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ªª ªªªªªª LOVE AND RESPECT YOUR FRIENDS AND LET YOUR ENEMIES DIE !!!
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª▓X▓ P R E S E N T S ▓X▓ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªªªªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªªªªªªª
ªª▓D2H▓ªª▓ Edward Artemiev - Solaris, The Mirror, Stalker ▓ªª▓D2H▓ªª
ªªªªªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªª▓ ▓ªª
ªª▓ Ripper : D2H Army Genre : Ambient ▓ªª
ªª▓ Supplier : D2H Army Release Date : 20-10-2008 ▓ªª
ªª▓ Source : CDDA Year : 1999 ▓ªª
ªª▓ Type : Soundtrack Tracks : 13 ▓ªª
ªª▓ Encoder : Lame 3.97 Quality : VBRkbps/44,1kHz/Joint-Stereo ▓ªª
ªª▓ Label : Electroshock Records Catalog # : ELCD 012 ▓ªª
ªª▓ Url : http://www.electroshock.ru/ ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªªªªª▓X▓ T R A C K L I S T ▓X▓ªªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªª▓ ▓ªª
ªª▓ Track Title Track Time ▓ªª
ªª▓ ▓ªª
ªª▓ 01 Stalker-Theme (04:25) ▓ªª
ªª▓ 02 Stalker-Train (04:44) ▓ªª
ªª▓ 03 Solaris-Ill (04:40) ▓ªª
ªª▓ 04 Solaris-Station (03:27) ▓ªª
ªª▓ 05 Solaris-Listen To Bach (The Earth) (03:11) ▓ªª
ªª▓ 06 Mirror-Exodus (07:04) ▓ªª
ªª▓ 07 Stalker-They Go Long (04:42) ▓ªª
ªª▓ 08 Solaris-Dream (07:06) ▓ªª
ªª▓ 09 Stalker-Meditation (05:26) ▓ªª
ªª▓ 10 Solaris-Ocean (11:41) ▓ªª
ªª▓ 11 Solaris-Picture P. Brueghel "Winter" (05:40) ▓ªª
ªª▓ 12 Solaris-Return (04:51) ▓ªª
ªª▓ 13 Dedication To Andrei Tarkovsky (09:23) ▓ªª
ªª▓ ------------- ▓ªª
ªª▓ TOTALS : 103,6 MB / 76:20 min ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªª▓X▓ R E L E A S E I N F O ▓X▓ªªªªªªªªªªªªªªªªª
ªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
ªª▓ ▓ªª
ªª▓ The Russian soundtrack composer Edward Artemievs work is seldom easy to find. In fact, it ▓ªª
ªª▓ can be downright impossible. Thats why the release of this soundtrack compilation on ▓ªª
ªª▓ Edwards son Artemiys own "Electroshock Records" label is such a pleasant surprise. ▓ªª
ªª▓ Included on this CD are selections from the films "The Mirror" (one cut), the classic ▓ªª
ªª▓ "Stalker" (four songs and yes, this film is the same one that inspired the Rich/Lustmord ▓ªª
ªª▓ recording) and the SF masterpiece, "Solaris" (six selections). In addition, there is a final ▓ªª
ªª▓ song which is dedicated to the Soviet filmmaker Andrei Tarkovskiy. The music itself is ▓ªª
ªª▓ moody, dark, beautiful, foreboding, and even menacing at times. Its primarily electronic in ▓ªª
ªª▓ nature, sometimes overtly so, but the emotional mood of the recording swings widely, such as ▓ªª
ªª▓ on the first two cuts, both from "Stalker" - the opening neo-classical harpsichordish ▓ªª
ªª▓ "Theme" to the ambient "Train" featuring minor key synth washes underneath a heavily ▓ªª
ªª▓ dostorted recording of train wheels on the tracks. Other songs may remind you of Berlin- ▓ªª
ªª▓ school EM because of the use of sequenced beats, but the CD is more atmospheric than most ▓ªª
ªª▓ German electronic music, which it should be since it is soundtrack music and ought to have a ▓ªª
ªª▓ strong visual component. "Station" from "Solaris" is appropriately spacy with weird synth ▓ªª
ªª▓ effects that then morphs into a rapid-fire sequenced TD-like number. The one number from ▓ªª
ªª▓ "The Mirror", "Exodus", is a spooky piece of ambient noir, with dark-as-night synths that ▓ªª
ªª▓ build to a crescendo which can only be described as either terror or horror-inducing. This ▓ªª
ªª▓ song is followed, rather dramatically, with another quasi-Berlin piece, "They Go Long" from ▓ªª
