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here.

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Showing posts with label Delia Derbyshire. Show all posts
Showing posts with label Delia Derbyshire. Show all posts

20 December 2010

MORE DELIA


White Noise - Love Without Sound


White Noise was more of the project, not exactly a band. England's Delia Derbyshire and Brian Hodgson, who were making up weird sounds for the BBC radio shows at the time - 1969 - teamed up with David Vorhaus, an american bass player with a scientific mind. Together the came up with a music not yet heard by human ears, but enjoyed by martians regularly. The first British synthesizer, the EMS Synthi VCS3, was the latest whisper on the market, as it wasn't exactly a scream yet. These guys toyed with it and came up with a groundbreaking album entitled "An Electric Storm", which not many people understood, but which eventually changed the face of electronic music and influenced people like Orbital, Chemical Brothers, Aphex Twin, Secret Chiefs 3 and the list goes on and on.
Funny fact about the song above: "Love Without Sound, employed sped-up tape edits of Vorhaus playing the double bass to create violin and cello sounds." (Wiki)
Old school stuff, eh?

Delia was often called the "unsung heroine of (electronic) music". As it is customary, visionaries are rarely appreciated while still alive. It's only polite to praise them when they're dead and cannot blush any more.
Her most famous tune is the Dr Who theme. I have here an entire album of covers and versions of that song (Bill Bailey's version, "Dr Qui", is quite funny, despite the french or because of it). I'll just post her original track. More old school stuff and funny facts about this song: "She created it by recording the individual notes from electronic sources one by one onto magnetic tape, cutting the tape with a razor blade to get individual notes on little pieces of tape and sticking all the pieces of tape back together individually to make up the track and the process took weeks to complete." (source: this chick's blog. I'm just guessing it's a she because of the cat theme. Also, she works at BBC, so she must know something about something.)

Delia Derbyshire - Doctor Who Theme

17 December 2010

ENTER THE VOID


Delia Derbyshire - Air On G String


Listen to this little song. I know you know it, it's Bach. But this version was, ok I'll use the word, haunting in Gaspar NoƩ's Enter The Void, which I have started watching last night around 23.30, without realizing that it's 2.1/2 hours long. What with the cat and everything, I went to sleep around 3.
The rest of the soundtrack was more or less made by Thomas Banglate of Daft Punk, a band I don't really concur with. I say more or less because some people say he has indeed composed the soundtrack, while others say he's just provided Gaspar with some samples and weird noises, but was unable to do the soundtrack himself as he was busy working on another one, the one for Tron -Legacy.
Anyway.
I fell asleep around 3, but quite satisfied. Irreversible was a good film. No matter how sickening some scenes may have been (we all know which ones), you cannot say the film was shit, you just can't. Enter The Void is better, I feel.
And you know what's weird? Personally I hate and actively avoid movies that use explicit sex or violence (or over-zealous CGI, for that matter) as cheap bait, it's disgusting and retarded 9 out of 10 times. The masturbation in Ken Park and the fellatio in Brown Bunny are two perfect examples, but since this isn't a movie blog, I won't go there. Irreversible and Enter The Void both have those two items - explicit violence and sex -, but somehow it doesn't feel gratuitous at all. I can't believe I'm saying this, but it feels natural, noninvasive (if anything, you're the intruder) and almost tender at times. Granted, it won't feel like that to everybody, so be warned. But for a film dealing with death, afterlife, drugs, sex, abortion, car-crashes and all that, it's very poetic. I don't think I would've watched it, had I read the synopsis beforehand. It feels sick when you read about it, but it's quite a visual and emotional treat when you watch it. The film didn't shock me in itself, what shocked me was that I liked it.

And this version of the song is perfect, just perfect, in the film and in general (just to pretend this was only about the music all along.)

P.S. Worth mentioning: more about Delia Derbyshire here. I have the feeling there will be more of her here.