The source material for this release is a bunch of field recordings made in a cinema as electroacoustic music is influenced by the theory of editing of cinematography. In current society there’s the slight but relentless departure from the experience in a dedicated and public environment to a private one where perception is disturbed by the environment. The relation between music and image is quite complex as sound deals with the concept of environment: music can be a part of the meaning or just a furniture, and it could be also a distraction, but the focus of the work of this two italian sound artists is the peculiar quality of music to evoke images. The source recordings were processed and layered to make this album sounds like the soundtrack of an imaginary expressionist movie or as an experimental form of synphonic poem.
We’re all familiar with the admonition to hush our voices and silence our cell phones before a show. But what about the time before the show ~ the gathering time before the previews? In the U.S., the average preview time is now 23 minutes, prefaced by perhaps ten minutes of pre-preview features. Any sense of anticipation is sublimated by advertisements; gone are the days when one could enter an empty theatre and gauge the excitement of the crowd as the seats slowly filled, listening to the bleed-through from adjoining auditoriums. The Cinema Show captures this sense, along with echoes of post-film conversation, standing in the cold while a friend lights a cigarette, discussing dialogue and diners. The album is a love letter to the cinema as opposed to movies: the entire experience, the love affair of the event from gathering to post-coital glow. The Cinema Show‘s cinematic antecedent is 2003′s “Goodbye Dragon Inn”, a tender film that unfolds around a film being shown on the last night of a beloved theatre. A marriage of plundered soundtrack and field recording, The Cinema Show inspires a similar sense of melancholic gratitude.