Crippled Symmetry (What Would Morton Feldman Do?): Boris, sunn O))) Soundtrack Jim Jarmusch's The Limits of Control

Thursday, March 12

Boris, sunn O))) Soundtrack Jim Jarmusch's The Limits of Control

By Tom Breihan for Pitchfork:

The last time I noticed a celebrated indie filmmaker using a heavy dollop of doom metal to soundtrack a movie, it was Harmony Korine using Sleep and Eyehategod in Gummo. The music is easily the best thing about that sensationalistic trainwreck of a movie, with the cinematography a distant second.

Judging by the trailer, Jim Jarmusch's forthcoming The Limits of Control includes the following things: Ghost Dog's best friend as the lead, the ridiculously beautiful Paz de la Huerta never taking off her Weezer glasses, Tilda Swinton wandering around in a white wig and a cowboy hat, Gael Garcia Bernal with a gigantic scar on his face, Sadly Bemused Bill Murray, cinematography from the great Wong Kar-Wai collaborator Christopher Doyle, and "graphic nudity and some language." Based on all available evidence, it is going to rule. And the music might still be the best thing about it.

As the Playlist points out, in the quick flash of credits at the end of the trailer, we see something encouraging: "Music by Boris." And as sunn O))) mastermind Stephen O'Malley wrote on his website last week and the bands' publicist confirms, the soundtrack includes music from Boris by themselves, sunn O))) & Boris together, and Earth.

Jim Jarmusch has a history of using great music in his movies: eerily ringing minimal Neil Young guitar chords in Dead Man, sparsely chilly RZA beats in Ghost Dog. And he knows that titans of drone-metal go with mysterious outlaw movies like champagne and strawberries. He is a smart man.

The Limits of Control gets a limited release on May 22, and I can't wait.

See the trailer here & here.

Sunn O))) played Soundlab in July 2004. Boris followed its Tralf appearance by blowing out the power at Soundlab in December 2008.

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Who is Morton Feldman? (And Why Should I Care)?

A towering figure in 20th-century New Music, Morton Feldman radically re-imagined the possibilities of musical form through an approach to sound correlated with abstract painting. In 1973, Feldman became the Edgard Varèse Professor of Music at the University at Buffalo, a title he retained until his death in 1987. Feldman's tenure is emblematic of a renaissance period of progressive creative activity that brought Buffalo's cultural affiliations international acclaim.

What Would Morton Feldman Do? situates its speculations on multiple levels, firstly imagining the artist as an angry young man contemplating his social calendar. But WWMFD also addresses a larger crisis of relevance facing experimental culture in the 21st century. WWMFD builds on the city's radical legacy, but views history as a challenge to the present - what are you going to do NOW? WWMFD imagines its avant-classical hero wandering the crumbling streets in search of the new and the now, not through escapist longings for another era's modernisms but in concert with the cause of action necessitated by absence.

In this regard, WWMFD begins where Basta! Or Too Much! (We Will Always Know Ourselves), an avant-pop zine published locally from 1997-2001, left the page for the "stage." Collecting de facto proposals for civic reinvention utilizing the fractured experiments of Buffalo's postmodernist cultural community as blueprints, Basta! concerned itself not with art dialogue per se, but with changing what it means to grow up in a shrinking city. From these proposals (which tended to embrace rather than resist post-industrial existential crises) emerged a series of large scale multi-media events (Murder the Word) and ultimately, the performance program at Big Orbit Gallery. Big Orbit's "Soundlab" series, for which the venue of the same name was founded, was conceived of as a multi-faceted, continuously evolving "workshop" for the exploration of contemporary post-cultural incentives. Coming full circle, WWMFD hopes to re-contextualize Soundlab's explorations, and to include other relevant local sound and performance activities in its critical orbit.

Crippled Symmetry (What Would Morton Feldman Do?)

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Thursday, March 12

Boris, sunn O))) Soundtrack Jim Jarmusch's The Limits of Control

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