Prirodna elektronika za mračne katedrale.
Plush neo-classical/electro-acoustic soundtrack by Emptyset's James Ginzburg and fellow sound artist, Yair Elazar Glotman for Ginzburg's A/V collaboration with French artist, Joanie Lemercier. Includes versions by Glotman and Eric Holm. "Starting with actual footage of forests, cathedrals, deserts, and even volcanoes from around the world, Lemercier and Ginzburg then used 3D modeling and 2D photoscan imaging to alter and enhance the images, rendering them suitable for projection on a domed surface. The result is a dream-like combination of pointillism, photography, and astrological chart that weaves a creation story of sorts over the upturned faces of prone viewers. The soundtrack for Nimbes, performed by contrabassist Yair Glotman and percussionist Brandon Rosenbluth, was first recorded in an empty powerplant in Berlin, then mixed, edited and produced by Ginzburg in Bristol. A final mix was done in the projection dome at the Societe des Arts et Technologies, or SAT, in Montreal where the piece was inaugurally shown. In describing the piece, Lemercier refers to cosmogony, a theory which refers to the creation of both of the universe, and the "reality" of sentient beings. Nimbes takes on both expansions from the eye of an ambient observer - as the universe unfolds, as does human intelligence and man-made works upon the earth, a journey we witness in a non-linear melange of mysterious, iconic, light infused imagery."- boomkat
‘It’s dark’ are the words of warning from Clinton for this 12” and he’s not wrong. Originally the soundtrack for an immersive installation, Nimbes was recorded in a Berlin power station and a menacing circle of ashen trees graces the cover. It comes as no surprise then that when the needle drops, my ears are covered in dust and my eyebrows fold into a frown that would have Dennis the Menace cowering behind a frozen Gnasher.
The story behind Subtext is quite interesting - the Bristol label dropped 2 Vex’d singles back in ‘04, then remained dormant for 7 years, returning as a leader in brooding, stretched out industrial. I’m not sure what connection that they have with the Canadian video mafia, but the installation must have been intense considering the magnitude of black atmosphere present on ‘Nimbes’. The video was projected onto a massive circular dome, so you’d probably feel quite secluded and alone in that forest, until you get a whiff of the sweaty film buff sitting to your right.
The music heavily features a contrabass, which is essentially a double bass invented by Satan to rumble your innards. It drones along underneath various cavernous hisses and percussion spasms, clearly mirroring the space in which it was recorded, which is exactly what it says on the (press release-shaped) tin. Near the end, the contrabass enters a higher register, bordering on that chalkboard sound that so many idiots hate. We’re also treated to two remixes: the first from Glotman brings a wider variety of melody and exaggerated fluttering, sort of like being on a 1m square island in the middle of a stormy tropical ocean; Eric Holm’s ‘10/50 Mix’ digs deeper into looping industrial machine clunks. It’s generally nice to hear focus shifted onto different elements of the original, and thank christ they don’t resort to cliched beats!
After listening to this, all I want to do is sit in that theatre and experience the full AV onslaught, but this is good enough to stand shakily on its own and will have to do for us Eurasian losers. - Norman Records
The authors of the mix are James Ginzburg of Emptyset and Yair Elazar Glotman, also known as Ketev. They are Berlin based sound artists who joined forces to compose and record some beautiful, yet strangely involving cathedral music. To mark their new collaborative release on Subtext, the duo prepared an intimate and influential mix, which smoothly connects mostly live recorded thrilling musical pieces.
“Secret Thirteen Mix 134” is a deeply emotive and harmonious audio voyage through the beauty of vital drones flittering in the spacious and expressive architectural domes. The mix combines 16 cinematic records that were originally composed in the last 4 decades. James Ginzburg & Yair Glotman compiled this mix as a fictional retrospective mood board to accompany the release of their soundtrack to Joanie Lemercier & James Ginzburg’s 360 degree film “Nimbes”. The mix is comprised of pieces that have inspired the pair as well as pieces that they introduced to each other in the process of working on this project from conception to recording to release.
The “Nimbes” soundtrack itself, realised within the vast interior of Berlin’s Kraftwerk power station, employs the cavernous reverb of the space in response to the video’s encompassing narrative of scale, time and entropy. Centred around the use of contrabass and elemental percussion, the stark rendering of instrumental sound crafts an evocative portrait of this former industrial site, mapping an overarching texture onto the underlying acoustic compositions. The project draws parallels to Ginzburg’s sonic spatial explorations in Emptyset alongside Glotman’s own forensic examinations of rhythm and tonality initiated through his work as Ketev, bringing the two into a formal dialogue through techniques of acoustic production.
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Yair Elazar Glotman www.yairglotman.com/
James Ginzburg www.jamesginzburg.com/