Moscow Coup Attempt – The Failure of Shortwave Radio (music & movie)

   The Failure of Shortwave Radio (2005)  è il primo album dei Moscow Coup Attempt ispirato alle “number stations”,  le misteriose radio utilizzate soprattutto dalle reti di spionaggio, i cui suoni rumori e messaggi criptati sembrano particolarmente adatti e suggestivi per musica e film di tipo documentaristico o “found recordings”, sullo sfondo di intrighi internazionali e manovre occulte. Senza dimenticare naturalmente i film di spionaggio della Guerra Fredda e i loro temi musicali. Molti dei motivi di The Failure…  (che su YouTube trovate suddiviso in 7 parti) sono derivati dagli interludi musicali delle Number Stations e tentano di catturarne l’atmosfera di mistero e di brivido, ma con lieve disincanto. Come un thriller in cui ci si lascia coinvolgere o avvolgere, piacevole e spaventoso allo stesso tempo. Uno “stream of inconscious”, un flusso di interpretazioni nascoste     (coperte) dei fallimenti della comunicazione non solo fra le Nazioni, ma fra gli individui.  Fra mistero e musica.

Dopo The Failure of Shortwave Radio, la seconda uscita di The Moscow Coup Attempt  è Insomnia (2006-7),  cui è seguita la compilation di brani inediti Recidivism (2007), e  Transmissions From the End of the World (2010), una esplorazione musicale e filmica dell’isolamento.

 

“I was interested in film-music, and some of the moodier offspring there-of. Then I became completely obsessed with shortwave radio “numbers stations”. I really don’t feel like explaining what numbers stations are for the 500th time. [I] started making music for my own little movie in my head involving numbers stations and musical themes derived there from. Then [I] started doing collage work with archive film to go to the music. Now it’s turned into a film and music thing. I work with film while I write the music to go together from the start, assembling footage while I work on the music. That’s why I put out CDs and DVDs now as opposed to the first album that was just a music release. [I] started working with singers too. Vera Ostrova is my siren, and everybody should love her.
Now I’m rambling.”

(Derek Whiteacre, fondatore della band “cinematica”, The Moscow Coup Attempt, Los Angeles; dall’intervista a PBS 106,7 FM.org.au/, 1.11.2007)

http://www.moscowcoupattempt.com/

Annunci

Deadwarhols, l’unico, originale, inconfondibile!

the_dead_warhols_cd_disc_by_sandele22-d3eftm8.png

Ho appena scoperto che c’è in giro una band che ha l’ardire di chiamarsi The Dead Warhols, e che pubblica pure CD, a li mortè! Mi tocca tornare all’antico, serio, unico, autentico, marchio Deadwarhols. E mo’ vediamo chi mi frega pure questo! Ma guarda te! Che tempi…

(che poi mi tocca fare fatwe e pure i processi del popppolo della rete!)

(che cazzo c’entra? trovata nella soundtrack di Skins, stile rockabilly-post Cramps abbastanza deadwarhols, piaciuta assai…)

Salomea Krusceniski – Vissi d’arte (1902)

Curiosando su Discogs.com, sito di scambi e informazioni su dischi di tutte le epoche, ho trovato alcune rarità discografiche dei primi anni del secolo scorso, in piena Belle Epoque, incise sui primi dischi di gommalacca, e fra queste alcune meraviglie di una eccezionale cantante soprano di origine ucraina,  Salomea Krusceniski (o Solomiia Krushelnytska 1872-1952), che risalgono agli anni 1902-1912. Alcune incisioni, con tutti i loro antichi fruscii, si possono ascoltare anche su YouTube, accompagnate da splendide immagini di Salomea in abiti esotici e corsetti. Le note biografiche che seguono sono tratte da Discogs e dal sito www.cantabile-subito.de/ dedicato interamente ai/alle grandi cantanti del passato.

Solomia Crushelnytska was born in September, 23 of 1873 in Bilyavyntsy village of Buchach region in Ternopil state in priest’s family. Her father had progressive views that was rarity in his encirclement.

Childhood of the future singer passed in Bila village near Ternopil where her family moved.

In early age Solomia is interested of music and singing, learns to play piano and in the age of 10 performs in the chorus “Ruska besida” in Ternopil.

Living in the countryland amoug common diligent peaple Solomia learnt not only to love but deeply by all her heart understand folk songs. She didn’t part with them right to the death.

Feeling Solomia’s inclination to music and singing her father borrowed money and sent her off to Lviv conservatoire which she graduated with a medal and a decoration in 1893. The exam commissin wrote in Diploma of a young singer: “She has all data to become an adornment event of a paramount stage…” But the singer doesn’t spot on her achievent and goes into Milan where studies in a glorious professor Fausta Craspy.

A year later Solomia already sings the leading parts in the better opera theaters of Italy. Triumph that she achieved in this country widely opened the doors of opera theatres of Russia, Poland, France, Spain, Germany, Portugal, Egypt, North and South America and many other countriesof the world before her. “The inborn musician Solomia Crushelnytska darkened other performers of Vagner’s operas where she performed marvellously with confidence and with a real aristocracy. Noteworthy is that that after “Valkiriya” she easy sings in “Loreleya”, after “Mefistofel” in “Madam Butterfly”, after “Tristan and Isolda” in “Adrian Lecyvrer”, “Aiida” or “Salomea”… completely plunges in charming world of singing and play created by herself… ”

At the height of her fame Solomia Crushelnytska left opera stage (1915) and devoted herself to the concert activity. It’s iteresting to know that the singer wherever she would perform she included Ukrainian folk song and works of other Ukrainian composers by which she finished her concerts each time accompanying herself.

“Solomiia Krushelnytska was born near Lemberg (today Lviv, in Polish Lvov) in Western Ukraine, which was in the 19th century, part of the Austro-Hungarian Empire, having been folded into that Empire as a conquered province of Poland. The artist studied at the Lviv Conservatory under Valery Wysocki, one of the leading Polish teachers whose pupils included Janina Korolewicz-Wayda and Adamo Didur. She made her debut in 1892 as Leonora in Donizetti’s La Favorita, at the opera house of Lemberg, and continued to study with F. Crespi in Milan. She appeared in Odessa (1896-1897), Warsaw (1898-1902) and St Petersburg (1901-1902). In 1898 she sang in Italy for the first time (Leonora in La Forza del Destino). She was highly successful and was invited to sing in Rome (1904-1905), Naples (1902/1904) and at La Scala in the seasons of 1898/1904/1907/1909 and 1915. In 1903 after becoming involved in a political demonstration in Warsaw she settled in Italy. At La Scala her Aida was a triumph. Her rendition of the title role in Puccini’s Madama Butterfly in 1904 contributed to its admission to the world repertoire. She was the first Francesca in Mancinelli’s Paolo e Francesca and took also part in the world premiere of Cilea’s Gloria. A further milestone was her sensational Salome in Richard Strauss’ masterpiece, conducted by Arturo Toscanini. In 1915 she created Pizzetti’s Fedra. She made regular visits to Spain, Portugal and South America (Buenos Aires 1906/1908/1910-1913). At La Scala she was one of the leading figures in the introduction of the German repertory. She was an acclaimed Isolde, Brünnhilde, Elektra and Salome (sung in Italian). Her repertory included 60 roles. In the mid-1920s she turned from the opera stage to concert recitals in which she sang songs by Monteverdi, Mozart, Mussorgsky, Gluck, among other composers. She particularly enyoyed to sing Ukrainian folk songs to her own piano accompaniment. From 1944 until 1952 La Krusceniski taught singing at the Lviv Conservatory.”

Afrodite Superstar (Venus Hottentot & Candida Royalle)

a sex education film for the hip hop generation

 I choose the name Venus Hottentot in salute Sarah Saartjie Baartman also known as The Hottentot Venus, a South African woman who was kidnapped and sexually exploited in the 19th century. My attempt is to reclaim her sexual voice, power, and the voice of all of us. Women of color are over-sexualized in our society.  Our bodies are everywhere, but our voices are absent.  I made this film to present our voice in this arena. “ (Abiola Abrams)

abiolaabrams.com/afrodite_superstar_black_erotica.html

Fra le varie opere dedicate alla “Venere Ottentotta”, di cui ho già parlato in alcuni post precedenti, sono riuscito a vedere questo Afrodite Superstar (2006), diretto appunto da Venus Hottentot (pseudonimo di Abiola Abrams, regista, autrice e presentatrice tv, blogger), insieme alla produttrice Candida Royalle (Femme Productions, Post Porn Modernist Manifesto), che ha diretto o co-diretto le scene di sesso.  Il film fa parte di un filone erotico rivolto a un pubblico femminile, e in questo caso a un pubblico black, in particolare quello hip hop. Si può accostare al soft porn o softcore, in quanto le scene di sesso non sono violente, ripetitive e spiacevoli, e c’è un approccio allo stesso tempo più artistico e più realistico, volto a valorizzare il piacere femminile, non senza humour.

Ad ogni modo per la regista l’obiettivo del film è quello di dare voce ed espressione alle donne di colore, di accrescerne l’auto-stima sessuale, contro i modelli imperanti di sfruttamento e sottomissione, compresi i video hip hop, di cui parodizza gli stereotipi.  Come film indipendente e sperimentale, ha ricevuto premi (New School for Social Research, AVN Awards), ha partecipato a esibizioni ed è stato appoggiato con favore da Essence Magazine, The Village Voice, Spread Magazine, dall’American Association of Sexuality Educators, Counselors and Therapists, e da Feminists for Free Expression.  E’ stato accostato da un lato ad altri film più mainstream, come quelli di Michael Winterbottom, Lars von Trier, Gore Vidal, e altri, che tentano di ampliare in maniera intelligente i contenuti esplicitamente sessuali, oltre (e anche contro) i canoni del porno tradizionale, e dall’altro al filone sottoculturale delle suicidegirls, (dark, punk, hip hop, metal), qualcuna anche in Italia, ma a giudicare dai video su YouTube, ancora in ruoli troppo “di sfondo” decorativo alle band dei maschietti, a volte troppo MTV, meglio cercare altrove produzioni davvero autonome.

Die Form – The Scavenger

The Scavenger – Five days without clock

Questo filmato in Double-8-camera risale al 1982. Danneggiato durante performances e proiezioni, è stato infine restaurato nella sua struttura e nei suoi colori originari. Consiglierei di scaricarlo prima che i mattacchioni di YouTube lo eliminino.

I brani sono tratti dalle prime produzioni musicali di Die Form, in cassetta o vinile (Le plomb des cartes, Eva-Johanna Reichstag memorial 78/79, Poupée Mécanique, etc.)

 

via http://dieform.info/guides/doku.php?id=start