ªª▓ "Stalker". Arpeggio synths race to and from as an underlying mournful synth lends an air of ▓ªª
ªª▓ despair to the song. "Dream" from "Solaris" has swirling, droning ambient synths that are ▓ªª
ªª▓ spooky to say the least. When the synth chorus (or is it real?) comes into the song, I dare ▓ªª
ªª▓ you not to think of the Ligeti pieces from 2001! "Meditation" from "Stalker" uses a wooden ▓ªª
ªª▓ flute to create an atmosphere of mystery and spirituality, while the background synths keep ▓ªª
ªª▓ the song anchored in the realm of darkness. Over the course of the eleven-minute opus ▓ªª
ªª▓ "Ocean" from "Solaris" you might hear hints of everything from the darkest Robert Rich to ▓ªª
ªª▓ the more experimental ambient artists on the "Hypnos" label to some of the artists on Groove ▓ªª
ªª▓ Unltd. e.g. Ron Boots or Hemisphere. Ultimately, though, Edwards music is not the least bit ▓ªª
ªª▓ derivative. I only offer the comparisons above to paint you a sonic picture. Edward Artemiev ▓ªª
ªª▓ is a true original and a powerful creative force and this recording illsutrates this easily. ▓ªª
ªª▓ Frankly, I cant believe lovers of dark ambient or moody atmospheric electronic music ▓ªª
ªª▓ passing on this. For one thing, the music is excellent, if not downright indispensable. For ▓ªª
ªª▓ another, just the fact that this music has been released at all should make you grab your ▓ªª
ªª▓ checkbooks. Hats off to Artemiy for getting this CD made. Its a veritable treasure-house of ▓ªª
ªª▓ highly visual electronic music. It represents a look into the dark corners not just of the ▓ªª
ªª▓ physical world, but the world inside our minds as well. If any CD deserved to be called a ▓ªª
ªª▓ masterpiece, this is surely one. ▓ªª
ªª▓ ▓ªª
ªª▓ Bill Bimkelman ("Wind & Wire") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ Edward Artemiev is a legendary name in the world of experimental electroacoustics. One of ▓ªª
ªª▓ its true pioneers, he was academically schooled in Moscow and then introduced to ▓ªª
ªª▓ synthesizers in the form of prototypes constructed by mathematician and engineer Yevgeniy ▓ªª
ªª▓ Murzin in 1960. Artemiev quickly mastered the medium and became one of the most original ▓ªª
ªª▓ soundscape composers around - as he still is today. In the West, his name will always be ▓ªª
ªª▓ associated with his trailblazing soundtrack work for three of the Russian director Andrei ▓ªª
ªª▓ Tarkovskys films: "Solaris" (1972), "The Mirror" (1975) and "Stalker" (1979). "Electroshock ▓ªª
ªª▓ Records" in Moscow (run by his son, electronic composer Artemiy) have now released a 76- ▓ªª
ªª▓ minute compilation of the finest moments from these three soundtracks. Austerely packaged in ▓ªª
ªª▓ a form befitting the visual world of Tarkovsky, this CD is the ultimate collection of these ▓ªª
ªª▓ suggestive works, which seem not to have aged at all over the years. Tracks from the trilogy ▓ªª
ªª▓ are interwoven to fine effect, creating a suite of unsurpassed imaginative force. These ▓ªª
ªª▓ scores may just be the finest example of film soundtracking ever committed to disc, and the ▓ªª
ªª▓ compilation is a fitting tribute to them, creating something new by combining the tracks ▓ªª
ªª▓ instead of slavishly releasing them in their entirety on separate discs. Finally, the record ▓ªª
ªª▓ closes with Dedication to Andrei Tarkovskiy, composed by Artemiev in 1989 in honor of his ▓ªª
ªª▓ friend and collaborator, who died in Paris in 1986, aged 54. ▓ªª
ªª▓ ▓ªª
ªª▓ Steven Fruitman ("AmbiEntrance") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ Although Russian composer Edward Artemiev has provided scores for such directors as Andrey ▓ªª
