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Reissued and Revisited Alejandro Jodorowsky’s The Holy Mountain and The Dance of Reality OSTs

  Лейблы "Real Gone" и "ABKCO" объединили свои усилия для того, чтобы переиздать два саунтдрека фильммейкера Alejandro Jodorowsky (родился в Чили) - "The Holy Mountain" (1973) и "The Dance of Reality" (2013).

    Of the two films, The Holy Mountain is the better-known. Trying to explain the film’s semblance of plot would be a waste of time - to grossly paraphrase, it deals with a thief’s attempt to steal the secrets of immortality from wise men atop the Holy Mountain. Most viewers flock to Jodorowsky’s work for his surreal visuals; he’s among the few filmmakers capable of making Luis Bunuel’s filmic imagery look everyday and mundane. The Holy Mountain delivers Jodorowsky’s brand of cinematic strangeness en masse. Rich in spiritual symbolism, Tarot-inspired imagery, and perverse humor, The Holy Mountain - like most Jodorowky ventures - walks a fine line between profundity and gobbledygook, but it’s nothing if not memorable. For the uninitiated, the (NSFW) trailer below gives a measured taste of Jodorowsky’s visual madness.

   While Jodorowsky had no musical training, it didn’t stop him from composing the score to his earlier surrealist classic, El Topo, through Dadaist sound experiments, which were then adapted for an orchestra by a professional arranger. For the soundtrack to The Holy Mountain, Jodorowsky desired to step things up a notch. He did so with the help of two primary collaborators: Ron Frangipane (of The Archies) and jazz trumpeter Don Cherry. It was Frangipane who turned Jodorowsky’s latest melodic fragments into orchestral arrangements. For the sections of the movie still without a score, Cherry - with a group reported to have been more than 100 musicians - improvised music as the film was projected in silence. (Jodorowsky didn’t conduct, but pantomimed the emotions he wanted the music to convey while standing beside the screen.)

   The score is as wild and varied as you’d imagine, and holds up on its own even when divorced from the film’s crazy images. It opens with chanting (“Trance Mutation”); short, often haunting orchestral passages are littered throughout (“Violence of the Lambs,” “Alchemical Room.”) There’s ominous droning (“Cast Out and Pissed”) and medieval-sounding string pieces (“Drink It,” “Mice and Massacre.”) The fuzzy, hard rock song “Psychedelic Weapons” sounds just like what you imagine that song would sound like, were it recorded in ‘73 by Iron Butterfly or Hawker rather than a horde of itinerant session musicians. The brief, cheesy synth track “Fuck Machine” could have been the theme song for a kitschy, vintage sci-fi series, or at least a sci-fi-themed porno. As a soundtrack, The Holy Mountain is nearly as creatively all-over-the-place as the film itself.

   The semi-autobiographical (but nearly as strange) The Dance of Reality is Jodorowsky’s first film in 23 years. This time he recruited his musician son, Adan Jodorowsky, to compose the soundtrack. (“Adanowsky,” as he’s known, starred in his father’s Santa Sangre at the age of six.) It shifts between three primary modes: jaunty saloon piano ditties, somber, moody orchestral pieces, and melodic, guitar-drive instrumentals (the Yo La Tengo score to Old Joy comes to mind.) There’s a decent amount of variety to be found in this one, but in contrast with the wildly-swerving Holy Mountain soundtrack, it feels light. None of it is quite as compelling as the pieces from the earlier soundtrack, and at only 24 minutes, it’s over as soon as it gets going. The Dance of Reality soundtrack is a worthy companion to The Holy Mountain OST, but it’s easily the less essential of the two releases. (realgonemusic.com)

By Austin Trunick