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• The Unfinished Mosque

Ryuichi Sakamoto - Derrida - 20-Oct-09 04:03 PM
It is of a certain regard that french philosopher Jacques Derrida didnt accept to be photographed until 1979, at the age of 49. By the way, few years before his death in 2004 he agreed to a movie almost fully centered on his own figure.
"Derrida" by filmmakers Kirby Dick and Amy Ziering Kofman, 2002, put an eye on the philosopher in the attempt to discover the man and close the circle. Showing from everyday life to symbolic episodes such as the visit to Mandelas prison, conferences and teaching activities as well as private camera-talks, the movie (re)presents the algerian born thinker as a person and not only as a philosopher.
But there is an unpredictable depth in Derridas eyes, enigmatic as his writing, glances that cross the evidence, always mesmerising and not analising.
The soundtrack composed by Ryuichi Sakamoto was not inspired by this everyday person, neither by his books.
I think he pointed exactly at his eyes.

Aware of the limits of language Sakamoto displays only small and penetrating sound portraits, sharp forms of conversations without words, beyond human language and its duality. The result goes far beyond the soundtrack role itself, fully responding to a listening-only experience and at the same time improving so much of the focus searched in the movie.
Divided into 29 tracks engineered by Fernando Aponte and published by KAB America, this record presents Sakamoto at his best, a passionate scientist and a cold lover, electronic, acoustic and acousmatic.
Mainly worked on piano solo and effects balancing, with the precious collaboration of Phil Romano as piano-tuner, it also includes concrète materials, worked with a cut similar to Akira Rabelais Satie re-treatment.
Tracks from a fluid approach more than a deconstructured process. Luminous connections for enigmatic traces.

Sluta Leta - ...If You Like Champagne On Ice? - 13-Oct-09 11:46 AM
Year 2000: between analogical and digital production eras, when the Warp sounds was turning to something "usual" and glitch-oriented overwhelming issues were polluting many curious ears.
A surprising synthesis of this period is represented by this chic-perfect electronic treasure composed by "language operators" Sluta Leta.
One first track on side A blends together styles and beats from an imaginary Autechre and DJ Hell jam, with vocals used -rapped?- as in some NY female No Wave.
Side B starts with a super synthetic and funky sound that so much anticipate of the next 10 years, but the epicentre of the whole mass is the B2 tracks: it opens dramatically with a very "serious" horns section and goes deep into much unexplored valleys of machine-like rhythms, claps, wooden sounds, and pneumatic atmospheres.
By the third and last track, it all turns into robotic... and you "fully understand it"!
Each era has its own ear, its not clear to which era we should refer Sluta Leta.

Lilith - Redwing - 27-Aug-09 08:21 PM
Dont confuse "wing" with "wind".
Though, be aware that this is an exceptional wind of floating bass frequencies that will grab you in: a solar wind, a black solar wind of terrestrial and ancestral and androgynous memoires, pushed by the forces from before: stones, human voices, skys absence of dimensions.
Dont wait, dont count, dont expect.
Scott Gibbons composes as a ghost, his rules are hidden as an exception to the exceptions. This recording is an immersion into a scope betwen sound, perception and time.
We should refer to "ancient recordings" when speaking of those blinded times and speechless but powerfull sound organs.

Circuit Parallele - Umani Autodistruttivi - 16-May-09 09:02 AM
Harsh music as if your face was carried all over the ground by the thief’s car running from the police.
But the thief is always 100 darsh away from the police, and to say the truth I’m convinced this is the music he is listening to while running, and running, and running.
Umani Autodistruttivi is the celebration of what was emotively to be left behind: it is full, it is intense, it is lyrical.
Yann Hekate aka Circuit Parallele builds and destroys at the same time, rhythms clash while they’re shaping an unheard blend of electronic but oxidated sounds, metallic, chemical and soily at once.
This is not another broken-beat / breakcore derivate, rather, it is a real example of organic complexity and multi-polar reality, facing once again the inner human conflict: a tremendous and astonishing beauty.