ªª▓ Konchalovsky and Nikita Mikhalkov, he is probably most feted for his work with Andrey ▓ªª
ªª▓ Tarkovsky. Tarkovsky, like Herzog, Bresson and Godard, was at pains to avoid the usual ▓ªª
ªª▓ programmatic emotional manipulation of Hollywood soundtracking while being aware of the ▓ªª
ªª▓ importance and possibilities of film sound, and judging from his comments in his book ▓ªª
ªª▓ "Sculpting in Time" was ambivalent about using music at all, preferring to concentrate on ▓ªª
ªª▓ atmospherics and texture. Indeed though Ive seen both "Stalker" and "Solaris" a number of ▓ªª
ªª▓ times, I didnt really register the presence of much music at all, and upon playing the CD ▓ªª
ªª▓ was convinced that these couldnt be the original soundtracks. And theyre not, though you ▓ªª
ªª▓ wouldnt guess it from the sleeve. Artemiev recorded this CD in the late 80s some 14 years ▓ªª
ªª▓ after "Stalker" was made, and presumably has taken themes and ideas used at the time and ▓ªª
ªª▓ expanded on them. Certainly the original music would have been constructed from much cruder ▓ªª
ªª▓ materials than the often glossy digital textures on the CD, but there is still some stunning ▓ªª
ªª▓ music here. "The Mirror" sequence, "Exodus" mixes Penderecki like strings with huge swathes ▓ªª
ªª▓ of glassy digital synths, tympani, and piano abuse. It is a hugely powerful and emotionally ▓ªª
ªª▓ charged noise. Artemiev was a pioneer of electro-acoustic music in 60s Russia and his ear ▓ªª
ªª▓ for texture hasnt diminished with his move to more sophisticated sound generators, unlike ▓ªª
ªª▓ many of his contemporaries "Exodus" has a rarely heard physical presence that seems to ▓ªª
ªª▓ propel the music out of the speakers and into every corner of the room, even at low volume. ▓ªª
ªª▓ Most of the pieces are successful at capturing the moods of the films they spring from, but ▓ªª
ªª▓ importantly work equally well as pieces in their own right, which I guess was the intention. ▓ªª
ªª▓ "Stalker - Train" uses (unsurprisingly) a lolloping, treated recording of a train as its ▓ªª
ªª▓ backbone, spinning off dubby pitchshifted ghosted echoes against a distant string ▓ªª
ªª▓ synthesiser elegy. "Solaris - Dream" is a slomo frozen ambient drone, slowly opening out ▓ªª
ªª▓ into a pretty scary melange of male choirs (again reminiscent of Penderecki/Ligeti and the ▓ªª
ªª▓ music Kubrick used for "2001" - pretty fitting as "Solaris" was hailed as the Russian ▓ªª
ªª▓ equivalent of Kubricks film) and muffled shouts. "Solaris - Ocean" is an ambient wash ▓ªª
ªª▓ streaked with clouds of synthetic strings. Some of the more obviously 80s synth sounds I ▓ªª
ªª▓ had trouble with (theres only so many times you can hear the DX7 panflute preset) but ▓ªª
ªª▓ Artemievs harmonic sense (as on the lovely "Stalker - Theme", and the crystalline ambience ▓ªª
ªª▓ of "Solaris - Earth") wins out, and on the ridiculously lush "Solaris - Listen to Bach" he ▓ªª
ªª▓ achieves the kind of sonic Radox bath effect Tomita managed on his electronic ▓ªª
ªª▓ reinterpretation of Ravels "Pavane for a Dead Princess", treading the thin line between ▓ªª
ªª▓ beauty and kitsch. Some pieces maybe verge on the pompous and stray into late "Tangerine ▓ªª
ªª▓ Dream" territory, which would seem at odds with the restraint and austere beauty of the ▓ªª
ªª▓ original films, but those moments are easily ignored. Itd be nice to hear the originals too ▓ªª
ªª▓ ... ▓ªª
ªª▓ ▓ªª
ªª▓ Peter Marsh ("Motion"). ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ Andrei Tarkovskiy (or Tarkovsky, depending on the transliteration) was one of the most ▓ªª
