artist: VARIOUS ARTISTS
title: Another Kind Of Language
catalog number: and/10
release year: 2003/2004
format: CDR x 2
status: sold out
title: Another Kind Of Language
catalog number: and/10
release year: 2003/2004
format: CDR x 2
status: sold out
Fourteen sound artists created pieces inspired by one of Tarkovsky's
seven feature length films. They were given creative carte blanche as to
how they would pay homage to one of the director's films. Some pieces are
less direct than others, and were created with the intent to also pay
homage to the director's work as a whole or to certain aspects thereof.
MAGALI BABIN
YANNICK DAUBY
DUUL_DRV
JOHN HUDAK
DALE LLOYD
LOGOLASM
KIYOSHI MIZUTANI
MNORTHAM
PHILLIP PIETRUSCHKA
RONNIE SUNDIN
JOSH RUSSELL
SAWAKO
JON TULCHIN
V.V. (Ven Voisey)
Liner note text by Kim Cascone & Trond Trondsen of Nostalghia.com.
"...nothing short of wonderful! I am an experimental filmmaker who has
been inspired by Tarkovsky as well as other European filmmakers -- a
collection of this sort is a salve for the weary spirit. There's nothing quite
like dreaming while being awake; these pieces are powerful in their
simplicity -- they fire my imagination.
I congratulate you and the other artists and crew who were involved with
this project. Job well done!" (Patrick Steele - Fatcat Filmworks)
seven feature length films. They were given creative carte blanche as to
how they would pay homage to one of the director's films. Some pieces are
less direct than others, and were created with the intent to also pay
homage to the director's work as a whole or to certain aspects thereof.
MAGALI BABIN
YANNICK DAUBY
DUUL_DRV
JOHN HUDAK
DALE LLOYD
LOGOLASM
KIYOSHI MIZUTANI
MNORTHAM
PHILLIP PIETRUSCHKA
RONNIE SUNDIN
JOSH RUSSELL
SAWAKO
JON TULCHIN
V.V. (Ven Voisey)
Liner note text by Kim Cascone & Trond Trondsen of Nostalghia.com.
"...nothing short of wonderful! I am an experimental filmmaker who has
been inspired by Tarkovsky as well as other European filmmakers -- a
collection of this sort is a salve for the weary spirit. There's nothing quite
like dreaming while being awake; these pieces are powerful in their
simplicity -- they fire my imagination.
I congratulate you and the other artists and crew who were involved with
this project. Job well done!" (Patrick Steele - Fatcat Filmworks)
This text will be replaced
E/I MAGAZINE (OCTOBER 2005)
Russian filmmaker Andrei Tarkovsky’s rep hasn’t exactly set the
mainstream director’s guild on fire these last 20 years, but it’s fairly ignited
the audio/visual underground in ways yet to be calculated. Dale Lloyd’s
world has been singed pretty seriously; the concept of phonography (the
merging of those a/v sensibilities, acquiring and recontextualizing the
abject notions of sound design and cinematography) on which his label
and/OAR is built, is about as perfect a marriage to the Tarkovsky ethic as
one could imagine. That brings us to the label’s two-disc comp dedicated to
the director, Another Kind of Language, whose resident 14 artists focus
their own mental lens’ on Tarkovsky’s isolationist panoramas. Focus they
do: the parallels drawn are markedly impressionistic, as they should be,
and folks like John Hudak, Magali Babin, Yannick Dauby and Lloyd himself
are far too resourceful to sensationalize literally the inherent power of such
Tarkovsky classics as Stalker and Solaris. So Hudak exteriorizes the cries
of birds in husks of blasted radioactive trees; Dauby navigates his way
through the hum of machinery set adrift in orbit; Rsundin and Logoplasm
lose their protagonists in spatial waves of electrostatic discharge.
