Conversation Elia Suleiman with a from Independencia
Conversation with Elia Suleiman 2 from Independencia
Program 1:
Stardancer (13'38)
White (11'44)
Program 2:
P: T: O: (27'12)
There are films whose music is a plus side, some of which is unfortunately the one and only asset. BODYLOVE belongs to this second category. When the producer Manfred Menz contact Klaus Schulze in 1977, is for him to order the soundtrack of a porn movie. Schulze's first reaction is, understandably, refuse this command until the director Lasse Braun shows him a film already mounted on which he had plated extracts Timewind and MOONDAWN . Schulze was impressed find that his music came into harmony with the images. What led him to finally accept the proposal, it offered him freedom to compose a personal music without it being necessary, because of the scarcity of dialogue, to write a piece of music here, three minutes there. We know the music of Schulze needs space and time to speak and would not be butchered for the tight timing requirements of a film. Once reinforced his desire to be free to compose music that is his, he went to work. The result is amazing: BODYLOVE part not only as one of the best albums of Klaus Schulze, but it's also one of the two or three most beautiful film music I know, with the seminal F ULL CIRCLE Colin Towns I always look for the CD edition. The feat of Schulze is even more surprising that it is a pornographic film which, even if it is above the average share of its qualities of assembly and choreography, not remains an undeniable mediocrity. What other porn movie could boast of a music of such beauty? If anything, I'm interested.
It is difficult to assess the intrinsic quality of a soundtrack. Some believe that good film music is primarily a music that does not need image support to deliver its beauties. Even if BO can claim some of that class, it is unclear whether a legitimate criterion for judging a movie soundtrack. We must also take into account the interaction between pictures and notes, the ability of a soundtrack to support the emotional impact of a movie or a movie in its entirety. So I will not pretend that B ODYLOVE an exemplary soundtrack. Certainty But this music is listened very pleasantly, even passionately, without the support of pictures. It has fascinated me for years, long before I had the chance to discover the porn movie by Lasse Braun.
When I look at the discography of Klaus Schulze I RRLICHT to D A , I am struck by the warmth that radiates from its particular works of 1977, B ODYLOVE (Volumes 1 and 2) and M IRAG . Rarely synthesizers and other electronic samplers have sounded so human that the two discs above . B ODYLOVE as such is a marvel, a music of rare sensitivity, fills the soundtrack for a pornographic film.
The first time I listened B ODYLOVE on vinyl that I bought in 1988-89, I knew that it was a BO although this is mentioned on the jacket. And when I knew, I had no idea that this great music is harmonized pornographic images. Also, I do not keep more account in my column that will focus on just music alone.
B ODYLOVE opens Stardancer , a composition that bears his name beautifully. It is indeed a music pulsed extremely effective. We can not neglect the mark on this era as the disco which nascent Stardancer contains all the humor in its form without being able to locate it in the movement of the Bee Gees and other Bonney M. Due to its length already, and especially because of the lack of lyrics and singing. Klaus Schulze treats especially its introduction, as usual, by sending a series of percussive effects ambient, drum bearings whose echoes are lost in the infinite and beautifully plunging the listener into a trance. Then, set up a sequence that evokes the very pulsating atmospheres of Irene Cara Flashdance when trains only the sweat of his excitement, though the film by Adrian Lyne is well posterior Schulze disk. And on this sequence frenzied, come to ask syncopated synth lines, which sometimes extend. I am convinced that at that time it had been possible to dance on this track to accept the condition that particular rhythm.
The portion of the first track to the second causes a striking contrast: as Stardancer us into a frenzied pace, much White (the first name of the girlfriend at the time of Schulze ) plunges into a deep melancholy. The piano melody evokes the heyday German Romanticism and I can not help but think of the famous S sulfonate Moonlight Ludwig Von Beethoven. The sensibility that exudes from this beautiful composition is the more striking because it is expressed through the prism of synthesizers which sounds hot Schulze extract of incomparable delicacy. There is no real change in this piece , but the endless convolutions of unfathomable sadness.
The play-mistress BODYLOVE hiding in the third and last title, that alone justifies the purchase of the disc. For my part, I located at the top of the basket, next to the huge Wahnfried 1880 ( Timewind ). The magnificent opening P: T: O deploys synthetic choirs in the expression of a lament prégnant that runs through the disc and gives it undeniable unity. Then snaps a sequence of eight notes on the keyboard, which will stop suddenly than six minutes before the end of the composition, a sequence about 20 minutes, Schulze will vary from one octave in an irresistible crescendo, while the webs of synthetic binder used in the assembly. I am constantly amazed by the exceptional fluidity of P: T: O that always gives me the feeling of taking a train with nothing devilish thereafter will slow the ascent. It is sometimes a feeling of boredom that assails me to listen to the music of Klaus Schulze, due largely to its management sometimes insufficiently inspired repetition. But P: T: O sweeps this relative weakness in an admirable manner. Can not feel time pass so harmonic progression, supported by impressive percussion, leaves no respite for the listener. When the crescendo reaches its point of no return, Schulze abruptly stopped his engines, which as an EEG would stop, and executes a descending scale as a conclusion to orgasm just burst. The effect, surprisingly, is striking. The layers of synth that conclude P: T: O then return as a reminder of the title White (the second disc) to cushion the fall and accompany the listener until the end of a journey amazing that left him dazed.
Sublime.
