Pour Le Plaisir’s The Movie is a track that cannot be summarised in words without falling into cliché. We needed to go beyond that.
Upon listening it, we decided that the eeriness of its melody and the relentless progression of its synth-line demanded a narrative treatment. We therefore commissioned, through the friend of a friend, an elevator pitch for the movie that The Movie would soundtrack. The friend of our friend sent us an elevator pitch. It was good. We would probably watch the movie encoded within in a night of insomnia.
However, we realised that that the emotional complexity of the situations faced by the protagonists of this story – that mix of horror and fascination with which they advance towards a beacon which is the reflection of light in the killer’s blade – were too subtle and multi-layered to be summarised with a simple plot summary.
The friend of our friend suggested a visual treatment, and put us in touch with a film-maker friend who would shoot some footage capturing this elusive je-ne-sais-quoi at the hear of The Movie. This is what he sent us:
Down a derelict industrial state, an abandoned warehouse, sucked dry by invisible forces. A formless silhouette in a window, or perhaps a pastiche of shadows anamorphically coming together as we enter a diorama of decay. Think of the evocative videos that provide the McGuffin for Gibson’s Pattern Recognition, imagine, if you can the industrial belt around Stalker’s Zone after the Zone has expanded to engulf it.
We listen to The Movie and these are the things that happen inside our head. There was no friend of a friend, there was no elevator pitch or visual treatment, just the unseen force inside The Movies devising a conduit to invade our dreams like it has invaded our days.
Pour Le Plaisir’s The Movie is included in the wonderful Tin Machine EP which is available in vinyl format from X-Ray Records, the vinyl-releasing branch of Blue Tapes. Full and Proud disclosure: Blue Tapes is part of the 20JFG fief and you should treat it with the fear and respect it deserves. Go and acquire the thing right now.
John Carpenter is obviously the granddaddy of this type of music, and one of the holy patrons at the 20JFG church. You must be all aware that this year he released his solo debut album – Lost Themes – in Sacred Bones records.
This is the first time that he wasn’t constrained, in his music-making, by images. He was also collaborating with his son, who has a penchant for prog, and his grandson. Perhaps as a consequence, the music soars higher, more colourful and luminous than his trademark minimal work, dragon-esque and closer to the hyper-chromatic hallucinations of Goblin.
Several of its songs should soundtrack the amazing fantasy films that Carpenter has yet to make (imagine his adaptation of Leiber’s Swords of Lankhmar or something like that), or that he already made in an alternative world which is more awesome than ours (take that Leibniz).
Anyway, here you have one of those….Wraith.
We couldn’t conclude this post in a more suitable way than with the video for Cindy Savalas by Palmbomen II. In it we find a melange of X-Files/Twin Peaks/Altered States/ and dream-like fragments of Michael Mann’s Manhunter: a looping of primeval pulses, subconscious urges and cosmic noises that mirrors the electronic organicism of Palmbomen II’s music, house music sang by amoebas, acid spilling from the rifts in planet-shaping volcanos, the romantic melancholy with which we stare at the blue blue ocean whence all life spilled out, not that long ago.
We will have a special feature on the album at some point soon. Go and get the album from RVNG.