Snatches of dialog occasionally provide “samplist links” but the
participants’s reactions are causal to a fault — each track, “composed” or
not, demonstrates genuine inspiration precisely because the aural
responses are so intuitively reactionary. Wet, dark and long, and
intermittently brilliant, Language raises the awareness level on a network
whose octopusic reach continues to gnaw away at the artistically discrete
smarm of the bourgeoisie. (Maxwell Oz)
Russian filmmaker Andrei Tarkovsky’s rep hasn’t exactly set the
mainstream director’s guild on fire these last 20 years, but it’s fairly ignited
the audio/visual underground in ways yet to be calculated. Dale Lloyd’s
world has been singed pretty seriously; the concept of phonography (the
merging of those a/v sensibilities, acquiring and recontextualizing the
abject notions of sound design and cinematography) on which his label
and/OAR is built, is about as perfect a marriage to the Tarkovsky ethic as
one could imagine. That brings us to the label’s two-disc comp dedicated to
the director, Another Kind of Language, whose resident 14 artists focus
their own mental lens’ on Tarkovsky’s isolationist panoramas. Focus they
do: the parallels drawn are markedly impressionistic, as they should be,
and folks like John Hudak, Magali Babin, Yannick Dauby and Lloyd himself
are far too resourceful to sensationalize literally the inherent power of such
Tarkovsky classics as Stalker and Solaris. So Hudak exteriorizes the cries
of birds in husks of blasted radioactive trees; Dauby navigates his way
through the hum of machinery set adrift in orbit; Rsundin and Logoplasm
lose their protagonists in spatial waves of electrostatic discharge.
Snatches of dialog occasionally provide “samplist links” but the
participants’s reactions are causal to a fault — each track, “composed” or
not, demonstrates genuine inspiration precisely because the aural
responses are so intuitively reactionary. Wet, dark and long, and
intermittently brilliant, Language raises the awareness level on a network
whose octopusic reach continues to gnaw away at the artistically discrete
smarm of the bourgeoisie. (Maxwell Oz)
ZEHAR (MAY 2004)
Ez da hilabete aunitz pasatu lagun baten bidez Andei Tarkovskyren
Nostalghia filma ikusi ahal izan nuela. Geroztik, harekin gogoratzerakoan,
irudi bakarra dut gogoan. Pertsonaia nagusia, kandela eskuan, erakusten
duen travelling amaigabea. Hutsa bezain betea den irudia. Ixila bezain
ozena. Orduan ulertu nuen zer den hizkuntza berri bat sortzea, bertzelako
hizkuntza bat sortzea. Andrei Tarkovsky (1932-1986) zinemagile errusiarrak
utzitako ondareak zinemaren historian egin den artelan eder eta
garrantzitsuenetako bat izatea lortu badu ere, argi dago, gaurko egunetik
ikusita behintzat, ez duela ikusle gehienen onespena izan. Baina bere
oinstzek, bere arrastoek tinko irauten dute oraindik artegintzaren bide
bazterran, eta ez bakariik zinemagintzaren munduan. and/OAR label
diskografiko iparramerikarrak hori izan du xede, musika lan eder hau
osatzerakoan, alde batetik, errusiarraren lana omentzeko eta bertzetik,
haren ondarearen inguruan hausnarketa egiteko. Ederra, kontzeptuan nahiz
exekuzioan, lan honek, izenburu beretik hasita, zinemagile errusiarrak bere
lanen bitartez lortu zuen gauza ederrenetako bati egiten dio erreferentzia,
artearen bitartez hizkuntza berri bat asmatzeari, hain zuzen. Zentzu
horretan, Tarkovsky, zinemaren legez, ahalmen hori irudien bitartez
islatzeko gai izan bazen, aipatzekoak dira soinuaren edo musikaren
inguruan egindako erabilerak eta horrek aldi berean bere diskurtsoa
osatzeko erakutsitako gaitasuna. Horregatik, solasgai dugun bilduman,
musika elektronikoa izan da errusiarraren lana omentzeko aukeratutako
prisma, bertzeak bertze musika mota honekin egin zuen lana aitzindaria ere
izan baitzen.
"Musika elektronikoa sumatzen dugun momentu berean, alegia, bere
egitura nolakao den ulertzen dugun momentu horretan bertan desagertzeko
gai da. Musika instrumentala berriz, hain da arte independentea, ezen film
batean sartzeko aise zailagoa bihurtzen baita, eta film beraren zati organiko
bihurtzen da."