ªª▓ influential Russian directors of the Cold War era. Among other films, he directed two ▓ªª
ªª▓ renowned science fiction pictures: "Solaris" (1972) and "Stalker" (1979). This import CD ▓ªª
ªª▓ showcases cues from both of these movies, along with a lone cut from a Tarkovskiy drama ▓ªª
ªª▓ titled "The Mirror" (1974) and an extended memorial piece devoted to the famed filmmaker, ▓ªª
ªª▓ who passed away in 1986. The scores for all three productions were written by Edward ▓ªª
ªª▓ Artemiev (sometimes transliterated as Artemyev), who, during the 1970s, was one of the ▓ªª
ªª▓ Soviet Unions leading electronic musicians. Each of the seven selections from "Solaris", ▓ªª
ªª▓ including "Ill", "Listen to Bach (The Earth)", "Dream" and "Picture P. Brueghel Winter", ▓ªª
ªª▓ are epic and ethereal, often evoking a classical grandeur similar to the music featured in ▓ªª
ªª▓ Stanley Kubricks "2001: A Space Odyssey". This is not inappropriate, as some critics have ▓ªª
ªª▓ hailed "Solaris" as the "Russian answer to 2001". The four compositions from "Stalker" ▓ªª
ªª▓ combine many ethnic elements and reveal a natural elegance fitting for such a pensive film. ▓ªª
ªª▓ The movies "Theme" spotlights a subdued choral component, and "Train" incorporates ▓ªª
ªª▓ artificial noises that mimic a preternatural locomotive. The tune from "The Mirror", ▓ªª
ªª▓ entitled "Exodus", offers an unusual electronic sound, while "Dedication to Andrei ▓ªª
ªª▓ Tarkovskiy" subtly blends a variety of eerie effects into an engaging nine-minute opus. The ▓ªª
ªª▓ liner notes are printed in both Russian and English, and include brief biographies of both ▓ªª
ªª▓ Artemiev and Tarkovskiy. Manufactured in Sweden, the album is available through various ▓ªª
ªª▓ soundtrack and electronic music specialty dealers in the United States and Europe. Although ▓ªª
ªª▓ rarely screened outside Eastern Europe, numerous thought-provoking science fiction films ▓ªª
ªª▓ have been produced in the Soviet Union. These pictures regularly feature political messages, ▓ªª
ªª▓ which at times overshadow the visual and musical components. This superb CD isolates the ▓ªª
ªª▓ tuneful elements from two important SF productions. For the "Solaris" cues, Artemiev fuses ▓ªª
ªª▓ classical themes with electronic effects, generating an unearthly score. "Station" mingles ▓ªª
ªª▓ reverberant tones with skittering noises, coalescing into an energetic theme that augments ▓ªª
ªª▓ the fear and fascination invoked by the movies haunted space station. The somewhat more ▓ªª
ªª▓ organic, although no less hypnotic, mix of sounds in "Ocean" - soft, glistening notes and ▓ªª
ªª▓ dark artificial echoes--evoke the beauty and danger of the living planet Solaris. The ▓ªª
ªª▓ selections from "Stalker" are more diverse, hinting at the folktale-like nature of the ▓ªª
ªª▓ story. Tender artificial bells resonate throughout "They Go Long", supplementing a series of ▓ªª
ªª▓ undulating, enigmatic tones and making an appropriate accompaniment to a journey through the ▓ªª
ªª▓ films otherworldly "Zone". Meanwhile, a mock-tribal flute moans seductively above a somber ▓ªª
ªª▓ synthesized background on "Meditation", generating a lonely, contemplative atmosphere. The ▓ªª
ªª▓ occasional juxtaposition of discordant elements skillfully echoes the overall "faith vs. ▓ªª
ªª▓ skepticism" theme of this allegorical SF work. Even "Exodus" is enthralling, mixing ▓ªª
ªª▓ traditional film score motifs and classic "space rock" excitement in an avant-garde ▓ªª
