Sunday, 20 April 2008

bug in the city has "pop of the sweetest, purest vintage". viel Spaß!

Saturday, 19 April 2008

Béla Bartók - Music for Strings, Percussion and Celesta
(Hungary, composed in 1936)

1. Andante tranquillo
2. Allegro
3. Adagio
4. Allegro molto
Bright Channel - Self-propelled
(USA, 2006)

Alex has posted their first, self-titled release quite a while ago over at Querbeet.
Alas, they are on indefinite hiatus since 2007...

1. Charmour
2. Disillusionist
3. Guardian
4. Howler
5. In The Red
6. Airborne
7. Silver Age
8. Self-Propelled
9. Out Of Focus
10. Levitation
11. Interception

Teiji Ito - Music for Maya

1. Lights Along the Way - India
2. Meshes of the Afternoon
3. Lights Along the Way - Java/Korea
4. Very Eye of Night
5. Lights Along the Way - China
6. Maeva: I Search for Love/Rape Scene
7. Maeva: II Return to Tahiti
8. Maeva: III True Love Found

Disk 2
1. Dwightiana
2. Bagatelle for Willard Maas
3. Moonplay
4. Arabesque for Kenneth Anger
5. Operation Hourglass
6. Water Music Study
7. Orgia
8. Language of Faces I
9. Language of Faces II
10. Works of Matisse
11. Handwritten
12. Lifelines

Maya Deren & Alexander Hammid

On Meshes of the Afternoon: "This is the complete score to Maya Deren's and Alexander Hammid's classic masterpiece of the New York underground. Originally reconstructed by Steve Peters in 1996 following the film's soundtrack, this version features all the music Ito recorded for Meshes and includes multiple takes, whispered directions by Deren and moments of music ultimately never used in the final cut of the film. The sequence is left exactly as Teiji had it on his original tape." (quoted from booklet)

Also, some interesting notes on Orgia: "Director Willard Maas appears as the devil himself in this decadent film depicting a wild orgy of sex and drugs. The music contains some of the most extended wind playing Teiji ever did and is a baroque/free jazz Ito masterpiece. As dropping LSD was actually a written direction in the script, one wonders if Teiji himself was tripping when he recorded this wild demented Third Stream maelstrom. It begins and ends in midstream."

Akira Yamaoka - Silent Hill 2

1 / 2

01. Theme Of Laura
02. White Noiz
03. Forest
04. A World Of Madness
05. Ordinary Vanity
06. Promise (Reprise)
07. Ashes And Ghosts
08. Null Moon
09. Heaven's Night
10. Alone In The Town
11. The Darkness That Lurks In Our Mind
12. Angel's Thanatos
13. The Day Of Night
14. Block Mind
15. Magdalene
16. Fermata In Mistic Air
17. Prisonic Fairytale
18. Love Psalm
19. Silent Heaven
20. Noone Loves You
21. The Reverse Will
22. Laura Plays The Piano
23. Terror In The Depths Of The Fog
24. True
25. Betrayal
26. Black Fairy
27. Theme Of Laura (Reprise)
28. Overdose Delusion
29. Pianissimo Epilogue
30. Promise

Carl Orff - Klage der Ariadne & Tanz der Spröden

Lamento d'Arianna di Claudio Monteverdi (1608)

1. Zu Ende geht nun alles
2. O Theseus, Geliebter
3. Träume, selige Träume
4. Fluch dir
5. Mächt'ger Tod
6. Zu Ende geht nun alles

Tanz der Spröden
Ballo dell'Ingrate rappresentativo di Claudio Monteverdi (1608)

7. Ach, teure Mutter
8. Hört, werte Damen
9. Wie unerträglich anzusehen
10. Tanz der Spröden
11. Seltsam fürwahr ist das
12. Den Tanz der Spröden habt ihr nun gesehn

Sunday, 13 April 2008

Weekend (Jean-Luc Godard, 1967)

1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11

(french with english hardsub)

rs mirror

"Weekend" is perversitas maxima. In any possible way. Starting with the two protagonists who radiate no amiability and arouse no empathy in the audience whatsoever. They are all too much like yourself, you know? *wink*. Roland (Jean Yanne) and Corinne (Mireille Darc) are on their way to Oinville in order to secure her inheritance by murdering her father. Lovely, huh? On a country road, they get into a (most notorious) traffic jam. Certainly, the atmosphere is one of malevolence. The scene itself is one cutless tracking shot lasting for about 7 minutes and is one of the most hilarious parts of the film. There are actually more scenes of this kind in the film.

As the couple continues on their journey quite ruthlessly (bumping other cars or bicyclers off the road into the ditch), the audience is presented with a landscape where car wrecks and people's corpses lie scattered about in unbelievable quantity. Even the protagonists' car gets wrecked at one point, followed by Corinne's utmost despair over her Hermès handbag being forever lost in the fire. Vraiment désastreux!
Animals are slaughtered in possibly the most graphic way I've encountered so far. Really, the rabbit, the pig and the chicken were the only creatures in this film that I felt for.
And yet, the various side characters in this film make it such a weirdly delightful, albeit sickening experience to watch. Joseph Balsamo, for instance, is so terribly fantastic. Peng! Peng! "God’s an old queer, as everyone knows. He fucked [Alexandre] Dumas and I’m the result. Thus: I am God." There's also a girl whose boyfriend died upon having collided with a tractor and now, she furiously rants and raves at the tractor driver but it seems she's more concerned with the demolished car and her blood-spattered clothes. Later on, Roland and Corinne meet a young man (the impersonator of which - Jean-Pierre Léaud - we see earlier on, reading a political manifesto of French revolutionist Antoine de Saint-Just, all dressed up in a military uniform) singing wistfully in a phone booth to his lover on the other end of the line, and they attempt to steal his car. And then there's Emily Brontë. They are easily fed up with her sensitive speeches and when she won't tell them the way to Oinville, they burn her.

