26 Mar 2004
The Belly of an Architect 
The following extract comes from a Les Disques du Crépuscule booklet designed by Hennebert in 1990 describing future releases on the label ("a little something for everyone").

The soundtrack [TWI 813 / Fact 195] to the Peter Greenaway film of the same name essentially combines three musical sources. First and foremost is original material from Mertens and noted American avant-gardist Glenn Branca, both of which appearing on both record and film alongside past works by Mertens especially chosen by the director. Though taken separately the music of Mertens and Branca might seem impossibly at odds, here the circular melody of the former works in perfect counterpart to the latter's harsher textures and musique concrete.

More details including an audio clip are available on www.wimmertens.be the official site. Wim Mertens would have perhaps been a suitable candidate for a release on Factory Classical but in the end his only other Factory release is Fact 190(c) Educes Me.

Slightly off-topic but this year also sees the sixtieth birthday of Michael Nyman, the noted composer (of amongst other things excellent soundtracks to Peter Greenaway films such as Drowning by Numbers and The Draughtsman's Contract).

Labels: , ,


Post a Comment

<< Home

- - - -

Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column