ªª▓ arrangement. In short, "Solaris", "The Mirror", "Stalker" is an outstanding sampler of ▓ªª
ªª▓ Artemievs exceptional cinematic creations. While his melodies arent often heard in the ▓ªª
ªª▓ West, folks who enjoy Artemievs music should look for his superb soundtrack to "The ▓ªª
ªª▓ Odyssey", a popular 1997 television miniseries. ▓ªª
ªª▓ ▓ªª
ªª▓ Jeff Bekwitz ("Science Fiction") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ This album is a compilation of music drawn from three Russian movies directed by Andrei ▓ªª
ªª▓ Tarkovskiy - not having seen any of them I know of "Solaris" only by repute. The music here, ▓ªª
ªª▓ composed and performed by Edward Artemiev, is mostly electronic and extremely evocative. ▓ªª
ªª▓ "The Stalker Theme", which opens the CD, is very wistful and gentle and leads into "Train", ▓ªª
ªª▓ which carries on some of the same themes mixed with the sounds of a train passing: the ▓ªª
ªª▓ rhythm of the wheels clattering over the tracks brings on strong feelings of mystery and ▓ªª
ªª▓ sadness. Being science fiction, the music for Solaris is very different to that written for ▓ªª
ªª▓ "Stalker", much more ambient, and dare one say, spacey. The single track drawn from "The ▓ªª
ªª▓ Mirror" score is rather more industrial and jagged sounding, and probably the track I liked ▓ªª
ªª▓ least. The final track, "Dedication to Andrei Tarkovskiy", is a very impressionistic sound ▓ªª
ªª▓ portrait/tribute to the film director himself. Rather than sequence the music from each ▓ªª
ªª▓ movie in turn, the producers have mixed them together, creating a new series of moods not ▓ªª
ªª▓ dependent on having seen the movies themselves. In turn this has created a fascinating and ▓ªª
ªª▓ very listenable new album of music that highlights just how good a composer and musician ▓ªª
ªª▓ Edward Artemiev is. ▓ªª
ªª▓ ▓ªª
ªª▓ John Peters ("The Borderland") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ The re-release of this classic of electronic music is a true event. Russian composer Edward ▓ªª
ªª▓ Artemiev, a pioneer among pioneers and a giant of the musical avantgarde far longer than the ▓ªª
ªª▓ creativity of many composers tends to last, composed three memorable soundtracks for equally ▓ªª
ªª▓ legendary movies: "Solaris" (1972), "The Mirror" (1975) and "Stalker" (1979). In them he set ▓ªª
ªª▓ all his imagination to weave sound universes as disquieting as the plots of these films. ▓ªª
ªª▓ Science-fiction in the most remote, most mysterious, most dreadful and at the same time most ▓ªª
ªª▓ attractive of its shores, resides in all its splendor within this collection of tracks, ▓ªª
ªª▓ complemented with a theme composed by Edward Artemiev in 1989 as a homage to movie-maker ▓ªª
ªª▓ Andrei Tarkovsky, deceased in 1986, for whom he wrote the movie soundtracks gathered in this ▓ªª
ªª▓ CD. ▓ªª
ªª▓ ▓ªª
ªª▓ Jorge Munnshe ("The Amazing Sounds") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ This album contains the most openly melodic selctions of the series with soundtrack music to ▓ªª
ªª▓ three films by Russian filmaker Andrei Arsenevich Tarkovskiy which Edward scored. The ▓ªª
ªª▓ opening "Theme" to "Stalker" is particularly tuneful with a wistful pipe refrain built upon ▓ªª
ªª▓ a synth harpsicord backing. Elsewhere in the album, things do get darker and more abstract, ▓ªª
ªª▓ particularly in pieces like "Dream" from "Solaris" where a possible inspirational link can ▓ªª
ªª▓ be seen to Artemiys work. This track has some superb vocal samples in it that, along with ▓ªª
ªª▓ deft volume swells, create tremendous tension. ▓ªª
ªª▓ ▓ªª
