#586
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I had been thinking of checking the film out first before checking out the soundtrack and had never got round to it. Saw Amazon selling the last copy of the film on Blu Ray the other day for £1.98 new so will find out how good it is soon
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I need a remedy, of diesel and dust. Something I can taste, with a fix I can trust. Another high, more potent than lust. Eating and repeating like the workings of rust and time. |
#587
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I need a remedy, of diesel and dust. Something I can taste, with a fix I can trust. Another high, more potent than lust. Eating and repeating like the workings of rust and time. |
#588
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Still have to watch the film but I did love soundtrack
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#589
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It's ok. Feels like a bottle episode (one location) stretched out for too long. It's tense but none of the characters are particularly likeable or memorable and spend most of the time shouting at each other. If you can rent it for £2, you're not going to feel cheated.
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#590
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I wouldn't call a soundtrack a solo album. Its scope and depth are defined by its source material. When the Chamber was released, James said he made a conscious effort with the music to not stand out and compete with the visuals for the audiences' attention. Hence in a fashion, he is collaborating and taking either implicit or explicit creative direction from the other artists involved in the movie.
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#591
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I watched The Chamber about two years ago just because I knew James worked on the music and thought it sounded like an okay movie. It was decent for what it is, a low budget tense thriller set in one small location.
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#592
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#593
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Even In Exile is some music he wrote to someone else’s words, about someone else, including one track that is a cover! “Its scope and depth are defined by its source material” yep, well you could argue the same about this too by that standard! The soundtrack was made for the movie, but also exists outside of it. An album is said to be by a band even when it features many session players, samples, guest singers... Hence in a fashion, the soundtrack was more of a solo album than this is. Is anything truly a solo project? Isn’t everything a collaboration to some degree, even if only between artist and listener? Or is everything a solo project, as ultimately you can always make a judgement about one person being the most important driving force of a project if you choose to... ?! To me The Chamber Soundtrack is an album, and it was by JDB, so EIE is at least kindalike his third solo album. It doesn’t really matter, I just find it odd to it not heard/read it being mentioned in many (any?) of the many interviews and reviews, even as an aside (I’m sure I could have missed one or two though). Interviewers saying ‘you’ve made us wait since 2006 for a solo album’ etc, and I’m thinking ‘nope, The Chamber’. But maybe it’s just me! *shrug* Now, John Powell’s Star Wars soundtrack from 2018, that’s definitely a Solo record...
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#594
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Soundtracks seperate beasts
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#595
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I think it's a bit unfair to compare EIE with The Chamber Soundtrack. For one, James chose to use Patrick's words for his songs and he also chose which poems to use and how they were edited. Half-way through the project he could have ditched the concept and went with a more straight forward album. He controlled what did and what did not end up in the album. There is nothing on that album that he did not choose to be there.
However The Chamber soundtrack would exist even if James declined the opportunity. Heck Blade 2049's first soundtrack was ditched and a new soundtrack recorded by a different artist. James was hired to write music for the Chamber presumably with some direction with how it might sound. While he wrote all the music, it's not his choice how it might be used. Despite there being an album called The Chamber Soundtrack, the music's raison d'etre is to exist within the Chamber accompanying the visuals and narrative. The soundtrack belongs to the Director's/Producers. None of the above should diminish the music James created, the time and effort dedicated to it's creation, or the enjoyment gained from listening to it on its own right independent from the movie it was written for.
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#596
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#597
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Under The Mimosa Tree is Manorbier on a Spanish holiday hooking up with the strings from Paris 1919. This is another very good thing.
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#598
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I didn't expect the last song to creep into my album favourites but it's snuck in there like a sneaky thing. That break about two thirds through where it all goes a bit prog and then goes back into the chorus to finish is a truly wondrous thing.
I really wish he'd had the time to put verses echo, with tear flow on the album though, i would have replaced one of the instrumentals with it. Given how he said there wasn't a great rush to get it finished due to lockdown i find it a bit puzzling why it's not.
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Please, he prayed, now - A gray disk, the colour of Chiba sky. Now - Disk beginning to rotate, faster, becoming a sphere of paler gray. Expanding - And flowed, flowered for him, fluid neon origami trick, the unfolding of his distanceless home, his country, transparent 3D chessboard extending to infinity. Inner eye opening to the stepped scarlet pyramid of the Eastern Seaboard Fission Authority burning beyond the green cubes of Mitsubishi Bank of America, and high and very far away he saw the spiral arms of military systems, forever beyond his reach. And somewhere he was laughing, in a white-painted loft, distant fingers caressing the deck, tears of release streaking his face. |
#599
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Finally downloaded the bonus tracks and transferred to iPod classic. Had to remind myself how the bloody thing worked. Totally forgot about the scroll wheel and thought it was stuck.
ANYWAY they were definitely worth the bother. I like how different they are. Extra bonus I now have access to all my old manics playlists so I can have a 30 track lifeblood playlist to keep me company today along with even in exile.
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#600
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Listening to all the interviews that JDB has done this week (which have all been great - really enjoyed them) on various occasions both the interviewer and JDB have referred to this as a concept album in a way to distance JDB from the project. But every time I hear JDB talk about Victor Jara's story, I can't help but hear him talking about himself indirectly with the story that he presents of Victor Jara. If you want examples, you might think of the role of the mother in Victor Jara's life, the leftist politics, the power of song in protest, the centrality of the guitar etc. So, I wouldn't count the soundtrack as a solo project. A solo project, at least in this sense, is an exercise in self-reflection indirectly through a conceptualisation of some historical figure. In simpler words, as much as this is an album about Victor Jara, it's also an album about JDB. |
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