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| 0 | LONDON: Cafe Oto |
|---|---|
| P | Monday 21st March, 2011 |
| N | 8:00pm |
We Don't Care About Music Anyway...
info: http://cafeoto.co.uk/we-dont-care-about-music-anyway.shtm
Day 1: Film Screening & director Q&A
From radical turntablism (Otomo Yoshihide) to laptop music innovation (Numb), via classical instrument hijacking (Sakamoto Hiromichi), Tokyo's avant-garde music scene is internationally known for its boldness.
While introducing some of the greatest musicians of this scene, "We Don't Care About Music Anyway..." offers a kaleidoscopic view of Tokyo, confronting music and noise, sound and image, reality and representation, documentary and fiction.
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We Don’t Care About Music Anyway… is a documentary film associating and
confronting the work of 8 musicians from Tokyo’s new music scene with the
Japanese society.
Through the prism of music, We Don’t Care… gives a dual view of Tokyo’s
present reality: the bright show-window of the consumption society versus the disturbing reality it is in fact hiding.
The crank dream of consumption against the islands made of the very
real rubbish it is giving birth to, the hope for wealth and prosperity versus the sad disillusion of the places and people that cannot be of no utility to society anymore, the unlimited access to all kinds of goods and information facing the overload and frenetic rhythm imposed to its inhabitants…
Its heads and its tails.
More than a film about music, We Don’t Care… is first of all a film about sound and its perception: primitive sounds, instinct-based, below or before any musical code, are constantly sought by our protagonists.
It is also a film about the sounds of the city, formatted, sterilized, but omnipresent in Tokyo inhabitants’ everyday life. The improvisation of the main cast musicians somehow matches the overdone codification of both sonic
and visual urban universes.
The music borrowed from the 8 main characters are part of a greater musical
mix incorporating the ambient sounds recorded in the city (dump grounds,
interchanges, public announcements, urban cacophony), scrambling the
admitted borders between noise and music on purpose.
These sounds, which are Tokyo’s inhabitants environment on a daily
basis even when not paid any attention to, reach a new level through the
music lens.
It is only through it that the beauty of a feedback noise, the crunch overdrive of a loudspeaker, of a police siren, of a garbage crusher is revealed. The musical gesture magnifies the daily gesture, as the musical sounds do for the city noise, providing its sonorous and visual relevance to the complex city embodying these two far-ends in its own womb.
recycle…
The devilish cycle of consummation, dead-ended, striving only for itself.
Listen, sample, destroy, recompose…
Like in an inverted symmetry, the destructive cycle of overwhelming
growth is emulated to reach a new level, serving artistic creation.
Sharing, through their musical works, the extreme saturation of the overabundance culture that is peculiar to the 20th century, the musicians lead this logical process to its climax, therefore towards its end,
unavoidably.
“We don’t care about music anyway…”
In a manner of speech: “We make music, period”.
Far beyond music, and performance, the future and conditions of existence
of a city and society as a whole, are at stake.
