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180 SOUTH - DVD Movie

Director Chris Malloy has struck gold with the powerful, multigenerational environmental documentary 180 Degrees South. This is a well-crafted film filled with a charismatic cast of outdoorsmen. It's artfully edited and has a pleasant soundtrack, making it one of the finest and most progressive documentaries on wilderness ethics yet. In this feature-length film, shot almost entirely on route to and in Patagonia, Malloy follows mountain climber Jeff Johnson as he attempts to live out an adventure modeled after his heroes, Yvon Chouinard and Doug Tompkins, who traveled to Patagonia in 1968 and fell in love with the rugged country there. While the film opens with vintage footage of the Chouinard-Tompkins expedition rolling under Johnson's narration, one at first may expect 180 Degrees South to be a retread of their famous trek, which resulted in the formation of a nonprofit foundation dedicated to preserving South American wilderness. However, the viewer quickly learns that this film mainly stars Johnson, intimately narrating his thoughts about the good deeds Chouinard and Tompkins have done to promote wilderness ethics. Johnson also sincerely wonders who among new climbers and nature lovers have taken action to protect the lands they love. As Johnson sails his way down the Pacific Coast, he stops on Easter Island, which makes for gorgeous, scenic surfing footage. When he finally reaches his destination, Cerro Corcovado, Johnson meets Chouinard and Tompkins and their climbing begins. 180 Degrees South works as sheer travel documentary, but it is clearly a call to arms about protecting wild lands. Because Malloy treats this left-wing political stance delicately, commingling environmental message in with awesome climbing, sailing, and surfing footage, the film does not feel didactic. On the contrary, while it educates according to Chouinard and Tompkins's radical approach, its message feels mainstream enough to appeal to viewers who may not be converted before they see it. Because the director and the stars have taken this low-key tack, 180 Degrees South is all the more convincing as an educational tool. If you're craving inspiration or a call to action, this is your film. --Trinie Dalton

From the orange and gold leaves of fall to the pink cherry blossoms of spring, Signatures follows an entire winter deep in the backcountry woods of Hokkaido, Japan. From deliciously deep January blower to April corn, we bring you a film about expression and the art of riding on snow. Every turn has a personality, and every personality has its own unique style: the air, the smear, the spin, the grab, the laid-out cutback carve. Shot in HD, Signatures is 100% human powered riding in all snow-sliding styles: board, no-board, ski, and drop-knee. Details: Shot in Hokkaido, Japan in HD 100% human-powered riding by 22 skiers 51 minutes plus 30 minutes of extras Features a soundtrack by Bon Iver, Blitzen Trapper, Jon Swift, Eliot Brood, and Gregory Alan Isakov

Chris Malloy's film strikes so deeply into the heart of Patagonia's wilderness we come to feel at home there. 180° South: Conquerors of the Useless follows Jeff Johnson as he retraces the epic 1968 journey of his heroes Yvon Chouinard and Doug Tompkins to Patagonia. Along the way he gets shipwrecked off Easter Island, surfs the longest wave of his life - and prepares himself for a rare ascent of Cerro Corcovado. Jeff's life turns when he meets up in a rainy hut with Chouinard and Tompkins who, once driven purely by a love of climbing and surfing, now value above all the experience of raw nature - and have come to Patagonia to spend their fortunes to protect it. Including: ?The Making of 180® South ?Deleted Scenes ?The Music ?Trailer ?A Look at 180® SouthAnd length of bonus movie features is 56 extra minutes.

Adventurer Jeff Johnson strikes so deeply into the heart of Patagonia's wilderness that we come to feel at home there. Retracing the epic 1968 journey of his hero Yvon Chouinard, he gets shipwrecked off Easter Island, surfs the longest wave of his life and prepares himself for a rare summit of Cerro Corcovado. Jeff's life turns when he meets up with an older and wiser Chouinard, while he is in Patagonia to help save its wildlands. ABOUT THE SOUNDTRACK In 2007 I fl ew down to Patagonia with my friends James Mercer and Mason Jennings. My cousin, Chris Malloy (fi lmmaker), and I were excited to have both James and Mason work on music for the fi lm, so bringing them down to see Patagonia with their own eyes seemed mandatory. We told them they didn't have to write or play any music while down there and that we just wanted them to check it out and meet everyone making the fi lm. Then the fi rst camp fi re lit up and guitars and accordions came out. It was not long before Mason and James joined in and gave us a nice night under the stars listening to them trade off on Neil Young covers. In that moment, we didn't really care any more if they helped make music for our fi lm because bringing them down there already felt worth it. When we returned home, the experience was etched so beautifully in our minds but unfortunately it would be a long time before any music was needed. There was miles of footage to go through and a fi lm to be made. We stayed in touch with James and Mason and gave them updates on the fi lm, although we were lying when we said it wouldn't be long before we were done. The trip really had a profound effect on Mason and within the next few weeks he had written a couple of songs that really put our experiences to music. Then a few more months passed and we showed a preview of the fi lm to Isaac Brock of Modest Mouse. James lived near Isaac in Portland and kept telling me that he thought he would be a good fi t to work on some music for the fi lm as well. Isaac liked what he saw and then handed me a pamphlet on saving the salmon in Alaska and said he would do it if we could help with this cause. Seemed fair enough. When we fi nally had a rough edit of the movie, we headed to Portland to Isaac's studio to record the soundtrack for 180° South. Pulling up to an old two-story craftsman house, we could hear the peaceful sound of guitars feeding back through the windows. Chris and I stopped and stared up at the attic completely captivated by what we were listening to. It was not long before we were watching footage and going over ideas and it wasn't long after that before we heard Isaac's banjo, Tom's trumpet, Eric's squeezebox, Joe's drums and James's harmonies coming from every corner of that house. That did not stop for almost 2 weeks. This record is inspired by the stars in Southern Chile and was brought to life via a cabin in Minnesota, a garage in Hawaii and an attic up in Portland.