Tarkovskyren premisa hauek ez daude gaur egungo musika elektroniko
esperimentalaren eta minimalistaren filosofiatik hain urrun (sortzaile
guztiak batzeko gai den filosofiaraik badago), lan hau osatzen duten artista
gehienen kasuan, behintzat. Paisajista sonoroen, elektroakustikaren eta
soinu esperimentazio ororen ondorengoak, azken hamarkadotan hainbat
musikarik hiztegi berri bezain ezaguna erabiliz, argi eta garbi erakutsi du
hizkuntza berriak bilatzeko grina, Francisco Lopez, horren adibide. Disko
bikoitz honetan bada, orain aipatutakoaren 14 adibide biltzen dira,
nazioarteko 14 artista, bakoitza Tarkovskyren film batean oinarritu baino
inspiratuta, 14 pieza osatu dituztenak. Bakoitzak bere modura egin dio
erreferentzia filmei: batzuek esplizituki filmeko momentuak soinu bidez
(inoiz ez hitz eginez) iradoki dituzte, eta bertze batzuek, berriz, zuzenean
filmen bidez jasotako inpresio edo bizipenetan oinarritutako piezak osatu
dituzte. Haien artean aipatzekoak dira, beharbada filmetako sentsazioak
iradokitzeko gaitasuna dela eta, Michael Northam eta Dale Lloyd
Amerikarren, duul_drv Kanadiarraren edo logoplasm talde Italiarraren
saiakera zoragarriak. Atal entzungarriaz gain, Kim Casconeren (ikus Zehar
51), eta zinemagile errusiarra omentzen duen www.nostalghia.com web
orriko arduraduna den Trond S. Trondsonen testu mamitsuek, zenbait zita
tartean, osatzen dute, dudarik gabe, maitasun haundiz egindako lan eder
hau.
"Soinu tonua ezbai batean mantendu behar da, entzuten duguna musika,
ahots bat edo haizea izan daitekeenean."
(Xabier Erkizia)
Ez da hilabete aunitz pasatu lagun baten bidez Andei Tarkovskyren
Nostalghia filma ikusi ahal izan nuela. Geroztik, harekin gogoratzerakoan,
irudi bakarra dut gogoan. Pertsonaia nagusia, kandela eskuan, erakusten
duen travelling amaigabea. Hutsa bezain betea den irudia. Ixila bezain
ozena. Orduan ulertu nuen zer den hizkuntza berri bat sortzea, bertzelako
hizkuntza bat sortzea. Andrei Tarkovsky (1932-1986) zinemagile errusiarrak
utzitako ondareak zinemaren historian egin den artelan eder eta
garrantzitsuenetako bat izatea lortu badu ere, argi dago, gaurko egunetik
ikusita behintzat, ez duela ikusle gehienen onespena izan. Baina bere
oinstzek, bere arrastoek tinko irauten dute oraindik artegintzaren bide
bazterran, eta ez bakariik zinemagintzaren munduan. and/OAR label
diskografiko iparramerikarrak hori izan du xede, musika lan eder hau
osatzerakoan, alde batetik, errusiarraren lana omentzeko eta bertzetik,
haren ondarearen inguruan hausnarketa egiteko. Ederra, kontzeptuan nahiz
exekuzioan, lan honek, izenburu beretik hasita, zinemagile errusiarrak bere
lanen bitartez lortu zuen gauza ederrenetako bati egiten dio erreferentzia,
artearen bitartez hizkuntza berri bat asmatzeari, hain zuzen. Zentzu
horretan, Tarkovsky, zinemaren legez, ahalmen hori irudien bitartez
islatzeko gai izan bazen, aipatzekoak dira soinuaren edo musikaren
inguruan egindako erabilerak eta horrek aldi berean bere diskurtsoa
osatzeko erakutsitako gaitasuna. Horregatik, solasgai dugun bilduman,
musika elektronikoa izan da errusiarraren lana omentzeko aukeratutako
prisma, bertzeak bertze musika mota honekin egin zuen lana aitzindaria ere
izan baitzen.
