Rashomon “The Cameraman´s Revenge” (Cine 09) – out June 10th 2014!
RASHOMON is the solo project of Matt Thompson, bassist and keyboardist of Cineploit artists ZOLTAN and cosmic synth act CREMATOR.
“The Cameraman´s Revenge” is the 4th release under the Rashomon name, and the first on Cineploit. The earlier Rashomon albums were a mix of experimental pieces and music influenced by film composers, and with time the music has developed in a purely cinematic direction.
The music on “The Cameraman´s Revenge” was composed as two long soundtrack pieces to accompany silent movies by Russian filmmaker Ladislaw Starewicz. “The Cameraman´s Revenge” itself is an early Surrealist masterpiece from 1912, in which Starewicz animated the corpses of dead insects to tell a tale of infidelity and revenge. The soundtrack is a carnival-esque tour-de-force of folk-concrete, utilising harmoniums, jawharps, vintage synthesisers, an array of oddball percussion and more.
“The Mascot” (1933) is a bizarre and disturbing film for children, and Rashomon’s soundtrack reflects this darkness with shifting drones, ominously melodic waltzes and minimalist organ fugues over the course of its 25 minute length.
On the DVD that comes with the Vinyl both films are featured, accompanied by Rashomon´s music.
First reviews!
George Pacheco for the Boston Examiner
Rashomon is an eccentric side project of Londo-based musician Matt Thompson – who also provides heart-pounding synth soundscapes under the moniker of fellow Cineploit Records artist Zoltan – a dense and challenging outfit which takes the classic approach of „film music“ and tosses it on ist ear.
„The Cameraman´s Revenge“ is the latest Rashomon effort from Thompson and impresses big time with it´s carefully textured and densely layered approach to cinematic soundscapes. Thompson is diligent and thougthful in his composition, utilizing multiple instruments to create atmospheres which vary from malevolent and suspensful to haunting, beautiful and even occasionally humorous. Mellotron, Fender Rhodes, Jew Harp and MiniMoog meet the comparatively „traditional“ instrumentation of guitars, bass and drums to create mood music which can be tribal and discordant one minute, to subtly beautiful in the blink of an eye.
The success of Rashomon must certainly be laid squarely at the feet of Thompson´s impeccable eye for quality, as well as his obvious love for the classic cinematic music of Italy, Spain, America and of course, his native England. „The Cameraman´s Revenge“ takes it´s influence from Italian giallo and suspense cinema – particularly Ennio Morricone´s dissonant score fort he Enzo Castellari film „Cold Eyes of Fear“ – while also providing detours into psychodelic rock passages which wouldn´t sound out of place on a Popol Vuh soundtrack for a Werner Herzog film starring Klaus Kinksi.
There is also a certain playfulness to Thompson´s compositional style, one which lends itself almost to the cut and paste sound collage style of Norwegian weirdos When and Bogus Blimp. Each track here takes numerous detours during it´s sonic journey, never allowing the listener too much comfort as „The Cameraman´s REvenge“ plies it´s musical trade with a schizophrenic sense of style.
So yes, „The Cameraman´s Revenge“ may prove tob e uneasy listening at times, but the treasures which are revealed through conscious effort and patience from the listener should prove to be boundless when it comes to the sonic danger which is Rashomon.
Marcus Stiglegger/Deadline
Anders erscheint dagegen die nach Kurosawas Filmklassiker benannte Dark Ambient/Experimentalformation RASHOMON. Das erste Album des dahinter steckenden ZOLTAN Musikers heißt „The Cameraman´s Revenge“ und bietet eine Sammlung irritierender und durchaus spannender Klangcollagen mit Ausflügen in den Goblin-artigen Progrock und Morricones filigrane Melodien. Dieses Album erschließt sich am besten über das exklusive Video, das auf einer DVD beiliegt, bewährt sich aber gerade beim mehrmaligen Hören. Futter für das innere Kino. Es bleibt spannend in Wien.