Showing posts with label eighth tower records. Show all posts
Showing posts with label eighth tower records. Show all posts

25 October 2022: Philip Glass & the Kronos Quartet "Dracula"; Music Inspired by Bram Stoker's "Dracula"

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 Two trailblazing new music artists — Kronos Quartet and composer Philip Glass — come together once again for a recording of the first original score for the Universal Pictures 1931 horror film classic Dracula, starring Béla Lugosi. Glass’s score marks the first-ever for a film which the composer himself considers a classic. “Many films have been made based on Dracula since the original in 1931 — however, none is equal to the original in eloquence or the sheer power to move us.”

There have in fact been many screen versions of Bram Stoker’s classic tale of Dracula, but none more famous or enduring than the 1931 original. Starring Béla Lugosi as the world’s best known vampire and directed by horror specialist Tod Browning, Universal Studios’ Dracula creates an eerie, chilling mood that has rarely been realized since. Dracula’s initial theatrical release coincided with the transition from silent pictures to “talkies.” At that time limited technology existed to present the film as a sound picture, so no musical score was ever composed and there were few sound effects. Browning relied on Lugosi’s legendary Hungarian accent to give the film its distinctive sound.

Glass’s new original score for Dracula was commissioned by Universal Family and Home Entertainment Production for inclusion as part of Universal’s Classic Monsters collection, to be released on video on August 31. Philip Glass, in commenting on writing this score, said, “The film is considered a classic. I felt the score needed to evoke the feeling of the world of the 19th century — for that reason I decided a string quartet would be the most evocative and effective. I wanted to stay away from the obvious effects associated with horror films. With Kronos we were able to add depth to the emotional layers of the film.”

 
Eighth Tower is here to celebrate Dracula on the book’s 125th Birthday.
Two books, since first publication, have never been out of print. One is the Bible and the other is Bram Stoker’s Dracula. Dracula is the embodiment of Satan for the Victorian age. The character is sinister. He is cunning. He is repulsive, sickening in fact. He is quite different to the suave gentleman that any of the films depict him as. He is an old man who grows younger when gorged with blood. He is a walking, rotting corpse, the opposite to us and a reminder of our own mortality. He is arrogant, psychopathic and obsessed with imperialism. Perhaps the novel’s popularity has always been in its ability to make one feel like order has been restored through a strong empathy with the characters. We feel that we have become part of their existence through reading their diaries, letters and hearing their phonograph recordings. There is a real element of hope in their words and in their practices, we even see technology used to aid their war. Therein is progress alongside the knowledge of the past, looking to the future to dispel the shadows and bring us light where once we only saw fear in darkness. We can see the war of civilisation versus our baser instincts, not only in the fight against the sexual charge in the vampiric bloodlust but also in the ability that our heroes have to prevail against the animalistic forms that Dracula brings. As the Bible this is a book full of temptations and resistances that gets to the core of the psychological war inside us, as we fight our own inner biblical adversary, subdue the satanic beast within us and aspire to righteousness.
To celebrate this modern myth Eighth Tower has called musicians from various countries and asked them their musical interpretation of the Dracula myth. Either gloomy soundscapes or electroacoustic compositions, all the pieces are inspired by chapters, scenes, or characters from Bram Stoker’s novel.
 

credits

Our thanks to Raffaele Pezzella for providing us with a copy of this release.

released October 7, 2022

REVIEWS

OndaRock
www.ondarock.it/recensioni/2022-aavv-dracula.htm

Bizarre Chats
bizarrechats.blogspot.com/2022/10/eighth-towers-dracula-inspired-music.html?sc=1665128621667#c942901699638122052


Published by Eighth Tower Records
Curated and mastered by Raffaele Pezzella
Artwork by John Chadwick
© 2022. All rights reserved
ambient dark ambient dark chamber drone industrial noise Italy


27 April 2021: Bernhard Wostheinrich & Tim Motzer: Schloss Tegal

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Recorded live on May 27, 2017, broadcast of Frank Somalus' show at RSD-Radio, Berlin, Germany.


"I remember vividly flying past many tall buildings in Bernhard's sister's speeding old blue convertible and the blur of a vast German boulevard somewhere in former East Berlin. It was a long drive and rather dream-like. I had just finished a European tour with Bandit65 with Kurt Rosenwinkel and Gintas Janusonis, and was now here in Berlin visiting my great friend & colleague Bernhard to play a few shows.
This radio broadcast set was quite inspired. We had not improvised together in quite a long time, perhaps a few years. It was so good to be back in Berlin among friends. I still remember the feeling, as it was the last time I've been there since Covid-19 has taken hold of our planet. Listening to this brings back so many memories, and our performance that day went to amazing places. I believe it to be my favorite concert we've ever done thus far.
We hope you will enjoy this magic sonic ride, filled with mysterious melodic and harmonic sequences, ever shifting driving rhythmic terrain, beauitiful transitions and colours like I've never heard or experienced since. We were so in it. This is so ON! This magic duo. This is a great one folks." - Tim Motzer

credits

Materiaal Series, Vol. XLII   released April 18, 2021

Tim Motzer - guitar, electronics
Bernhard Wöstheinrich - keyboards, live-arrangements, electronics
recorded live in Berlin at RSD-Radio

Mastering: Markus Reuter
Artwork by Christine Kriegerowski (duckwoman.de)

Thank you to Frank Somalus!
www.rsd-radio.com
Tags
 


 

I met Richard Schneider (Schloss Tegal) at Klub 007 in Prague in December 2019, right before the pandemic. Having been invited by Jan Kruml to work together on a radio transmission on Radio 1, I stayed in Prague for some days and had the chance to attend a Schloss Tegal live performance; that night, various musicians from the Prague underground played at the club, including Vladimir Hirsch. After the concert I had some talks with Richard regarding his participation in the compilation "Drone Islands – The Lost Maps" which I was going to release a month later, and I congratulated him on the performance. At the time, I couldn’t imagine that our paths would have crossed again till the moment we talked online about the release of “Musick From Madness” (a document of the early Schloss Tegal productions) through the Eighth Tower Records label.
More than a simple release - though one of historical importance that I’m honored to publish - this publication represents the best way to remember some friends whom I had the pleasure to know and collaborate with: people I could hardly meet in person at the moment.

