Battleship Potemkin - New Score - DVD
Politiken / Søren Vinterberg
6/6 hjerter, Søren Vinterberg, Politiken.
“…et hyperenergisk og helt fantastisk stykke arbejde, der hårdt og kontant knalder samtidige filmmusikproduktioner i sænk, som var det joller mod hangarskibe... har ganske enkelt formået at trylle lyden af revolution frem i en stum revolutionfilm, med et soundtrack der stilmæssigt nærmer sig The Dust Brothers' ”Fight Club” og Clint Mansells ”Requiem For a Dream”, men som stadig er helt sit egen.”
“…brummende og brølende elektronisk musik, der er decideret moderne i sit udtryk, men som alligevel.... passer forbløffende loyalt til de gamle billeder og flot styrker deres skiftende stemninger.
….højdramatisk og medrivende værk.
“Sjældent har både billede for sig, lyd for sig og billede og lyd sammen i dén grad både strittet i forskellige retninger, men også samlet sig i et fælles udtryk…En sjælden synæstetisk totaloplevelse…lige fra første guitarriff til sidste hule trommeslag, en uforlignelig oplevelse. På én gang et angreb på og en leflen for sanserne....
Se den! Og gerne flere gange. Kollisionen er aldrig helt den samme.”
….sanselig totaloplevelse. Pansers energiske lydbillede, som i øvrigt er anbefalelsesværdigt i sig selv, er nøje tilpasset Eisensteins dramaturgi og sammensmelter derfor som en naturlig del af den 65 minutter lange stumfilm. "
Eng Agger ( Camberwell College of Art London):
“The soundtrack composed in 2007 was powerful and noisy but also poetic and silent. The music, the editing, and compositions were overwhelming, present and relevant.”
Broken Air (LP/Dig) (Insula/Flinc Music)
“…this music is so good… So good that when I listened to it on a pair of borrowed headphones I really seem to lose the plot… I mean, I lost my way of reality, being completely sucked into the music that grew from reasonably music-wise, into an abstract soundscape that somehow came out of nowhere, but did this coming-out-of-nowhere so well… It really made me feel like the music had played a trick on my mind, making it first at ease thinking it is just someone playing the organ and some additional electronics at home, thinking nothing of it & than suddenly throwing me off guard by opening all these outer space zones that you would never expected to hear when you see the picture that this music had been promoted under.
Holy smokes, the LP took my mind on a spectacular ride, somewhere over spacious auto-bahns, manic slides of wonderful manic depths, frantic fingers and elbows on keys making more the sounds of spaceship movements that go through spiral tunnels of an unknown kind than someone playing a jolly good old human organ hit! ....! It’s intense, super psychedelic and oh so good!.... Seriously; what a trip!”
Kai Nobuko (Yeah I know it sucks)
Avant Music News - Vital Weekly
The broken air mentioned in the title is (maybe) the air used in the church organ of Søborg Kirke in Denmark, where Rønn recorded a concert that is the basis of the three pieces on this LP. This is Rønn’s second LP, following ‘Time Charged Maneuvres’ (see Vital Weekly 1010), which I thought was somewhere ‘within some middle ground of dark ambient, electronic pop, psychedelic music, a bit of drone and is made with delicate touch of improvisation’, which is not what I think about this new one.
Here we have the church organ, along with a ‘MFB semi modular synth’, granular sampler, effect devices, guitar amp and contact microphone and objects. Less pieces here, which may mean more emphasis on the development of a piece and perhaps making this more complex? The whole work seems to me at least bit noisier than before, especially the side long ‘Diffusion 2’, which reminded me very much of the original musique concrete composers, with church organ sounds and many deviations
there. Quite a tour de force this side, with a fresh amount of energy going towards the listener.
The two pieces on the other side are less forceful and not as noisy, but in a similar musique concrete mood. Partly played live, it seems, which adds an element of random organ stabs to the music, but that also adds to the vibrancy of the music. The mood is overall a bit dark, but the sound also has something quite overwhelming. As a whole I thought this album was much coherent and more conceptual and it worked very well. (FdW)
Dennis Tyfus - Ultra Eczema
"...A gorgious church pipe organ dragged through some electronic machinery! sits well next to Aine O' Dwyer's 'Music For Church Cleaner's' lp from a few years ago)"