"Musika elektronikoa sumatzen dugun momentu berean, alegia, bere
egitura nolakao den ulertzen dugun momentu horretan bertan desagertzeko
gai da. Musika instrumentala berriz, hain da arte independentea, ezen film
batean sartzeko aise zailagoa bihurtzen baita, eta film beraren zati organiko
bihurtzen da."
Tarkovskyren premisa hauek ez daude gaur egungo musika elektroniko
esperimentalaren eta minimalistaren filosofiatik hain urrun (sortzaile
guztiak batzeko gai den filosofiaraik badago), lan hau osatzen duten artista
gehienen kasuan, behintzat. Paisajista sonoroen, elektroakustikaren eta
soinu esperimentazio ororen ondorengoak, azken hamarkadotan hainbat
musikarik hiztegi berri bezain ezaguna erabiliz, argi eta garbi erakutsi du
hizkuntza berriak bilatzeko grina, Francisco Lopez, horren adibide. Disko
bikoitz honetan bada, orain aipatutakoaren 14 adibide biltzen dira,
nazioarteko 14 artista, bakoitza Tarkovskyren film batean oinarritu baino
inspiratuta, 14 pieza osatu dituztenak. Bakoitzak bere modura egin dio
erreferentzia filmei: batzuek esplizituki filmeko momentuak soinu bidez
(inoiz ez hitz eginez) iradoki dituzte, eta bertze batzuek, berriz, zuzenean
filmen bidez jasotako inpresio edo bizipenetan oinarritutako piezak osatu
dituzte. Haien artean aipatzekoak dira, beharbada filmetako sentsazioak
iradokitzeko gaitasuna dela eta, Michael Northam eta Dale Lloyd
Amerikarren, duul_drv Kanadiarraren edo logoplasm talde Italiarraren
saiakera zoragarriak. Atal entzungarriaz gain, Kim Casconeren (ikus Zehar
51), eta zinemagile errusiarra omentzen duen www.nostalghia.com web
orriko arduraduna den Trond S. Trondsonen testu mamitsuek, zenbait zita
tartean, osatzen dute, dudarik gabe, maitasun haundiz egindako lan eder
hau.
"Soinu tonua ezbai batean mantendu behar da, entzuten duguna musika,
ahots bat edo haizea izan daitekeenean."
(Xabier Erkizia)
IGLOO (APRIL 2004)
It was only a few months ago that I reviewed "In Memoriam Tarkovsky" (on
Russian label IVB) another homage to the influential filmmaker who passed
in 1986. Several interesting artists pack this two-disc set, packaged in a
cinematic DVD-style case with 14 long playing tracks. Opening the set is
Mnortham's inclement "When Inaccessible." At over fifteen minutes, the
field recordings of steep rainfall meet the atypical sine drone of a tuning
fork (or so it sounds). The hush wind tone of Jon Tulchin's "Mnemonic
Cartography" uses a collection of sparse sound samples of nature: the
crackle of campfire (or is it the sizzle of bacon?), the top wind on the
ocean's edge, and the eerie void of the midnight air with a moon halo. He
stops to take breathy pauses as metal is towed and muffled timbre
cascades with sluggish pace. Yannick Dauby's "Bruissements (for Solaris:
Tarkovski/Lem)" reminds me of some of his previous work with crackling
embers and other experiments in gently stirring sound demographics. The
theme continues with "Smoldering Ardor" by label maestro Dale Lloyd. The
tactile environment is steely as stubbly miniature clicks drag our ears
through the dirty hum of a convincing whispery world. Towards the end,
what could be a stampede of horses is a windswept distortion of open
flames. Birds whistle and call "In the Dream" of John Hudak. Subtitled
"Tarkovski's Sacrifice", the normally resplendent chirp-chirp has a
somewhat menacing edge on this 21+ minute piece. He's tuned these
feathered friends into something of a channeled set of harmonic scales,
almost as if they are pets on command. Left to right, simultaneous, and
fore/background - these sing-song short calls for attention balance a calm
and unnerving energy. Kiyoshi Mizutani's unscripted percussive chant
"Nicolai", sounds like a group of monks in a subway. He portions out parts
of this track - the first with street sounds vs. some passing airborne calling
birds (the theme is alive and well). Next are some gravel-like pouring from
left to right channel, add an open canvas of rain, a random singing choir
and it becomes a bit like r.e.m. to me - and I don't mean the band. This is an
illusory open-air bath for the sensual pleasures of the wild. Towards its
conclusion, a plane takes flight, above and away.
