Monthly Archives: June 2012

Ash 9.5 | Christian Fennesz “AUN – The Beginning and the End of All Things” [OST]

An original soundtrack [OST]
CD jewel case – 28pp full colour – 15 tracks – 50 mins approx
This CD is the soundtrack to the film AUN, directed by Edgar Honetschläger. With stills from the film in the full colour 28 page booklet, the artwork is designed by Philip Marshall. You can see a clip here: www.aun-film.com

Track listing:
1. Kae
2. Aware*
3. Haru*
4. Sekai
5. Euclides
6. Sasazuka
7. Trace*
8. Mori
9. AUN40
10. Nemuru
11. Himitsu
12. AUN80
13. Nympha
14. Shinu
15. Hikari
* These titles also appear on the fennesz sakamoto album, ‘Cendre’ [Touch # Tone 32, 2007]
Intention:
‘AUN – the beginning and the end of all things’ tells the story of mankind’s quest for the future, his desire to create the tomorrow, his fear of and loathing for the apocalypse. It spins the Faustian theme twice and lays bare open the inexhaustible Judea/Christian believe in progress, which by the 21st century has taken over the entire world and has succeeded in maneuvering the globe into a situation that can’t be solved by means of economics and science anymore. Enlightenment’s merits have taken the West’s ability to sense what is not to be seen, what is only to be felt. Believes are so much more than religion, than monotheistic concepts. Souls and spirits exist not only in film. Denial and neglect of eternal laws lead to extinction – of the individual and the entire human race. AUN invents rituals as well as mythologies and worships the creator of it all – nature – by playfully laying out its dichotomy with human culture. The film equals mankind’s beauty with nature by announcing that ‘everything mankind creates in nature’. Sadly the hubris ends and gives the audience the chance to heartily weep for the world.
Director’s Statement:
‘AUN – the beginning and the end of all things’ follows the strings of thoughts the late Claude Lévi-Strauss revealed in his anthropological essays throughout the 20th century, as well as those of Japan’s unique Shintoism who’s millions of gods inhibit and preserve nature. The film focuses on the dichotomy man/nature and envisions a future world where life will be nothing but sensual. It contains references to Brazilian writer Clarice Lispector, Italian anthropologist Fosco Maraini and the Japanese writer Yoko Tawada.
‘AUN – the beginning and the end of all things’ is a 100 min., 35mm feature drama written/directed by the Austrian artist/filmmaker Edgar Honetschläger. It is a Austrian/Japanese co-production realized by Edoko Institute Vienna and Ribo Ltd. Tokyo in cooperation with KGP Vienna. AUN was supported by the Austrian Film Institute, the Vienna Film Fund, the ORF (Austrian TV), the province of Upper Austria, the City of Tokyo, Tochigi Province, Shizuoka province, Yamanashi province.
For AUN film distribution contact filmdelights.com distribution. With thanks to Edoko Institute, Vienna and Ribo Ltd., Tokyo
Buy Christian Fennesz “AUN – The Beginning and the End of All Things” in the TouchShop
www.aun-film.com
www.honetschlaeger.com
www.fennesz.com
www.ashinternational.com

T33.2V – Touch 33 “Islands in-between”

Touch # T33.2V
Edition of 500 vinyl and download only
A new series of vinyl and download only releases, “from the archives…”. Islands Inbetween was originally released on cassette in 1983 [Touch # T33.2]. Three tracks, by John Keliehor & Orlando Kimber, have been removed from this edition for copyright reasons. The second in this series, “Drumming for Creation” [Touch # T33.3V] will be released in the spring of 2013.

Track list:

Side One 20’31”
Day and Night
Gending Gending
Suling
Degung Instrumental
Genggong
Cremation Gamelan
Dag combination dance
Ramayana ll

Side Two 17’05”
Watermark
Temple Gamelan
Frog Sound
Degung instrumental no. 2
Ducks
Tenun
Anjung

NOTES:

Indonesians often use the name ‘Nusantara’, meaning ‘the islands in-between’, when referring to the archipelago that forms their Republic. This cassette covers only some of the cultural activity on Java and Bali, the best known islands out of the 13,700 counted by statisticians, so it is not intended to be in any way definitive. The selections are more like musical postcards of two cultures balanced between tradition and tourism.
legend: meridian 105º – 115º east

Side one:

