Kunst & Liebe Frequency Machine

Peter “Sleazy” Christopherson – Live at L’Étrange Festival 2004: The Art of Mirrors (2015)

‘The Art of Mirrors’ eksperimetalni je uradak Petera ‘Sleazyja’ Christophersona, realiziran u formi soundtracka za istoimeni film Dereka Jarmana, te uživo izveden na pariškom L’Etrange festivalu u rujnu 2004., dva mjeseca prije smrti Jhonna Balancea i samim tim prestanka djelovanja Sleazyjevog životnog projekta Coil. Nažalost, i on je u međuvremenu napustio ovaj svijet. Ovotjedno izdanje Polibiotičkih struktura vam prenosi tu snimku – istina, bez vizualne komponente, no vjerojatno će rani noćni sati posljednje nedjelje u svibnju nadopuniti taj nedostatak!


Kako već zbore bjelosvjetski web mediji (exystence.net):

Peter Christopherson Shortly before his musical partnership as Coil ended following the death of John Balance, Peter Christopherson performed a live soundtrack to his old friend and collaborator Derek Jarman’s abstract 1973 Super 8 short The Art Of Mirrors in Paris. Sleazy had worked with Jarman on many occasions, including providing the music as a member of Throbbing Gristle for In The Shadow Of The Sun in 1974, Coil’s highly-charged compositions for The Angelic Conversation, as well as their singularly psychedelic disco contributions to the director’s final swansong, Blue.

Peter_Sleazy_Christopherson_With_Live_GearSince The Art Of Mirrors is barely six minutes long, quite how Christopherson made more than an hour of music to accompany the film’s screening is something those who were there can answer…

On his own here, Sleazy shifts and slides from deceptively calm stretches of almost-brittle digital electronics complete with passages of birdsong or human chanting into bass-heavy tremors shaking the floors like nobody’s business. They fill up space with the pressure of spectral presences and tectonic rumblings. These digital ghosts in Sleazy’s machine fall somewhere between later Coil instrumentals which aimed for a particular psychotropic effect on the listener (such as the epic, mind-altering Time Machines) and Christopherson’s later work with Ivan Pavlov (COH) as SoiSong.

So while there are many recurrent elements for those already familiar with Sleazy’s role in other groups – the sampled hurdy-gurdy loops in particular raise a few neck hairs, and not simply because of their uniquely resonant trebly tones – the music is also identifiable as Christopherson pursuing his own particular ideas alone, and perhaps unfettered. The quality is generally excellent throughout, the dynamic range stretched nearly as much as it must have been over the venue’s PA, and while there are occasional audience noises to be heard, they serve to give the recording a live atmosphere – it certainly feels like being in the room. Even if that means that all the coughs and splutters of a concert hall environment are therefore registered with similar fidelity to the music proper.


autor: Vjeran Stojanac, 30/05/2015

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