"What a rotten film, all we meet are crazy people."

The soundtrack by Antoine Duhamel, at first listen, really is ignorable, as in I don't like it, but that might just as well been Godard's purpose, non? Naturally, I'm excluding Mozart's 18th piano sonata here that can be heard in another long shot in the film. ;)
As you might have guessed, "Weekend" is a tremendously political film in the disguise of a bloody roadmovie where "every, really every conflict is a matter of life and death carried to the utmost extreme" (via). I won't even begin to conceive the spheres of political (sub)text addressed here, I enjoyed it more because of its radical violation of most cinematographic conventions and its merciless depiction of human immorality which make it so flagitiously funny. Just as El-Bira says in the review linked above (if you're well-versed in German, you might want to read the whole thing): "Weekend" is the epitome of antifilm, really.

Saturday, 12 April 2008


Collection of studio and live recordings released by No More Records in 2004. Ikue Mori on drums, Robin Crutchfield on keyboard (left the band in 1979), Tim Wright on bass & Arto Lindsay (complete with sexy voice) on guitar; he does at times sound just a little like a hybrid of Can's Damo Suzuki and Michael Mooney (doing "Yoo Doo Right").

EDIT: here are tracks 19-26 that are missing from the file linked above (again, apologies for the inconvenience).

01. You & You
02. Little Ants
03. Egomaniac's Kiss
04. Lionel
05. Not Moving
06. Size
07. New Fast
08. 5:30
09. Blonde Red Head
10. 32123
11. New New
12. Lying on the Sofa of Life
13. Grapefruit
14. Taking Kid to School
15. Young Teenagers Talk Sex
16. Delivering the Good
17. Police Chase
18. Cop Buys a Donut
19. Detached [Early Version]
20. Low
21. Nearing
22. 5:30 [Early Version]
23. Surrender
24. Newest Fastest
25. Detached
26. Brand New
27. Horse
28. Forgery
29. Action
30. Marshall
31. New Low
32. Calling to Phone
1. One
2. Eastern Lunarterranium
3. Autumnal Equinox Harvest Dance
4. Soon After The Beginning
5. Amerizenitation
6. Birds Return To Hollywood

In case Alex is still looking for this (well, it was December when you requested this), ZubZub (from Magic of JuJu) has kindly ripped and uploaded the Gravity Adjusters Expansion Band release "One" (see comments section for February 29th).

Friday, 11 April 2008

Angel's Egg (Mamoru Oshii, 1985)

1 / 2 / 3 / 4 / 5 / 6 / 7 / 8

(engl. subtitles included)

"Jan 4th, 1998. Raddison Edwardian Hotel, Heathrow.
I am at the 'Shinnenkai' anime convention, and have spent an alarmingly large proportion of the last 72 hours awake, hungry, spending money and watching Japanese animation.

My friends and I go to the final screening of the convention. It is an anime entitled 'Angel's Egg', which I have not heard of before. Watching it, I am enthralled. Beautiful surreal deChirico-esqe imagery, little dialogue, not much plot to speak of. Somehow the whole dreamlike experience is added to by the fact that I am drifting in and out of conciousness [sic]. I was later unsure if I dreamt some parts of the film." (via)

I’ve seen “Angel’s Egg” about five times. It is among my most cherished movies. I cannot bring myself to watch it more often as it tends to be a most devastating experience. Quite abstrusely so, for it mostly is devoid of plot and light and speech and conventions to hold onto. On the contrary, it spouts symbolism and surrealistic imagery and the gentle sounds of water, and has a heavy air of inscrutability, obscurity really, about it. On the subject of surrealism, I'm not entirely sure how deChirico fits here, but then I'm not too acquainted with his œuvre, and I guess, from looking at some of his works, they do express a certain drear and desertedness similar to that of "Angel's Egg". The first time I've seen it doesn't have have too much of a relevance anymore as I think I just wasn't ready for such a work at that time. A couple of years later, after a quite drastic personal metamorphosis, I watched it again and ended up with dakryorrhoe as the credits rolled to Yoshihiro Kanno's "Prelude" (really, that is such a horribly touching piece and I definitely gather it among my favourite piano works next to Satie's third Gnossienne and Takemitsu's "Romance", to name just a few). I couldn't sleep that night either.

You see a girl (however old she actually is) during her humdrum wanderings through a desolate, Europeanesque town, protectively carrying a fairly huge egg with her, looking for appropriate jars to fill with water, roaming through abandoned houses in search of food. There is one scene where you see her adorably licking something like jam off her fingers. Further on, a little later after having encountered an apparently young man (again, who knows how old he is) bearing a huge cross over his shoulder (which actually looks more like a technical apparatus of some peculiar sort), there occurs something like a snippet of comical relief when he offers her protection under his cape as the fishermen approach. She, the independent and precocious lady that she is, haughtily declines and walks on.
The ultimate incident, then, where everything, quite frankly and inevitably, leads to (but which I naturally won't spoil for you, ha), is preceded by a cutless sequence where you see the girl sleeping on what could be interpreted as some kind of altar, the man sitting on the floor with his back against the “bed” in front of a fire which in the process of about three minutes slowly expires. This is of course kindergarten compared to the country road traffic jam in Godard’s “Weekend”, heh. Infact, Russian director Alexander Sokurow quite recently made the first full-length filmed in one shot.

I urge you to watch "Angel's Egg", preferably when you're in a particularly gloomy mood and find yourself unable to sleep...