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Cologne’s Magazine scan decades of immersive soundtrack work by Kenyan-German artist Richard Ojijo for filmmaker Marcel Odenbach - RIYL Deathprod, Lawrence English, Biosphere
After reintroducing the wonderful work of Curd Duca to the fray in 2020, Magazine’s follow-up also prizes a rich atmospheric content with the absorbing, richly evocative sonci dramaturgy of Richard Ojijo. They are, as they state “impressive examples of how sounds can not only accompany film images or condense their atmospheric effect, but also develop a life of their own alongside the visual, which has an impact on the overall experience of the film” and serve to unfurl a sort of stark but luxurious suite of imagery upon the mind’s eye.
Issued to accompany a large Odenbach retrospective in Düsseldorf’s K21 Museum, ‘MO_RO_20’ holds eight pieces from Ojija and Odenbach’s work together, each subtly rearranged and remixed for purpose. Severed from the celluloid, they play out a suggestive narrative that could go any way depending the user, playing with a sublime tension in the greyscale drift of its opener, and convecting beautifully noirish feels with ‘In stillen Teichen lauern Krokodile’ that recall Cut Hands’ atmospheric work, with a sure standout in the claggy tone of centrepiece ‘Beweis zu Nichts’, which sounds like a knackered Biosphere, and a deliciously groggy number ‘Were leidet der schneidet’.