Symbiosis on Overlap – Episode 33 – Syntaks

Hey folks,

We have Jakob Skott in the mix this week who, along with his musical collaborator, Anna Cecilia, forms the duo Syntaks. They have just released a sublime album, Ylajali, on Ghostly that I highly recommend.

Twentytwohundred is taken from the record:

Syntaks – Twentytwohundred

Symbiosis on Overlap – Episode 33 – Syntaks

01: John Carpenter: Arrival at the Library (from John Carpenter’s Escape from New York, 1981)
02: Alessandro Alessandroni: The Devils Nightmare (from Jean Brismée’s La Terrificante Notte Del Demonio, 1971)
03: Marcello Giombini: Antropophagus (demo) (from Joe D’Amato’s Antropophagus, 1980)
04: Popol Vuh: Mantra 2 (from Werner Herzog’s Nosferatu: Phantom der Nacht, 1979)
05: Fabio Frizzi: Zombi 2 (from Lucio Fulci’s Zombie Flesh Eaters, 1979)
06: Angelo Badalamenti: Questions In A World Of Blue (from David Lynch’s Twin Peaks – Fire Walk With Me, 1992)
07: Stelvio Cipriani: Investigation (from Luciano Ercoli’s La Polizia Ha Le Mani Legate, 1975)
08: Ennio Morricone: Piume Di Cristallo (from Dario Argento’s L’Uccello Dalle Piume Di Cristallo, 1970)
09: Riz Ortolani: Main Theme (from Ruggero Deodato’s Cannibal Holocaust, 1980)
10: Goblin: Profondo Rosso (from Dario Argento’s Profondo Rosso, 1975)
11: Bobby BeauSoleil: Lucifer Rising 5 (segment) (from Kenneth Anger’s Lucifer Rising, 1972)
12: David Sylvian and Ryuichi Sakamoto: forbidden Colours (1987 version) (from Nagisa Ôshima’s Merry Christmas Mr. Lawrence, 1983)
13: Claudio Gizzi: Old Age of Dracula (from Paul Morrissey’s Andy Warhol’s Dracula, 1974)

“Somehow these songs all seem to stem from movies about death and the bizarre when looking at the titles, but thats just a proof to how strong these songs are. They contain much more – an amount of uninhibbited beauty and depth, not unlike the amazing images of Dario Argento risis above the violent themes of his greatest films. The textures and production of these songs are all very unique. Everything merges together and layers seems to bounce and float around in unique ways. Experimentally harsh sounds mixes with the soft and melodic in amazingly original arrangements: The microphone-bass-thump of Fabio Frizzi’s epic score from Zombie Flesh Eaters, is as dynamic as is is mesmorizing. Marcello Giombini and Bobby BeauSoleil’s scores are perhaps not well known, but their sound is easily recognized as a blueprint of later musical directions and aesthetics. Riz Ortolani and Morricone-instrumentalist Alessandro Alessandroni creates symphonic buildups that just seem to keep progressing and building endlessly, adding surprisingly original electronics and effects to their classical arrangements. These songs aren’t just circling around the extreemes in cinema – they are also a celebration to creativity and beauty.” – Jakob Skott

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Until next week..

Simon

 

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