When visiting the website of
eslitebooks, the bookstore is at the moment presenting the works of
Eleni Karaindrou on its music section. It gives a brief introduction of the composer and his works...
His music has a sense of broadness of vision and perception, and it is exactly the kind of music Theo Angelopoulos's film is looking for. The kind of harmony of sound and vision is like the master pair of Kieskowski and Zbigniew Preisner. The difference between Karaindrou and Preisner is their varied focus to life. The former composer looks at the scope of world in a magnifying magnitude, while the latter prefers a more micro and objective viewpoint. The different approach is just shown on the films of their partnering directors. We may argue that the influence would be the other way round, meaning that the vision and the story script lead to the development of film music. Nonetheless, there is no doubt how music in film can be such influential for its role to the total experience for the audience. In the modern world, a film cannot live without the music - this is uncontroversial.
It's been such a long time since I last went for a concert. Tonight at Bataclan was a sporty one with LCD Soundsystem. Nothing much to describe in words was the direct and groovy night of dance beat music. Echoing their new album was a more subtle experimental sound of drone rhythm. Without giving a moment of break, the long-dominant cells got nerved again. Watch the band's latest MV, and the visual reinforces their belief of fun music with colours, and more colours. Music keeps alive!!