There is no specific translation for ‘Gending Gending’. The term generally means ‘orchestra’ or ‘gamelan composition’. The Javanese word for hammer is ‘gamel’, and the music is said to encourage the growth of plants. ‘Suling’ – the end blown flute. ‘Degung instrumental’ – from the Sudabese region of West Java to the speakers of tourists cafes. ‘Genggong’ – the first Balinese instrument, a mouth harp made from the palm and played by Igusti Ngurah Togog at his homestay in Peliatan, Bali. ‘Cremation Gamelan’ – a portable ensemble plays while the cremation tower is raised from the death pavilion. Before travelling a mile along the Peliatan road to the Temple of the Dead, the tower is spun around on its bearer’s shoulders to confuse the soul, preventing its return home to trouble the living. The overture played as the tower is set alight (with a magnifying glass – matches are thought to be unclean), is recorded on ‘Touch Travel’. Dag combination dance – in Bali, individual dances are sometimes merged into modern adaptations, not only as a result of tourism – the gamelan elders think popularisation is the best way to attract young people to dance, though dividing lines are difficult to draw. ‘Dag’ is a combination of ‘Kecak’ and ‘Kebyar’, performed from the squatting position in a pantomime style very popular with children. Attention is focused on the facial expressions of the dancers which interpret man’s ever-changing moods. ‘King Rama’ – the story of the ‘Kecak’ (monkey) dance is taken from the Hindu Ramayana epic and portrays Rama’a search for his wife, Sita, who has been abducted to the monkey forest. Rama is an incarnation of Vishnu, The Creator, and serves as an ideal for the Hindu man. ‘Ramayana ll’ – the opening sequence of the gamelan acvcompaniment to the 4 part ballet held on the full moon-lit nights of June, July and August at Prambanan temple complex. The largest central temple is dedictade to Shiva, the destroyer. The voices that follow were recorded on a train at Bandung station at 3am, en route to Yogjakarta. Local sellers board trains whatever the hour, and every carriage becomes an indoor market.

Side two:

‘Watermark’ – nightfall by a bridge near the Monkey Forest, Ubud. ‘One Language’ – there are c. 300 different languages and dialects in Indonesia. After independence in 1945, Bahasa Indonesian became the universally accepted language, though its use had already been encouraged by Nationalists as a political tool against the Dutch colonisers, and sanctioned by Japanese invaders who wished to spread propaganda to the villagers. ‘Temple Gamelan’ – musicians play while women bring ornately prepared offerings to the temple shrines on auspicious days of the Hindu calendar. Spirits and demons cannot live without food and drink, so the women fan the essence towards the divine recipient before offerings are placed on the ground to waiting dogs. Smaller offerings made daily, are left at strategic points around the house and alongside the ricefields. ‘Frog Sound’ – the sound comes from the reed mouthpiece of the genggong harp. Played by Togog and his son. ‘Ducks’ – every morning young boys and old men direct the family ducks out of their pens and along narrow paths into ricefields that are wet enough to paddle in. ‘Tenun’ – the Balinese weaving dance depicting women working at this traditional craft. ‘Anjung’ – the name given to the hordes of semi-wild dogs that roam Bali’s villages, barking instinctively at any approaching white man. ‘Garuda’ – Indonesia’s national symbol is the Garuda bird. Vishnu’s chosen vehicle and thus the king of flight associated with creative energy. Garuda is a dominant motif in Indonesian art, the name of the national airline and the seal of the official state coat of arms, beneath which appears the words ‘Bhinneka Tunggal Ika’ – literally ‘many are there but there is only one’.

Continue reading

Spire Live @ Spitalfields Festival | London, 21st June 2012

The 13th Spire took place at St. Botolphs without Aldgate on Thursday 21st June 2012 as part of The Spitalfields Summer Festival
7.00pm-9.30pm (Installation by Marcus Davidson from 6.00pm)
Insight with Scott McMillan (The Liminal), Charles Matthews and Mike Harding

Performers:
Charles Matthews – organ & piano
John Beaumont – tenor
Marcus Davidson – organ, piano & tape
BJ Nilsen – electronics
Philip Jeck – turntables & samplers
and
The Eternal Chord

Programme to include:
Charles Camilleri – Sonata Semplice
JS Bach – Komm, Heiliger Geist
Ligeti – Harmonies
Diana Burrell – Lauds
Arvo Pärt – Pari Intervallo
Marcus Davidson – The Conscious Sky
You can book tickets here
Tickets: £12 unreserved/£5 Student tickets (further concessions available)
Series Tickets Offers: Discounts available when booking three or more concerts

From its earliest inception as the Hydraulis to the latest in organ technology, the organ has had incredible influence on the history of music and sound. Spire celebrates this ‘Emperor of Instruments’ with live performances for organ, electronics, piano and voice, contrasting digital and analogue to create a rich sonic journey unique to each performance location. See Spire in Spitalfields for the first time, visiting St Botolph without Aldgate and its newly restored Harris organ.