Live Soundtrack / events / Live Soundtrack #28

Live Soundtrack 28 | Requiem for cathedral | Drugstore, 3.8.2017.

Jan Nemeček, Sloxxx, Mockwar, Matej Rusmir, Old Soviet Dogs

Kino pleme and Garden of § present a night of : audio-visual magic, spine-tingling crawlers, flickering nausea, lucid dreaming, effervescent spells and luminous optical rituals : 28th edition of Live Soundtrack with a special gathering of local techno/ electronica sorcerers and sorceresess and screening works of subtly revelationary, subliminal cinema.

Jan Nemeček

facebook / bandcamp

Jan Nemecek emerged in the early '00s as one of the most versatile and prolific electronic producer in Serbia. He's been known for many years as one of the most promising electronic music talents and a hidden gem of the local club scene. After growing up fascinated by early prog-rock and "kosmische" music, Jan began to experiment with long forms of ambient recordings and tape loop experiments. His first break came with sound design for hardware synthesizers such as Hartmann Neuron. Late '00s saw him creating various forms of electronic music with special focus on ambient and improvised electronic music.

Nemecek's beatless work radiates with patience characteristic for borderline dub sub bass movements, and is heavily based on the creative process of “recordings’ deconstructions”. He gained international respect both from audience and critics after his debut album All Things (2011), as well as numerous EPs on CC-based label Norbu, which he co-founded. Since 2014 Jan’s focus are granular synthesis and sampling, which resulted as an album release “Fragmented”. Current activities include sound design work for various companies and curating the music program for Resonate Festival. Depending on the context, performances vary from a techno-influenced club live set to an improvised modular synthesizer performance.

Music for film : Matthias Müller - Pensão Globo (USA, 1999, 15’)

Sloxxx

facebook / soundcloud

At first, Sloxxx was half-dead. Some say even dead, dark blue... And then he started crying, and the crying went on for years. They tried to calm him down, playing him Radio Belgrade and classical music. He turned to pot-bashing and radiator smashing. Then came the guitar... Followed by Casio Synth and Commodore 64... He listened to Pink Floyd, The Beatles, Depeche Mode, FSOL and other stuff... He went to theatres and festivals and workshops and started playing... Minimal, hermetic, dubby music. Collage landscapes, vibrations and resonances, blurred horizons, syncopated rhythms - the result of experiments with Ableton Live and other tools. His music comes from listening to The Space, inside him and around him, from the noise in his head and the rhythm and dynamics. Exploration and wandering. Meditation and maths. Above all, his music is an introspective trip into listening and expectation - from Siberia to Argentine, Detroit to Berlin, Durmitor to Panonia.

Music for film : Piotr Kamler – Le Labyrinthe (FR, 1970, 12’)

Mockwar

soundcloud / facebook

Mockwar is the brainchild of Nebojša Ćirić, a bass player, bedroom producer and an overall music and sound lover. His music merges experimental dubby soundscapes with trippy athmospherics, slow burning, ritualistic, eastern-tinged synths and old school IDM influences, dropping trippy percussions and acidic bits into brooding downtempo-ish numbers, while encompassing a wide variety of sonic experiments.

He is a member of Ubivae Records crew - an independent record label founded by a group of electronic music producers from Novi Sad. Ubivae Records has since its creation released two free compilation albums that feature several electronic music producers from the region. The compilations are filled with diverse experimental electronic sounds and contain a multitude of different genres and atmospheres

Music for film : Will Hindle - Saint Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air (USA, 1970, 12’)

Matej Rusmir

soundcloud / facebook

One of the youngest rising producers on Serbian electronic scene, Matej Rusmir is a 16 year old with a penchant for dark, minimalistic style and a lot of experimental sounds which he prefers over VSTs. In his tracks you can hear a lot of vocal samples, analog percussions and guitar sounds, while his productions move smoothly from more lo-fi sounding deep house to minimal techno hypnosis, sounding sophisticated and enigmatic, chilled and menacing at the same time.
He has recently released his first EP „Umiem“ for label WAXX TRAX.

Music for films :

Gregory Markopoulos – Ming Green (USA, 1966, 7’)

Bruce Baillie – Castro Street (USA, 1966, 10’)

Old Soviet Dogs

Music for film : Jean-Pierre Valledeau – Sainte Barbe (FR, 1975, 8’)

Foto galerija :

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Filmski program :

Matthias Müller - Pensão Globo (USA, 1999, 15’)

"A man faces his approaching death. He takes a journey, his last perhaps, and ends up at the Pensão Globo in Lisbon, where he sets out on an aimless excursion through the city. The film depicts a life in a state of transition. "Sometimes it's like I'm already gone, become a ghost of myself."

Piotr Kamler – Le Labyrinthe (FR, 1970, 12’)

“The landscape surveyed here might be the estranged interior of your typical East-European-émigré-animator’s skull with its deranged narrative values and artfully disturbed graphic style. A human figure paces through increasingly threatening corridors and empty spaces until the winged creatures that haunt the zone bear down on him.”

Will Hindle - Saint Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air (USA, 1970, 12’)

“The film itself—a gorgeously photographed, fluidly edited slice of fin de siècle ’60s love and dread, shot largely in Death Valley, and both of the Manson Family moment and altogether adrift in time—is impossible to forget. In it, a shirtless bearded dude in flour-sack yoga pants treks and stumbles barefoot through the white-hot desert, pausing occasionally to assume the lotus position and radiate silent “om”s into the shimmering heat”

Gregory Markopoulos – Ming Green (USA, 1966, 7’)

“A view of the interior with a brilliant red lacquered chair is followed by overlapping shots of a spring bud. In a single magical image, a slowly flickering shot of rustling masses of leaves in the garden is superimposed on one of the red chair; in another, an open book on a shelf appears to float against trees and foliage. These complex superimpositions culminate in a dazzling cluster of shots showing the window and patterns of sunlight on various surfaces in the room -- a quasi-cubistic blossoming of light.”

Bruce Baillie – Castro Street (USA, 1966, 10’)

“Inspired by a lesson from Erik Satie; a film in the form of a street - Castro Street running by the Standard Oil Refinery in Richmond, California ... switch engines on one side and refinery tanks, stacks and buildings on the other - the street and film, ending at a red lumber company. All visual and sound elements from the street, progressing from the beginning to the end of the street, one side is black-and-white (secondary), and one side is colour - like male and female elements. The emergence of a long switch-engine shot (black-and-white solo) is to the filmmaker the essential of consciousness.”

Jean-Pierre Valladeau – Sainte Barbe (FR, 1975, 8’)

"A rare bird in the world of cinema, french director Jean Pierre Valladeau's films propose a feverish viewing experience, engulfed in synaesthetic swarms and entrancing visual music. Six years in the making, Sainte-Barbe displays his unique mastery and meeting of mystical and technological."

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