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Patricia Brennan, “Maquishti” (Valley of Search)

Ah, the tender percussive seem of mallets dancing on the steel bars of a vibraphone or the wooden bars of a marimba. I most likely 1st listened to these magical sounds as a youngster looking at “Mister Rogers,” or possibly it was a Christmas music. But I never really read the devices played in a hard, experimental method. That is until a short while ago, following looking through about Patricia Brennan’s new solo double album in the newest version of Maggot Brain magazine [Shout-out to editor Mike McGonigal, just out of the hospital: Get well, Mike.]


Born in the Port of Veracruz, Mexico, Brennan performs in numerous big bands and ensembles and has been earning notice in the New York avant-garde tunes scene since her coaching in the classical and jazz worlds. Listening to this unaccompanied get the job done, it is straightforward to fully grasp why noteworthy musicians like John Zorn request her out for other assignments. Several artists can make an instrument sound new or redefined, and Brennan is just one of them. On spellbinding tracks like “Solar,” “Magic Square” and “Derrumbe de Turquesas,” she utilizes the mallets and results this sort of as an octave-modifying guitar pedal to broaden her options, never ever relying on standard anchors these as melody to manual these huge-ranging, improvisational explorations. Some tracks were being published on piano and tailored for vibraphone, producing a obstacle for the artist from the get-go. It all will make for an unpredictable album that envelops the listener with mesmerizing tones that can be mysterious, enjoyable, modern, spooky and entire of interstellar ponder. In a way, her vast-open approach mirrors a welcome craze in the pop songs environment: the blurring or negation of genre labels. These days, I am making an attempt to only get information that audio different from nearly anything else I personal, and Brennan’s liberating musical expression suits the invoice. Examine her out on bandcamp.

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Béla Tarr’s “Sátántangó” (Arbelos Movies)

It looks only fitting that Hungarian filmmaker Béla Tarr’s 1994 masterpiece, a gorgeously shot, black-and-white art household movie with a 7.5 hour working time, is discovering new lifetime for the duration of a worldwide pandemic. A gloomy, rain-and-wind battered epic about a farm collective in a Hungarian village just just before the fall of communism, “Sátántangó” is a crowning accomplishment of slow cinema, freshly readily available when the entire earth has slowed down for the 1st time in a century.

Restored in 4K from the initial 35mm unfavorable, the new Blu-ray model was launched a few months back in conjunction with the film’s 25th anniversary. Composed of roughly 150 extended usually takes, the movie follows the affairs, financial techniques and drunken arguing of very poor villagers transitioning from one exploitative, bureaucratic procedure (communism) to a more autocratic, Western-fashion exploitation (crony capitalism) embodied by a younger con person, Mihály Víg, who seems and presents assistance.

Gradual cinema’s aesthetic is created on reinforcing a dissonance concerning the narrative and time. It accomplishes this by way of formal elements these types of as extensive angles, static frames, nominal protection, heightened audio outcomes and visual flatness, all of which properly underscore Tarr’s themes concerning the alienating effects of Stalinism on local community, as effectively as mankind’s ravaging of nature and growing separation from it. The memorable opening scene finds the digicam lingering for almost 9 minutes on a herd of cows roaming by means of the dilapidated village — which somehow manages to enjoy like a mesmerizing allegory, as do quite a few of the for a longer period scenes.

Tarr plainly was influenced by the wonderful Russian director Andrei Tarkovsky and the oppressive temper also feels indebted to the performs of Franz Kafka and Samuel Beckett, both of those writers influenced the authentic 1980s guide by Hungarian author László Krasznahorkai. In the new intro to filmmaker Paul Schrader’s “Transcendental Type in Movie,” Tarr is quoted as declaring: “I despise tales. They mislead men and women into believing a little something has transpired. In point, very little really transpires as we flee one issue to a different. All that remains is time. This is probably the only issue that’s still genuine – time by itself the yrs, days, hours, minutes and seconds.”

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Unsurprisingly there is a bleakness, some may well argue a nihilistic earth watch, that could repel viewers from sticking it out. The film’s creators weren’t concerned with advertising tickets (you’d require a sleeping bag to see it in the theater). Tarr’s quotation aside, there is storytelling, tragic humor and an experimental narrative with events found from different details of see, in the 450 minutes. But what genuinely sets the movie aside is the fantastically dark photography by Gabor Medvigy and the brilliantly choreographed long usually takes. The latter permits a viewer to grow to be a a lot more active, considering participant by focusing attention and imagination like a lens throughout the film’s 12 distinctive actions that mirror the tango, 6 techniques forward, 6 steps back. Almost never has a cinematic wander in a driving rainstorm, or a kid singing quietly to herself in a barn, been captured so memorably on film.

Some critics have remarked that the imagery feels like a sequence of paintings. I was a lot more often reminded of poetry, like T.S. Elliott’s “The Love Track of J. Alfred Prufrock.” The villagers are usually scuttling and scurrying versus the ever-current wind and mud, when indoors, you can just about taste the yellow smoke’s muzzle on the windowpanes. In one dimly-lit bar scene, the modifying rhythm creates a hypnotic pull as a near-up tracking shot follows drunken faces though a person repeatedly exclaims: “My father’s the sea/my mother’s the earth … tango!” Essayist Susan Sontag at the time described the grueling movie as “devastating, enthralling for every single minute. … I’d be glad to see it each and every 12 months for the relaxation of my daily life.” Even though I won’t go that far with the praise — parts felt uneven — I am glad I watched it and pretty sure I am going to revisit certain sections.

This two-disc established, retailing for $39.99, contains extras these types of as an interview with composer and actor Mihály Víg, whose haunting accordion-and-bells rating adds tremendously to the movie a online video essay “Orders of Time” by Kevin B. Lee a 2007 interview with Tarr and an essay booklet on how to observe the movie by Janice Lee and Jared Woodland. Obtaining motivated quite a few directors which include Gus Van Sant and Richmond’s own Rick Alverson, Tarr has since retired from filmmaking. But if you uncover this wonderful restoration and new English translation of Tarr’s visionary movie inspiring, you’ll want to enjoy his remaining 2011 operate, “The Turin Horse,” which requires the tale of thinker Friedrich Nietzsche’s mental breakdown soon after looking at a horse whipped in the Italian metropolis of Turin.

To invest in “Sátántangó” or stream it, pay a visit to