Label: Moving Furniture Records

面白い試みの作品!!即興演奏家、サウンドアーティスト、実験音楽家10名程で構成される大所帯集団Ensemble Modelo62。タイトルからも分かる通り、このグループがセルゲイ・エイゼンシュテイン監督によるソビエト連邦のサイレント映画"戦艦ポチョムキン"の架空のサントラとして制作した面白物件。演奏及びコラージュを含め非常にシリアス且つオドロオドロしいサウンドイメージとなっており、フィルムの世界観とリンクするのは勿論の事、まず録音ブツとしての完成度が非常に高い。6パネルデジスリーヴ。





We must speak out, now. Time has come. When the meat is rotten and maggots run across your plate, what's left to do? Remnant memories of times almost forgotten, or of traditions from back home, linger in the body military depleted. Our daily bread served as a timely reminder of shared humanity: a first step in an uprising of overwhelming vehemence. Those in power done away with, the representative of organized religion fed to the worms below the waves. The leader, fallen in battle, on land displayed, exemplified for all to see. His death instrumentalized "for a spoonful of borscht". The people now, frenzied, rise too. Siding with the Potemkin, the citizens of Odessa sail out to the ship. On the city steps a great many of people gather to support the rebels and their cause. But the steps turn into the grounds of a gruesome massacre when Cossacks fire into the unarmed crowds. People fall and tumble from the steps. The infamous image: a baby carriage rolling and bouncing down. A showdown then? The red flag drawn in solidarity, when Potemkin is allowed to pass unscathed, through battle lines.

100 Years on and here we find ourselves with a new imagination of a possible soundtrack in fusion with this drama of revolutionary mutiny, a rebellion of a sailor crew against the oppression of its officer ranks. A wonder of Eisenstein's propagandist narrative and of cinematographic skill with brilliantly effective hyper-dynamic editing and montage, eliciting hitherto unseen and unheard of emotional response.

This new score internalizes the frantic, restless nature of the story-lines, breathes the jump cuts and fast action switches in reflections, mirror images, pan-shots, broad horizons and intense close-ups, pulled focus (and loss thereof) and forced perspectives.

We hear the granulated nature of the film itself, almost see the razor slicing through the edit frame. While we miss the rattle of the projector, the music calls to mind the flicker of its light beam through the dusty din of time and space immemorial, materialized and contained for generations to follow in the celluloid.