A collection of three EPs released in limited quantities by this London duo (Nick Franglen and Fred Deakin), Lemonjelly.ky is what happens when you mix electronic psychedelia with downtempo beats, a selection of warm and organic sounds, a splash of sunshine, and a big dose of smiles. Coming across like a series of electronic fairy tales designed for warm, hazy afternoons in the park, Lemon Jelly are all about a good time, chill style. Kruder & Dorfmeister would approve, as would the Orb, but Lemon Jelly also have a stoner's sense of humor to accompany their warmly chaotic mixes. Take "A Tune for Jack," with its big sea elephants and smooth high-synth sound that evokes the Parisian duo Air, and then try the amusingly instructional voiceover during "The Staunton Lick." Both illustrate clearly that for Lemon Jelly there are no rules other than to let your imagination (fueled as it might be) wander where it must. Indeed, one of the most delightful things about this album, as you meander through stunningly lush pastures like "Homage to Patagonia" and the melancholic romance of "Kneel Before Your God," is its ability to marry great music with a genuine sense of goodwill and happy disorder. If Alice ever did manage to hear some tunes as she tripped about Wonderland, Lemonjelly.ky must have been the soundtrack she enjoyed. --Steffan Chirazi

Nick Franglen and Fred Deakin are the London based duo who make up Lemon Jelly. Fred is a DJ and designer whose illustration work frequently appears in The Face magazine. His wobbly, bubbly graphics are a good visual translation of the Lemon Jelly sound.

Nick Franglen and Fred Deakin are the London based duo who make up Lemon Jelly. Fred is a DJ and designer whose illustration work frequently appears in The Face magazine. His wobbly, bubbly graphics are a good visual translation of the Lemon Jelly sound. Nick is a producer who has worked with Primal Scream, Bjork and Pulp. The record consists of the three limited edition UK 10 inch EP's that the group released between '98 and '00. The juicy melodious sounds fit in right next to bands like Air and Thievery Corporation but truly exist in a cartoon world of their own. Deluxe gatefold dogipack. 2001 release.

Experimental. Debut Full Length; Compiles their Three EP'S: The Bath EP, the Yellow EP & the Midnight EP.

Tera Melos' first proper full-length, Patagonian Rats is packed with melodic hooks and jabs that on paper might seem to defy the band's experimental edge. There's even clear and distinct vocals throughout -- a first for the band, where vocals, if any, were previously awash with distortion and layered in the mix. But, particulars aside, Patagonian Rats is the type of album that sticks with you.

Since the early-twentieth-century settlement of the region of Aisen, in southern Chile, residents of the area have had easier access to Argentina than to Chile's metropolitan central region. The ease of cross-border contact during the region's early history led to a transnational flow of ideas, currencies, and cultural practices. As locals adopted ranching methods, clothing items, and cultural practices from across the border, Aisen took on a distinctively Argentine look and sound. Today Aiseninos (residents of Aisen) claim Argentine popular music from the early twentieth century as their own, casting it as local traditional music. This dissertation proposes the idea of the "post-frontier" as a means of explaining this apparent contradiction. The post-frontier explains a situation in which people use cultural practices from a neighboring nation-state not as a means of forging connections with that nation-state or its citizens, but rather as a way of commemorating a local "frontier" past in which such connections existed. The concept of the post-frontier brings a temporal element to the study of transnational connections and allows for a more nuanced understanding of the ways in which people use and define practices that cross national boundaries based on ethnographic fieldwork, this dissertation interrogates the ways Aiseninos use an idealized regional past and traditionalist discourse to cast this Argentine-influenced music as a locally rooted practice. In turn, it examines the ways in which people use this music to construct regional identifications and narratives of heritage, while considering how these narratives contest a homogenizing Chilean cultural nationalism. Each chapter pursues a distinct aspect or manifestation of this process of tradition formation, covering Aiseninos' engagement with the past, collective memory, aesthetic preferences, and nationalist sentiments. The concept of the post-frontier informs this analysis throughout and works toward a critique of current work on transnational connections.