IVBCD08 v/a «In Memoriam Tarkovsky»
Compilation dedicated to russian film director Andrey Tarkovsky, as part of cross-cultural collaboration series.
Featuring:
- Michael Prime
- Christian Renou
- Stanislav Kreitchi
- Roger Doyle
Edition of 500 copies.
A limited edition (500) tribute to Russian filmmaker Andrei Tarkovsky (1932-86). This cross-cultural concept was begun in 2001 and artists here include Michael Prime, Christian Renou, Stanislav Kreitchi, and Roger Doyle, paying special homage to the life of a modern director who dedicated his life to recording the darker realities of life as he knew it on celluloid. Inspired by films like Stalker, Solaris and Ivan’s Childhood, these composers have delivered four lengthy tracks making the nod in Tarkovsky’s direction. Prime’s “Across the River” uses the savagery of nature to develop his nod to this legendary artist. There are sound clips from his films that are sterilized, bloated and otherwise distorted. At just about 10 minutes the piece has the pacing and drama of any essential soundtrack, only here a warped remix of the original.
Christian Renou uses a deep, masculine voice that sets an ominous tone on Tarkovsky. I hear big, silver-screen lips, resilient, steely, almost frozen. Of course, as expected of Renou, there are opportunities to redux to motors and other crackling, aged electronics. I am unconscious and there could be belly dancers and old Fords in the room – but I cannot be sure. White noise bleeds from every edge as if it were spray-painted over the entire scene and then to a dizzying refrain; a rubbery echo wavers in and out. Moscow’s experimental composer, Kreitchi lands his orb in a body of “Water, Water, Water Everywhere” and doesn’t shrug off the spare parts. Washing floods and simple draining are components in this cryptic and very physical work. The clinking, crashing of metal and other objects makes for a tactile impression of most every sound in this wet adventure. At fourteen minutes “Water…” floats and drifts away and trickles back. Sudden boundaries crash and a huffy childlike creature keeps pace with the goings on as if running in the darkness. In “Mr. Foley’s Final Moments,” Dublin’s Roger Doyle reveals a piece that simply smolders as it crawls cautiously through a light harmonic drone. Parts angelic and others perturbed this is nine plus minutes of percussive play with samples, soundtracks and everyday objects, partial to their own idiosyncrasies.
Igloo magazine
more info>
A limited edition (500) tribute to Russian filmmaker Andrei Tarkovsky (1932-86). This cross-cultural concept was begun in 2001 and artists here include Michael Prime, Christian Renou, Stanislav Kreitchi, and Roger Doyle, paying special homage to the life of a modern director who dedicated his life to recording the darker realities of life as he knew it on celluloid. Inspired by films like Stalker, Solaris and Ivan’s Childhood, these composers have delivered four lengthy tracks making the nod in Tarkovsky’s direction. Prime’s “Across the River” uses the savagery of nature to develop his nod to this legendary artist. There are sound clips from his films that are sterilized, bloated and otherwise distorted. At just about 10 minutes the piece has the pacing and drama of any essential soundtrack, only here a warped remix of the original.
Christian Renou uses a deep, masculine voice that sets an ominous tone on Tarkovsky. I hear big, silver-screen lips, resilient, steely, almost frozen. Of course, as expected of Renou, there are opportunities to redux to motors and other crackling, aged electronics. I am unconscious and there could be belly dancers and old Fords in the room – but I cannot be sure. White noise bleeds from every edge as if it were spray-painted over the entire scene and then to a dizzying refrain; a rubbery echo wavers in and out. Moscow’s experimental composer, Kreitchi lands his orb in a body of “Water, Water, Water Everywhere” and doesn’t shrug off the spare parts. Washing floods and simple draining are components in this cryptic and very physical work. The clinking, crashing of metal and other objects makes for a tactile impression of most every sound in this wet adventure. At fourteen minutes “Water…” floats and drifts away and trickles back. Sudden boundaries crash and a huffy childlike creature keeps pace with the goings on as if running in the darkness. In “Mr. Foley’s Final Moments,” Dublin’s Roger Doyle reveals a piece that simply smolders as it crawls cautiously through a light harmonic drone. Parts angelic and others perturbed this is nine plus minutes of percussive play with samples, soundtracks and everyday objects, partial to their own idiosyncrasies.
Igloo magazine
more info>
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