La Brûlure De Mille Soleils
BERNARD PARMEGIANI
La Brûlure De Mille Soleils
Boomkat Product Review:
One of two utterly stellar Parmegiani soundtrack for avant-garde film finally available for download on Switzerland’s WRWTFWWR.
Sourced from original tapes, what you have here is the soundtrack for Pierre Kast's 1965 film, ‘la brûlure de mille soleils’. This work is a captivating example of the pivotal concrète and electro-acoustic maestro’s methodical, logical approach to his work; highlighting fundamental, inseparable connections between perceptions of visual and aural cultures.
In Parmegiani’s own words: “Music, like film, needs duration to be totally understood. One and the other use common words to elaborate their own editing: transitions, fade-outs. There is, therefore, a little bit of cinema for ears in music. But could one not say reciprocally that there’s been a little music in the images? (for the ears!).”
The score for its predecessor ‘la brûlure de mille soleils’ is farther out than some of Parmegiani's other work, full of mad jews harp twangs, disco-ready synth arps and droning choral work tie in with their theme - a bizarre short film, edited by Chris Marker (of ‘La Jetée’) about a depressed millionaire poet, his cat Marcel and a sign language robot, who travel time in search of love.
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Boomkat Product Review:
One of two utterly stellar Parmegiani soundtrack for avant-garde film finally available for download on Switzerland’s WRWTFWWR.
Sourced from original tapes, what you have here is the soundtrack for Pierre Kast's 1965 film, ‘la brûlure de mille soleils’. This work is a captivating example of the pivotal concrète and electro-acoustic maestro’s methodical, logical approach to his work; highlighting fundamental, inseparable connections between perceptions of visual and aural cultures.
In Parmegiani’s own words: “Music, like film, needs duration to be totally understood. One and the other use common words to elaborate their own editing: transitions, fade-outs. There is, therefore, a little bit of cinema for ears in music. But could one not say reciprocally that there’s been a little music in the images? (for the ears!).”
The score for its predecessor ‘la brûlure de mille soleils’ is farther out than some of Parmegiani's other work, full of mad jews harp twangs, disco-ready synth arps and droning choral work tie in with their theme - a bizarre short film, edited by Chris Marker (of ‘La Jetée’) about a depressed millionaire poet, his cat Marcel and a sign language robot, who travel time in search of love.
Boomkat Product Review:
One of two utterly stellar Parmegiani soundtrack for avant-garde film finally available for download on Switzerland’s WRWTFWWR.
Sourced from original tapes, what you have here is the soundtrack for Pierre Kast's 1965 film, ‘la brûlure de mille soleils’. This work is a captivating example of the pivotal concrète and electro-acoustic maestro’s methodical, logical approach to his work; highlighting fundamental, inseparable connections between perceptions of visual and aural cultures.
In Parmegiani’s own words: “Music, like film, needs duration to be totally understood. One and the other use common words to elaborate their own editing: transitions, fade-outs. There is, therefore, a little bit of cinema for ears in music. But could one not say reciprocally that there’s been a little music in the images? (for the ears!).”
The score for its predecessor ‘la brûlure de mille soleils’ is farther out than some of Parmegiani's other work, full of mad jews harp twangs, disco-ready synth arps and droning choral work tie in with their theme - a bizarre short film, edited by Chris Marker (of ‘La Jetée’) about a depressed millionaire poet, his cat Marcel and a sign language robot, who travel time in search of love.
Boomkat Product Review:
One of two utterly stellar Parmegiani soundtrack for avant-garde film finally available for download on Switzerland’s WRWTFWWR.
Sourced from original tapes, what you have here is the soundtrack for Pierre Kast's 1965 film, ‘la brûlure de mille soleils’. This work is a captivating example of the pivotal concrète and electro-acoustic maestro’s methodical, logical approach to his work; highlighting fundamental, inseparable connections between perceptions of visual and aural cultures.
In Parmegiani’s own words: “Music, like film, needs duration to be totally understood. One and the other use common words to elaborate their own editing: transitions, fade-outs. There is, therefore, a little bit of cinema for ears in music. But could one not say reciprocally that there’s been a little music in the images? (for the ears!).”
The score for its predecessor ‘la brûlure de mille soleils’ is farther out than some of Parmegiani's other work, full of mad jews harp twangs, disco-ready synth arps and droning choral work tie in with their theme - a bizarre short film, edited by Chris Marker (of ‘La Jetée’) about a depressed millionaire poet, his cat Marcel and a sign language robot, who travel time in search of love.
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