ªª▓ Richard Wileman ("AM" Magazine) ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ Edward Artemiev is a composer, synthesis! and avant-garde musician. He began experimenting ▓ªª
ªª▓ with music synthesizers in 1960. This is a collection of film scores he has re-recorded for ▓ªª
ªª▓ this album. I would think the most famous of his scores would be for Andrei Tarkovsky film ▓ªª
ªª▓ "Solaris". Tarkovsky also directed the other two films represented here. I would assume ▓ªª
ªª▓ these recordings utilize equipment unavailable at the time and sound vastly better (I saw ▓ªª
ªª▓ "Solaris" roughly 15 years ago, but cannot imagine the music sounding this good.) Scoring ▓ªª
ªª▓ for a film is not like writing music, the score is linked to the film, remove the score and ▓ªª
ªª▓ it is incomplete. Artemiev must have has this in mind as he created this album, choosing the ▓ªª
ªª▓ more musical pieces over the pure atmospheric. One thing I recall about "Solaris" is it is ▓ªª
ªª▓ all atmospheres and what little enjoyment I got from the film was the creepy music. ▓ªª
ªª▓ Considering when much of this music was written it is very modem; it reminds me of early ▓ªª
ªª▓ Steve Roach or Michael Steams, where the music drifts and swells. His sound could also be ▓ªª
ªª▓ compared to Vangelis. Only Artemievs music is more dark (look at the film titles). The song ▓ªª
ªª▓ "Exodus" from "The Mirror" is very similar to "Requiem for Soprano, Mezzo-Soprano, Two Mixed ▓ªª
ªª▓ Choirs and Orchestra" (cmon folks, that creepy music from "2001"). "Solaris, The Mirror, ▓ªª
ªª▓ Stalker" - Music from Motion Pictures is a gem I never would have discovered. Now you know ▓ªª
ªª▓ as well. ▓ªª
ªª▓ ▓ªª
ªª▓ Dane Garlson ("Expose") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ Edward Artemiev, father of Artemiy, is featured on the 12-th release from "Electroshock" ▓ªª
ªª▓ ("Solaris. The Mirror. Stalker" ELCD 012). Its a compilation, of sorts, of music taken from ▓ªª
ªª▓ three films Edward wrote the music for. "Solaris", "The Mirror" and "The Stalker". The first ▓ªª
ªª▓ film "Solaris", if Im not mistaken, is one of Brian Aldiss all time favorite SF films. ▓ªª
ªª▓ Its a very deep and subtle film that is best seen several times, as the first couple are ▓ªª
ªª▓ spent reading the subtitles! The music reflects the moods, hopes, and fears of the people ▓ªª
ªª▓ and situations incredibly well. What the album does, though, is split the films and the ▓ªª
ªª▓ music up, so, for example, the first two tracks are from "The Stalker", then we get two from ▓ªª
ªª▓ "Solaris", then one form "The Mirror", back to "The Stalker", then... You get the idea. In ▓ªª
ªª▓ many ways this actually gives the album a whole new identity from the films, and rather than ▓ªª
ªª▓ be just an audio document of film music, this mixing up of the tracks gives the album a new ▓ªª
ªª▓ perspective. "The Stalkers" music is very brooding, and whilst I (dont think) have seen ▓ªª
ªª▓ "The Mirror", or "The Stalker", the music is incredibly well structured and is some of the ▓ªª
ªª▓ best stand alone music Ive heard in ages. ▓ªª
ªª▓ ▓ªª
ªª▓ Dave W. Hughes ("Modern Dance") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ Edward Artemiev is a pioneer of the Russian electronic music, since hes been the first ▓ªª
ªª▓ musician to have used the ANS. the first synthesiser designed by Eugeny Murzin, in 1960. ▓ªª
ªª▓ During his long career, Edward has - among other things - composed soundtracks for many ▓ªª
ªª▓ directors, and among them, one of the masters of cinema, Andrej Tarkovskiy. This record ▓ªª
ªª▓ contains themes and music from Tarkovskiys most important films: Solaris, The Mirror and ▓ªª
ªª▓ Stalker, plus a final track, composed in honour of directors death, 20 years ago. ▓ªª
ªª▓ Artemievs music closely reflects the dream and hallucination scenes of the movies, full of ▓ªª
ªª▓ floating but tight textures and ethereal lines, surely Influenced by the lesson of twentieth ▓ªª
ªª▓ century classical avant-garde music, but with a particular melodic taste, played mostly by ▓ªª
ªª▓ synths, but with some acoustic interventions too, as the sitar and the flute in "Stalker - ▓ªª
ªª▓ Meditation". Fortunately, these tracks have their own life even without the support of the ▓ªª
ªª▓ images, and are themselves enjoyable and wonderful soundscapes to let the mind wander ▓ªª
ªª▓ wherever it wants. A good excerpt of contemporary music, and a great invitation to ▓ªª
ªª▓ rediscover some of the greatest artistic achievements of these years. ▓ªª
ªª▓ ▓ªª
ªª▓ Fa ("D.L.K. The Hell Key") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ Edward Artemiev is considered by many to be the pioneer of Russian electronic music. This CD ▓ªª
ªª▓ features music from the films Solaris, The Mirror, and Stalker. "Exodus", the only track ▓ªª
ªª▓ from The Mirror, consists of atmospheric electronics and ethereal choirs. A compelling mix ▓ªª
ªª▓ of suspense and beauty. Of the 4 tracks from Stalker, "Theme" is light, airy, synthy ▓ªª
ªª▓ ambience and ethereal choirs. "Train" didnt work for me as the serene ambience is overlaid ▓ªª
ªª▓ with experimental sounds which I felt distracted from the beauty. "They Go Long" is floaty ▓ªª
ªª▓ synth ambience, aided by an inspired Tangerine Dream 80s rhythm, and pan pipe sounds. ▓ªª
ªª▓ "Meditation" is gorgeous, mellow, relaxing electronics. The tracks from the 1972 sci-fi film ▓ªª
ªª▓ Solaris are mainly majestic, spatial ambient pieces of music, all of which are exceptionally ▓ªª
ªª▓ excellent. "Return" with the additional ethereal choirs is sheer beauty. The floating ▓ªª
ªª▓ ambience of "Winter" is breathtaking. "Dream" is awe-inspiring, unearthly sci-fi cinematics ▓ªª
ªª▓ with menacing passages in places. This particular track reminds me of the moodier works of ▓ªª
ªª▓ Klaus Schulze. The track composed by Bach has been electronically arranged by Edward. This ▓ªª
ªª▓ consists of tranquil, spatial ambience and ethereal choirs. The beauty is quite ▓ªª
ªª▓ breathtaking. The final track is dedicated to the filmmaker, A. Tarkovsky. Another piece of ▓ªª
ªª▓ breathtaking ambient electronics. Without any doubt, what we have here is dignified ▓ªª
ªª▓ soundtrack music of the highest order. Very much recommended. ▓ªª
ªª▓ ▓ªª
ªª▓ Robert Maycock ("Lockjaw") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ Edward Artemiev is best known for his electronic music scores to three of Andrei Tarkovskys ▓ªª
ªª▓ most striking films: "Solaris" (1972), "The Mirror" (1974), and "Stalker" (1979). Then it ▓ªª
ªª▓ comes as no surprise that the music has been packaged and repackaged in various ways, ▓ªª
ªª▓ official (including their first appearance in the mid-80s on the Soviet record label ▓ªª
ªª▓ "Melodia") or not. This collection remains the most extensive and best presented. First ▓ªª
ªª▓ released by "Torso Kino" in 1990, it has been reissued on "Electroshock Records" (label of ▓ªª
ªª▓ the composers son) in 1999. The particularity of this album resides in its track list. ▓ªª
ªª▓ Choosing against logic, it alternates pieces (or "scenes") from "Stalker" and "Solaris" - ▓ªª
ªª▓ there is only one track from "Mirror". Artemiev likes to use one main theme for each film ▓ªª
ªª▓ and develop variations around it. The fact that the "Stalker" tracks are separated from each ▓ªª
ªª▓ other allows the listener a chance to forget the theme and not grow tired of it. The ▓ªª
ªª▓ alternation also creates an interesting tension between the melodic material of "Stalker" ▓ªª
ªª▓ and the much more spatial, ethereal soundscapes of "Solaris". The composers music at the ▓ªª
ªª▓ time was still strongly based on the one-of-a-kind ANS synthesizer (a photo-sensitive ▓ªª
ªª▓ machine). It shimmers gracefully and remains a minor classic in film music and curriculum ▓ªª
ªª▓ listening for science-fiction fans. The set concludes with "Dedication to Andrei ▓ªª
ªª▓ Tarkovskiy", a piece recorded in 1989. Although more recent, it sticks close to the ▓ªª
ªª▓ atmosphere of this album, adding an elegiac touch. Highly recommended. ▓ªª
ªª▓ ▓ªª
ªª▓ Francois Couture ("All-Music Guide") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ An amazing story! Once I put in Edwards CD to my CD player, turned up a volume, pushed a ▓ªª
ªª▓ start bottom...and my thoughts flew away...However awakening came fast, when the theme of ▓ªª
ªª▓ "Stalker" began. Excellent music with classic motives hypnotized me so strongly, I was ▓ªª
ªª▓ unable to notice the moment the track ended in. When I put my headphones, my impressions got ▓ªª
ªª▓ even stronger! I dived into abysses of delicious electronic sounds and echoes. The themes ▓ªª
ªª▓ were composed long time ago, but they have kept freshness and shining. We owe to ▓ªª
ªª▓ "Electroshock Records" a lot for releasing "Solaris. The Mirror. Stalker" - the soundtracks ▓ªª
ªª▓ for Andrei Tarkovskis films. I am very happy, I have got it ! A masterpiece to be heard ! ▓ªª
ªª▓ ▓ªª
ªª▓ Zenialowski ("ERP") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓ Edward Artemiev had the privilege of writing not one but three soundtracks for films by ▓ªª
ªª▓ Andrei Tarkovskiy. This recording contains songs from these three movies. Surprisingly, they ▓ªª
ªª▓ arent divided into three sections, but rather mixed together. Even more surprisingly, this ▓ªª
ªª▓ works very well. Often soundtrack recordings are not as cohesive as a regular studio ▓ªª
ªª▓ release, but in this case the music seems to flow quite well. I have not had the chance to ▓ªª
ªª▓ see all of these films, so I cant say if thats because of similar tone of the movies or ▓ªª
ªª▓ not. "Solaris" was originally done in 1972, "The Mirror" in 1975 and "Stalker" in 1979, and ▓ªª
ªª▓ it is a tribute to the compositional abilities of the artist that they dont feel more dated ▓ªª
ªª▓ when heard today. It is, unfortunately, unclear from the cover how reworked or re-mastered ▓ªª
ªª▓ these songs are in terms of their original recordings. For whatever reason, "Solaris" has ▓ªª
ªª▓ the lions share of the tracks with seven of them being from that film. Not that this is a ▓ªª
ªª▓ bad thing, as my favourite pieces seem to be from that particular film. Of course, being ▓ªª
ªª▓ soundtracks, the music must lean towards being background and not too obtrusive or the ▓ªª
ªª▓ audience wont be pulled into the visual aspects of the story. Obviously, the intent of film ▓ªª
ªª▓ music is to create an atmosphere without drawing too much attention to itself. As such, ▓ªª
ªª▓ these songs are gentle and dreamy with the occasional dramatic moment. ▓ªª
ªª▓ ▓ªª
ªª▓ Loren Beacon ("Electronic Shadows") ▓ªª
ªª▓ ▓ªª
ªª▓ ▓ªª
ªª▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ªª
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