AN INNER NETWORK: I just picked up a leaflet (well card, really) advertising an upcoming exhibition featuring the work of Austrian artist Gunter Damisch at the Albertina here in Vienna. The artist, who rose to prominence in the 1980s was part of a group of artists known as the ‘Neue Wilden’ (the ‘New Wilds’ or ‘New Violents’).
I was quite taken by the image on the front of the promo, a graphic, structural mix of lively and subdued colours. Looking at further works by Damisch, you’ll see that the heritage of Austrian art, or at least the intricacies and details found in works by Klimt, do permeate.
‘Rotwegnetz’, an oil paintingfrom 2005, which loosely translates as ‘red way web’ sees a tomato hued red object with tangly branches loom over a colourful backdrop. It looks a bit like a virus, ready to attack the unsuspecting cells of the body. It’s funny, because upon initial glance I did not see anything frightening elements in the painting, but as I look closer and analyse it, I see that a sense of fear is almost at the core of the work.
Much of Damisch’s work is influenced by a transition between the three to two dimensional (e.g. real life, or sculpture reinterpreted in painting). Although I don’t really see that influence here, I can no doubt see a reference to something rather real (even if it appears to be our digestive system)!
I’m intrigued to see what else I gain from looking at Damisch’s wider repertoire in due course.
FRAGILE FRACTURE: This photograph depicts an object that I couldn’t even begin to try and describe upon initial glance. Despite the anonymity of the structure shown here, I was drawn into the photograph, desiring to know more.
Thankfully a little blurb accompanying the image enlightened me. A sculpture by Sandra Pitkin from 2005, ‘Sculpture By The Sea’ (one of many to have this title), is what you are seeing here. I would have guessed that it might have been the fragmented structure of a fallen leaf, held up to the light and shot in fine, almost microscopic detail. If you have a further look at some other images of the piece, you will see that my guess was (surprise, surprise) actually on point for once!
Pitkin stated, ‘this sculpture arises from my investigation into the fragility of nature and humankind, and the impact we have on each other’. It looks like I might need to study it a bit further in order to put the words and artwork together though.
This image was sourced from _des_Ong’s Flick R account.
I posted this on the first day of creating my Tumblr. It’s still pure magic. From 2005 to first posting it in 2010 to 2013, its brilliance drives home the point that good music doesn’t age.
LAVISH LIFE: A track that I can remember enjoying back in 2005 was Twista’s ‘Lavish’. Produced by The Neptunes back in their prime, or at least a little after their prime, it’s a mid-tempo, aspirational number that features a beautiful piano riff and atmospheric synths. Twista is a rapper who was allegedly placed in the Guinness Book of World Records sometime in the late 90s or early 2000s for being the rapper with the fastest flow of all time. I’m not sure that he has been challenged since. It makes listening to his track both a pleasure and task. Here he trades verses with Pharrell, attempting to uplift their peers. They rap-sing in unison ‘you want the lavish cribs, the fancy cars, you want the face on that Rolex shining like a star, don’t worry man, you can get it man’ in the chorus. It should be cheesy, and probably is to some. To my ear however, the lively, uplifting production combined with Twista’s pacy flow keep it on point.
UNDER WATER: It’s a bit surprising that I haven’t posted this track yet, given how frequently I have listened to it in recent months. Not only that, but Brian Eno’s ‘Under’ is track that I have used when in a bit of a bad mood. An atmospheric electronic ballad, it is filled with beautiful lyrics that seem to describe some type of redemption or salvation.
‘Where steeples crash in fiery thunder, where sheets of steel obscure the land. where word and sense are torn asunder: here was the place I chose to stand, just when I think I’m going under, I remain.’
It could be religious or as simple as the ability to look back on all the trials and tribulations that you have been through and conquered. I personally relate to the latter interpretation. An innovator in the field of pop music, and particularly production, Eno creates an ambient soundscape that never borders on the banal or cliche. Instead it’s one that uplifts in its unconscious ethereal nature. Originally conceived in the 90s, it was eventually released on Eno’s ‘Another Day on Earth’ set, released in 2005. Amazing, inspirational and ambient music, if I ever heard any.
MY TALK: There’s one track that is literally bumping on my MP3 player right now. As the last track before this one stops and the aggressive percussion of Amerie’s ‘Talkin’ About’ kicks in I feel a jolt of life. Which is what only the best of best music can do to you. Even though I find the lyrics in the verse a little bit convoluted, there’s such a kick to Rich Harrison’s slaming production and Amerie’s signature raspy vocals that you forget about such issues. Some people see the track as a ‘1 Thing’ wannabe, but I see this post-modern club banger as genius in its own right. It’s heavier and a bit more laid-back in its sexy confidence than the former hit. Amerie sings about love ambushing her in such a convincing, lively way that you forgive similarities in many of her tracks’ narratives (but I mean don’t all R’n’B artists sing about the same thing; love, sex etc., all the time anyway?) Can’t wait for the new album from my sexy lady. LOL. Seriously though, put this on repeat and I promise you will have a permanent smile drawn across your face. Well I do at the moment, at least.
RUNNING OFF THE CHAIN: So here’s another Amerie post to start off the year. A leftover track from her sophmore album ‘Touch’, ‘Love’s Off The Chain’ features Rich Harrison’s signature funky horns and nagging production. I am always amazed at how vintage he manages to make his tracks sound even when they don’t sample, which is the case here. Amerie’s vocals are raspy and emotional which work so well with the context of a love/hate relationship in this song. Her vocals sound slightly strident on the verses, but it all adds edge to an intense track. I remember Shortee Blitz from Kiss 100 in London playing this track all the time, so props to him for getting me hooked to this. It really is ‘off the chain’, for lack of better words.
SOULFUL SKANK: I am a big Anthony Hamilton fan and I always enjoy hearing music from the man. This is one of his more popular tracks, which is not one of my top favourites but it’s one which undoubtedly has it’s charm. Using an organic bassline and featuring trumpets playing the melody, it has a traditional reggae feel combined with Anthony’s gospel-influenced vocals. There’s a feel-good vibe to ‘Everybody’ that isn’t always present in Hamilton’s moody albums and there’s no doubt that the Jamacian vibes of the track enhance that optimistic feeling. A track that used to get rinsed on specialist R’n’B and reggae radio, it’s nice to listen to after five years to remind oneself of Anthony Hamilton’s versatility.
ONE THAT GOT AWAY: I remember this song from way back in 2005 (well not that long ago). The Avila Brothers work closely with legendary producers Jimmy Jam & Terry Lewis (Janet Jackson, Prince, Usher). This is from their one and only album released and is a quietly beautiful track.