Disc two opens with Sweden's Rsundin whose "Spegeln" is a sudden clap
of thunder and roaring lightening, and we are in a surround-sound live
storm with a sweet robin calling to it's family. The lapping waves and gulls
envision a shore after the eye of the storm has firmly closed, some
remnants left aside. "At The End Of The Rope" is Magali Babin's fuzzy
contribution. Crumbling stagecoaches, rattling teeth and the bass of
pain/pleasure moaning from a headless figure in the deep background.
Canadian artist S. Arden Hill, otherwise known as duul_drv breaks the
sound barrier with a popping glass bulb and various metallic industrial
bric-a-brac. His harmonies are woven texturally and sequenced like fine
layers of Egyptian silks. Josh Russell spends 18 minutes forming his
"Objects" with space light and secret lasers (I made that part up - but that's
what it sounds like). It's as if you are dealing with sensitive infrared
technology, everything is so mute with a layer of impending challenge to
the risky material. 24-year old Tokyo-based Sawako (Kato) develops her
sound from small fragments, amplified and then processed, the equivalent
of refried beans in electronics. The process of reduction makes her
"Mirror" reflect only the residue of nature's work. It's like an organic
inversion, simply shrunk and mixed with floating physical manifestations of
sound particles moving about, kicking along a metallic perimeter.
Included are liner notes with various quips and statements by Arvo Part,
Ingrid Bergman, and Kim Cascone's apropos "Viral Space: The Cinema Of
Atmosphere." With additional tracks by logoplasm, Phillip Pietruschka, and
v. v. this is essential listening for any lover of cinema and various
experiments with sounds that are born in the wild. (TJ Norris)
It was only a few months ago that I reviewed "In Memoriam Tarkovsky" (on
Russian label IVB) another homage to the influential filmmaker who passed
in 1986. Several interesting artists pack this two-disc set, packaged in a
cinematic DVD-style case with 14 long playing tracks. Opening the set is
Mnortham's inclement "When Inaccessible." At over fifteen minutes, the
field recordings of steep rainfall meet the atypical sine drone of a tuning
fork (or so it sounds). The hush wind tone of Jon Tulchin's "Mnemonic
Cartography" uses a collection of sparse sound samples of nature: the
crackle of campfire (or is it the sizzle of bacon?), the top wind on the
ocean's edge, and the eerie void of the midnight air with a moon halo. He
stops to take breathy pauses as metal is towed and muffled timbre
cascades with sluggish pace. Yannick Dauby's "Bruissements (for Solaris:
Tarkovski/Lem)" reminds me of some of his previous work with crackling
embers and other experiments in gently stirring sound demographics. The
theme continues with "Smoldering Ardor" by label maestro Dale Lloyd. The
tactile environment is steely as stubbly miniature clicks drag our ears
through the dirty hum of a convincing whispery world. Towards the end,
what could be a stampede of horses is a windswept distortion of open
flames. Birds whistle and call "In the Dream" of John Hudak. Subtitled
"Tarkovski's Sacrifice", the normally resplendent chirp-chirp has a
somewhat menacing edge on this 21+ minute piece. He's tuned these
feathered friends into something of a channeled set of harmonic scales,
almost as if they are pets on command. Left to right, simultaneous, and
fore/background - these sing-song short calls for attention balance a calm
and unnerving energy. Kiyoshi Mizutani's unscripted percussive chant
"Nicolai", sounds like a group of monks in a subway. He portions out parts
of this track - the first with street sounds vs. some passing airborne calling
birds (the theme is alive and well). Next are some gravel-like pouring from
left to right channel, add an open canvas of rain, a random singing choir
and it becomes a bit like r.e.m. to me - and I don't mean the band. This is an
illusory open-air bath for the sensual pleasures of the wild. Towards its
conclusion, a plane takes flight, above and away.
