Akira vibes. I’d watch a full length film of this.
“Zosha Di Castri and David Adamcyk’s Phonobellow, an hour-long new music theater work for five musicians, electronics, and large-scale performative installation, is the result of this collaborative process. Taking as their starting point the year 1877, Di Castri and Adamcyk explore how Muybridge’s high-speed camera and Edison’s phonograph have marked human perception. Via a heterogeneous assemblage of music, images, recorded texts/sounds, electronics, movement, sculpture, and lighting, the piece seeks to capture how deeply these inventions reverberated with people at the time, and continue to reverberate to this day.”
I saw this the other day and it was an experience – exciting, energetic, and unpredictable. Composed by Zosha Di Castri and David Adamcyk, performed by the International Contemporary Ensemble. More information here.
Filmmaker Magazine writes:
Accompanying the first track of the anticipated collaboration, Soused, between avant-garde crooner Scott Walker and sludgy noisemeisters Sunn O))) is an arresting short film by French director and choreographer Gisèle Vienne. Walker’s music — with or without Sunn O))) — is the stuff of waking nightmares, and Vienne’s dream-like film matches it fuzzed-out chord by fuzzed-out chord. A house in the mountains, a blonde-tressed woman moving in slow-motion epilepsy; a teenage boy (her son?) locked in tremulous horror; a car crash?; and a sudden appearance by French novelist, theater artist and dominatrix Catherine Robbe-Grillet… it’s eerie, disquieting, and, with its narrative elisions, entirely hypnotic.
Quote from the NYT piece:
“Once a romantic hero, then an existential one — blond, narrow-hipped, unsmiling behind sunglasses — Mr. Walker no longer has a stage persona. He hasn’t performed in public since a television appearance in 1995, and hasn’t played a concert since 1978. Whatever his music is now, it’s not pop. He’s a composer who happens to use his voice, a semi-operatic baritone pushed to high and quivering extremes, as an instrument to serve his meticulous texts, which on the new album, “Soused,” include words like “bliaut” — a 12th-century European overgarment — and “bescumber.” (Look it up.) And maybe something else: a maker of abstract dramas with tones as characters. His work demands that you come more than halfway toward his isolation, his need to do things differently, and perhaps his story of turning from light to dark.
I would argue that “Soused,” which comes out Oct. 20 on the 4AD label, might be the first music Scott Walker has made in a very long time — maybe since his contributions to the Walker Brothers’ final record, “Nite Flights,” in 1978 — that can be absorbed into the body and enjoyed as a thrill, without needing to learn a lot of other context about his aesthetic transgressions, without attending to the Myth of Scott. Rather than withholding musical or emotional payoffs, which has long been his way, there’s a sort of constant payoff here: no orchestra this time, but the steady electric-guitar and bass drones of Sunn O))) (simply pronounced sun), rich and distorted and marvelous.”
Godfrey Reggio is better known for Koyaanisqatsi, his masterpiece meditation on late 20th century socio-economic malaise. These short pieces for the New Mexico Civil Liberties Union are just as unsettling, but more experimental in form.
An interesting take on life after (or within) post-modernity. Love the metaphors (e.g., a sinking ship, multiple islands) describing the dilemma of being forced to choose without being able to commit; also find it strangely fascinating that Shia LaBeouf is something of a spokesman. See also the Notes on Metamodernism blog.
A fascinating documentary exploring the oil industry in Ghana and Nigeria through multiple vantages, from principals at private equity firms investing in Ghana, to guerrillas blowing up pipelines in Nigeria. Free with Amazon Prime.
My mom created this piece with sounds recorded while taking apart an old Steinway piano.
“This is the fifth piece of the series Tatlin’s Whisper which examines the relationship between apathy and anaesthetization of the images in the mass media. This series intends to activate images, well-known because of having been repeatedly seen in the press, but are here decontextualized from the original event that gave way to the news and staged as realistically as possible in an art institution. The most important element in this series is the participation of spectators who may determine the course the piece will take. The idea is that next time spectators face a piece of news using similar images to those they experienced, they may feel an individual empathy with that distant event towards which they will normally have an attitude of emotional disconnection or informative saturation.”
Read more on Tania Bruguera’s website.