“The laws of macro- and microcosm are alike. Travel in the interior is as a voyage in outer space: we must in each case burst past the circumference of our surface – our here-space and now-time – and, cut loose from the anchorage of an absolute, fixed center, enter worlds where the relationship of parts is the sole gravity. When the sun sets, the stars become apparent; when our eyes close out the light to sleep, there rises in the night-eye the constellation by which sleep-walkers plot their incalculable accuracies. By day we move according to desire and decision; by night Noctambulo advances without moving, led by the twins Gemini (as the eyes are twins or as the I of night is twin to that of day). It is by the dark geometry of such celestial navigation that the day‘s erratic negotiations are corrected and reconciled into the total orbits of our lives.
The film is in the negative. The blackness of night erases all horizon and, released from the leveling pressure of this plane, the movements both of the dancers and of the camera become as four-dimensional and directional as those of birds in air or fish in water.”
– Maya Deren: Chamber Films, program notes for a presentation, 1960
#Title: The Very Eye of Night
#Director: Maya Deren
#Year of Production: 1958
#Choregraphy: Antony Tudor, Metropolitan Opera Ballet School
#Dancers / Actors: Philp Salem, Rosemary Williams, Richard Englund, Richard Sandifer, Don Freisinger, Patricia Ferrier, Barbara Levin, Bud Bready, Genaro Gomez
#Camera: Maya Deren
#Editing: Maya Deren
#Foley Assistance: Harrison Starr
#Sound: Louis and Bebe Barron
#Music: Teiji Ito
The Dears – Summer of Protest
Siri Karlsson – När Mörkret Faller
Triakel – Torspar-julaftas-våggvisa
Istapp – Snö
16 Blåsare Utan Hjärna – Instrumental
Vaaralliset Lelut – Katselen Hiukan Ympärilleni
BLK JKS – Summertime
Blackmilk – Summer Eye
Sambassadeur – Ice and Snow
The Cardigans – Slowdown Town
Hello Saferide – I thought you said summer is going to take the pain away
Carolina Wallin Pérez – Pärlor [Kent cover]
Säkert! – Isarna
Sofia Jannok – Snölejoninna
Die See – Somersdag
Johannes Kerkorrel – Somer
The Knife – Reindeer
Vacum – Den Sista Vintern
Detektivbyrån – Om Du Möter Varg
Anna Von Hausswolff – The Hope Only of Empty Men
Arne Domnérus & Gustaf Sjökvist – Largo
Ghost – Here Comes The Sun (Beatles Cover)
Chris Letcher – The Sun! The Sun!
Jessica Lea Mayfield – Standing in the Sun
The Cure – Hot! Hot! Hot!
The Brother Moves On – Shiyanomayini
Karen O – Indian Summer
My new favourites out of Stockholm are this duo, and their album The Lost Colony.
According to their website (where you can also watch their videos and stream music):
“Siri Karlsson is a duo that have always gone their own way and broken with established standards. With one foot rooted in mystical folklore and the other constantly in search for new influences, they manage to create a highly personal expression. With vocals, alto saxophone, piano and key fiddles they create an unorthodox hybrid of folk, psychedelia and progressive.”
Gosh, this song just made me ball. It’s from the Tindersticks‘ new album, due out in January 2016, and features, posthumuously, the incomparable voice of Lhasa de Sela, who died of breast cancer, aged 37, in 2010.
I can recommend Ravel’s piano works as suitable accompaniment when hurtling through the dark across unfamiliar country in a high-speed train.
Miroirs (“Reflections”) is a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905, first performed by Ricardo Viñes in 1906.
Around 1900, Maurice Ravel joined a group of innovative young artists, poets, critics, and musicians referred to as “Les Apaches” or “hooligans”, a term coined by Ricardo Viñes to refer to his band of “artistic outcasts”.
To pay tribute to his fellow artists, Ravel began composing Miroirs in 1904 and finished it the following year. There are five movements, each dedicated to a member of Les Apaches:
1. “Noctuelles” (“Night Moths”) – Dedicated to Léon-Paul Fargue
2. “Oiseaux tristes” (“Sad Birds”) – Dedicated to Ricardo Viñes
3. “Une barque sur l’océan” (“A boat on the Ocean”) – Dedicated to Paul Sordes
4. “Alborada del gracioso” (“The Alborada Gracioso’s Aubade”) – Dedicated to Michel-Dimitri Calvocoressi
5. “La vallée des cloches” (“The Valley of Bells”) – Dedicated to Maurice Delage.
The soundtrack to a film I missed is also Anderson’a simplest and finest album, accruing power and complexity as you relisten and relisten again: 75 minutes of sparsely but gorgeously and aptly orchestrated tales about a) her beloved rat terrier Lolabelle and b) the experience of death. There are few detours—even her old fascination with the surveillance state packs conceptual weight. Often she’s wry, but never is she satiric; occasionally she varies spoken word with singsong, but never is her voice distorted. She’s just telling us stories about life and death and what comes in the middle when you do them right, which is love.
There’s a lot of Buddhism, a lot of mom, a whole lot of Lolabelle, and no Lou Reed at all beyond a few casual “we”s. Only he’s there in all this love and death talk—you can feel him. And then suddenly the finale is all Lou, singing a rough, wise, abstruse song about the meaning of love that first appeared on his last great album, Ecstasy—a song that was dubious there yet is perfect here. One side of the CD insert is portraits of Lolabelle. But on the other side there’s a note: “dedicated to the magnificent spirit/of my husband, Lou Reed/1942-2013.” I know I should see the movie. But I bet it’d be an anticlimax. A PLUS
EDIT 6/11/15. And here’s a beautiful interview with Anderson about the film: