Paul Schutze - Vol 3 Regard Music By Film (c) 1997 Tone Casualties
Artist....: Paul Schutze
Album.....: Vol 3 Regard Music By Film
Type......: Album
Source....: CDDA
Tracks....: 22
Genre.....: Ambient
Label.....: Tone Casualties
Catalogue#: TCCD9719
Encoder...: LAME 3.97
Quality...: VBR kbps / 44.1KHz / Joint-Stereo
URL.......: http://www.discogs.com/Paul-Sch%C3%BCtze-Vol-3-Regard-Music-By-Film/release/197369
Tracklist:
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01 Tiga 07:14
02 The Tale Of Ruby Rose - The Dark 03:18
03 The Tale Of Ruby Rose - The Walls 01:52
04 The Tale Of Ruby Rose - Scourging 02:20
05 The Tale Of Ruby Rose - Henry's Plans 01:47
06 The Tale Of Ruby Rose - Timeless 01:13
07 The Tale Of Ruby Rose - The Past Invented 01:52
08 The Tale Of Ruby Rose - Lakes And Plains 02:42
09 The Tale Of Ruby Rose - Remaking A World 02:06
10 The Tale Of Ruby Rose - A Phantom Barrier 01:25
11 The Tale Of Ruby Rose - Untroden Path 02:20
12 The Tale Of Ruby Rose - Born By Clouds 01:47
13 The Tale Of Ruby Rose - Lives Contained 03:05
14 The Tale Of Ruby Rose - In The Absence Of Angels 06:05
15 The Last Tall Forests - Frozen Descent 02:37
16 The Last Tall Forests - The Green Cathedral 02:55
17 The Last Tall Forests - Time Arrested 02:33
18 The Last Tall Forests - Within The Floor 01:46
19 The Last Tall Forests - And All For The Moon 01:36
20 The Last Tall Forests - The Company Of Geometry 02:22
21 The Last Tall Forests - The Ash Plain 03:49
22 Remixed Excerpt From D.E.M. - Shark Sex 10:33
Total:79,4 MB / 67:17 min
Release Notes:
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Review:
Schutze's early artistic success in his native Australia was as a film
score composer, and the three major pieces on this CD ("Tiga," "The
Tale of Ruby Rose," "The Last Tall Forests") plus an excerpt from a
fourth piece, "D.E.M.," were presumably compositions for films. Much of
Schutze's music on this CD can be loosely affiliated with the ambient
genre, although the opening piece, "Tiga," aboots the gently
overlapping keyboard patterns along with a subtle but propulsive
groove. "The Tale of Ruby Rose" consists of 13 quite lovely ambient
miniatures for synthesized keyboards, all wispy and ethereal in the
best sense, with voicings that sometimes suggest mandolin choruses, and
sometimes chimes, gongs and pipe organs. Schutze's ambient work, here
and elsewhere, often has an edge, and seldom degenerates into
sentimentality. The closest thing to new age prettiness in this set is
the Harold Budd-like "In the Absence of Angels," but it is redeemed by
a deep, underlying sadness. Another set of seven pieces, "The Last Tall
Forests," relies more on long tones and deep reverb, but has a
pervasive melancholy characteristic of Schutze's more muted work. The
last piece in the set, "The Ash Plain," is downright scary, with a
ponderous brass ensemble sound and ominous, thudding drums. The CD
closes with "Shark Sex," a jazzy, floating piece with prominent
electric bass and a slide guitar sound (however it's made), which is
appropriately slinky and dangerous. A good collection overall, which
shows off Schutze's keyboard versatility and ear for tonal color.
Info on Paul Schⁿtze:
Australian-born composer and producer Paul Schⁿtze is among the most
focused and prolific artists of the contemporary experimental
electronic scene. Releasing album after album of sprawling, icy, often
difficult ambient and electro-acoustic music, Schⁿtze's work has most
often been grouped with post-industrial ambient/isolationist artists
such as Lull, Main, and Thomas K÷ner. While the depth of detail and
breadth of sound obtained in Schⁿtze's work already confounds that
association, albums such as Site Anubis and Abysmal Evenings do contain
their share of deep, dark, highly cinematic soundscapes (Schⁿtze spent
several of his years in Australia composing for film). Although he
bemoans the rampant genre hybridity characteristic of many of his
colleagues in both the dance-based underground and the more academic
experimental overground (Schⁿtze's discography includes entries for
industrial/experimental labels Sentrax and Big Cat, Belgian
ambient/techno label Apollo, work with ethno-ambient industrialists O
Yuki Conjugate, and collaborations with avant-funk pioneer Bill
Laswell), Schⁿtze has moved increasingly toward incorporating rhythmic
and percussive structures and ideas from not only ethnic musical
traditions (he started out as a percussionist, and has studied Indian
percussion formally), but also the more experimental strains of
dance-based electronica.