Raffaele Pezzella

Musick from Madness on Bandcamp

Schloss Tegel was a Berlin-based hospital: see below for more information

credits

releases June 4, 2021

Music by Schloss Tegal (RL Schneider, MW Burch).
RL Schneider: Synth, Samples, Electronics
MW Burch: Tapes, Samples, Electroacoustics
Recorded between 1986 and 1990

Edited by Eighth Tower Records
Originally released on C46 cassette in 1991 by State Of Flux
Mastered by Raffaele Pezzella (Sonologyst)
Artwork by Black Space Industry
eighthtowerrecords.bandcamp.com
© 2021. All rights reserved
  FreeForm Radio thanks Raffaele Pezzella for providing a promotional copy of this release.

Notes:
Tracks “The Father is Omnipotent”, “I Give Everything to the Devil”, “The Red Skull”, recorded between 1986 and 1990, and previously unreleased.

The original cassette, published by State Of Flux, existed in two editions. In the first, an edition of 25, each copy has a bone glued to the inside cover. The second edition is exactly the same, but without the bone.

A State Of Flux was a label, distributor and radio program on WCUW-FM in Worchester, Massachusetts all run by John Collegio. 
 

1.



2.



3.
Smart Drug 04:26



4.



5.
The Father Is Omnipotent



6.
Ring In Place



7.
Vortex



8.
Natan Speaks



9.
I Give Everything to the Devil



10.
Watch Me Flop Around



11.
The Red Skull
 
 Schloss Tegel was a Berlin-based hospital where disaffected soldiers were treated for exhaustion, depression, and other mental conditions spawned by the very violent and demanding nature of their profession. One would think that, if a post-industrial project known for the darkness embedded in their work chose this as their name, it would be because of the dubious methods used to treat their patients; perhaps the hospital was known for having submitted its subjects to inhumane experiments and practices that were on the verge of being pure psychological and physical torture. Nonetheless, this couldn't be further from the truth. Schloss Tegel was a place where the healing process was approached through music and art therapy. How can a project with such gruesome sound and aesthetics be named after a place of healing and improvement? Can we take it as black humor or as a way to reflect the fractured and foggy state of mind of those who attended such an institution? Having been spawned out of the decaying biomechanical world of early industrial music, which fused technology with primitive impulses to create bleak and harsh soundscapes instead of danceable techno pieces, Schloss Tegal (RL Schneider, MW Burch) released "Musick From Madness" on cassette tape around the early 90s, and despite being their second outing (the first being the Procession of the Dead 7"), it already showcased the elements that would grant them the title of pioneers - or even founders - of the dark ambient genre. We had the paradoxical positioning of harsh and soft textures, obscure samples, a very cinematic presence, and loose song structures that flowed like nightmares from which, as the title of the final track in the seminal "Oranur III" (Tegal Records, 1995) states, you can't wake up. Now, thanks to Raffaele Pezzella’s Eighth Tower Records label, Musick from Madness finally has a proper reissue.
If industrial and some of its offshoots, like the ever-controversial power-electronics, intended to place the listener in the center of a tumbling building being demolished by heavy and rusty machinery, Schloss Tegal aimed to create ethereal wreckage: the structure being explored and subsequently destroyed was not one belonging to an unnamed urban landscape, it was the mind itself. While it still had the raw power of early Throbbing Gristle or Whitehouse, the force with which Schloss Tegal struck was very different; somewhat gentler, but still very unnerving. Every detail and every sample is buried under decaying sound layers that feel as if they are struggling to keep everything underneath, but their presence somehow seeps through the cracks. It is all very subliminal. These suffocating atmospheres came rather naturally to the duo if we are to take into consideration everything they were consuming outside of music. With interests such as the teachings of Satanism, the intricate plots that only conspiracy theories can provide, and a proclivity towards the darker side of human nature manifested in a strong interest in serial killers of the late 70s and 80s, it is no wonder that Schloss Tegal were able to conjure such bleak, yet intriguing, landscapes with little effort. To listen to “Musick From Madness” is to let the darkness take hold and lead us through a slow, overwhelming and spiraling descent into uncharted territory. Beginning with hypnotic pulses and unintelligible samples whose echoes linger through the songs with a ghost-like presence, the album eventually gives in to cacophony; nonetheless, it is all very subtle. It doesn't turn harsh or dissonant, but as it progresses, its persistent, maddening state becomes highly - and dangerously - contagious. The duo were already experts in creating engaging experiences, knowing when to hold back, and when to bring back certain motifs to give us a sense of direction, even if for a brief moment. The goal was never to scare us, but to help us assimilate the darkness within. Parting from that point of view - which one could say is very psychoanalytical - it starts to make sense that this enigmatic duo took their name from a, rather wholesome, mental facility. This is the dichotomy of Schloss Tegal.

Jorge C. Ortega