Disc two opens with Sweden's Rsundin whose "Spegeln" is a sudden clap
of thunder and roaring lightening, and we are in a surround-sound live
storm with a sweet robin calling to it's family. The lapping waves and gulls
envision a shore after the eye of the storm has firmly closed, some
remnants left aside. "At The End Of The Rope" is Magali Babin's fuzzy
contribution. Crumbling stagecoaches, rattling teeth and the bass of
pain/pleasure moaning from a headless figure in the deep background.
Canadian artist S. Arden Hill, otherwise known as duul_drv breaks the
sound barrier with a popping glass bulb and various metallic industrial
bric-a-brac. His harmonies are woven texturally and sequenced like fine
layers of Egyptian silks. Josh Russell spends 18 minutes forming his
"Objects" with space light and secret lasers (I made that part up - but that's
what it sounds like). It's as if you are dealing with sensitive infrared
technology, everything is so mute with a layer of impending challenge to
the risky material. 24-year old Tokyo-based Sawako (Kato) develops her
sound from small fragments, amplified and then processed, the equivalent
of refried beans in electronics. The process of reduction makes her
"Mirror" reflect only the residue of nature's work. It's like an organic
inversion, simply shrunk and mixed with floating physical manifestations of
sound particles moving about, kicking along a metallic perimeter.
Included are liner notes with various quips and statements by Arvo Part,
Ingrid Bergman, and Kim Cascone's apropos "Viral Space: The Cinema Of
Atmosphere." With additional tracks by logoplasm, Phillip Pietruschka, and
v. v. this is essential listening for any lover of cinema and various
experiments with sounds that are born in the wild. (TJ Norris)
AQUARIUS RECORDS (FEBRUARY 2004)
Despite the oversized package and the dedication to the amazing Russian
filmmaker Andrei Tarkovsky, this is not a DVD. Rather this is a collection of
sound artists and archivists who were commissioned to create a piece
inspired by the work of Tarkovsky. The majority of the artists in question
have composed their pieces as an homage to Tarkovsky's slow, but
revelatory pacing of the narrative. The atmospheres of the sublime, the
psychologically horrific, and the melancholic -- which all run through
Tarkovsky's work -- speak boldly with Another Kind Of Language as thick
dronescapes molded from various field recordings of rain, wind, and surf.
There isn't anything overt about this comp that screams out "TARKOVSKY!"
with no obvious samples or quotations to be found within; rather, this is a
humble dronological tribute to the Russian filmmaker's amazing
sensibilities. The contributing artists run the gamut, from familiar AQ faves
MNortham, John Hudak, and Kiyoshi Mizutani, to lesser-knowns/unknowns
Jon Tulchin, Yannick Dauby, Dale Lloyd, RSundin, V.V. Magali Babin,
Duul_Drv, Josh Russell, Phillip Pietruschka, Sawako, and Logoplasm.
Despite the oversized package and the dedication to the amazing Russian
filmmaker Andrei Tarkovsky, this is not a DVD. Rather this is a collection of
sound artists and archivists who were commissioned to create a piece
inspired by the work of Tarkovsky. The majority of the artists in question
have composed their pieces as an homage to Tarkovsky's slow, but
revelatory pacing of the narrative. The atmospheres of the sublime, the
psychologically horrific, and the melancholic -- which all run through
Tarkovsky's work -- speak boldly with Another Kind Of Language as thick
dronescapes molded from various field recordings of rain, wind, and surf.
There isn't anything overt about this comp that screams out "TARKOVSKY!"
with no obvious samples or quotations to be found within; rather, this is a
humble dronological tribute to the Russian filmmaker's amazing
sensibilities. The contributing artists run the gamut, from familiar AQ faves
MNortham, John Hudak, and Kiyoshi Mizutani, to lesser-knowns/unknowns
Jon Tulchin, Yannick Dauby, Dale Lloyd, RSundin, V.V. Magali Babin,
Duul_Drv, Josh Russell, Phillip Pietruschka, Sawako, and Logoplasm.
REVIEWS: