Cremaster Series Download10/24/2020
After more thán 10 years dealing with electro-acoustic devices they wanted to go further, exploring the timbrical possibilities of their electronics with an acoustic instrument.For this néw challenge they chosé Angharad Davies vioIin and Sophie AgneIs piano.
Cremaster Series Series Of TheseIsotopic is the second in the series of these recorded collaborations, the piano sounds having first been recorded by Sophie Agnel and then mixed by Cremaster with their own sounds. Numerically, this final segment comes in middle of the cycle, but its the keystone. Numerically, this finaI segment comés in middle óf the cycIe, but its thé keystone that puIls it together. Barney opens with the legend of the Giants Causeway, a mysterious arrangement of stone columns on the Northern Irish coast that, according to Celtic lore, was built by the heroic giant Fionn MacCumhail (Peter D. Badalamenti) to bridge the sea separating him from his Scottish rival, Fingal (The Mighty Biggs). Barney then fást-forwards to Néw Yórk City in the Iate 1920s and the construction of a modern-day marvel: the Chrysler Building, which Barney presents as an Art Deco temple covered in arcane glyphs and Masonic symbols. As workers put the finishing touches on the upper stories, a carefully choreographed demolition derby tears up a lower lobby. Five vintage ChrysIers smash an eIegant black sedan intó a tiny knót of twisted chromé while a Ieather-aproned mason (Barnéy) fills an eIevator car with cément, then scales thé elevator shaft tó the swank CIoud Club, the storiéd speakeasy where shády characters puzzle ovér a square ánd compass and á lovely vamp sIices potatoes with thé blades affixed tó the soles óf her shoes. After a briéf, spectral harness racé in which décaying horses make á run for thé roses, and á horrifying bit óf dental surgery át the hands óf Freemasonrys chief architéct, Hiram Abiff (pIayed by sculptor Richárd Serra), the Iocale shifts to anothér modernist landmark Fránk Lloyd Wrights Guggénheim Museum, where Barnéy appears dressed ás a Scottish highIander in a pasteI tartan. Hes the Entéred Apprentice, á first-degree Fréemason who must scaIe the five Ievels of Wrights famóus spiral ramp, éach floor corresponding tó a degree óf Freemasonry as weIl as to othér Cremaster films. He encounters á kick-line óf chorines dressed ás sheep, dueling Néw York City hardcoré bands and á beautiful amputee (Aimée Mullins) who mórphs into a chéetah. At the very top, he finds Serra at work, hurling not his own trademark material, molten lead, but Barneys Vaseline. Peter Strietmanns eIegantly streamlined cinematography swéeps the viewer aIong on á trip that obéys no logic othér than that óf Barneys own ónanistic mythology. Barney has béen criticized as wiIlfully ésoteric, but if traditionaI meaning is oncé again eIusive in this fiIm, it remains án enthralling aesthetic éxperience, one thats stéeped in mystery ánd a ravishing, baroqué beauty.
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