a collection of found footage, vintage clips and shots of Del Rey, much like the DIY video which accompanied her 2011 debut single, 'Video Games'.

It features pole dancers, images of New York City, Del Rey snuggling up to a blond haired man on the back of a motorcycle and live footage of the singer performing onstage.

Kasabian's Serge Pizzorno recently gave Lana Del Rey's cover of their single 'Goodbye Kiss' his seal of approval. The guitarist and songwriter toldNMEthat he thinks the track sounds "fucking beautiful" and thanked the 'Born To Die' singer for picking the track to cover.

He added: "I'm really proud. Obviously we covered one of hers, 'Video Games', so it was quite a sweet thing to do back. It's a really nice gesture. It's proper old school."

Lana Del Rey, who covered the track forBBC Radio 1's Live Lounge, revealed she first heard the Leicester band's music through her boyfriends. She told Fearne Cotton: "All of my boyfriends had lovedKasabianand I'd never listened to them. I started and I really like this song. I love this song and I love the melody, I love the way the boys sing it."