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Benjamin Finger - The Bet (Watery Starve, vinil, 2014)

 

ImageNovi vinil Benjamina Fingera - i prvi vinil ikada za američku etiketu Watery Starve - jeste svojevrsni muzički jo-jo, koji suptilno i poetično opisuje Fingerovu muzičku ekstravagancu. Osvežen od špacirunga sa Satiejem kroz field (of) recordings, Finger se vratio kući: posmatramo ga kako razmešta i utvrđuje mizanscen za teatar koji je upriličio.

 

Fingerov pristup muzici je najbolje nazvati kolažnim, jer se lepi negde između dečije improvizacije i hipnogije, ne tako retko u istoj pesmi i to po nekoliko puta. Ono što čudi jeste pitanje: zašto Fingerovo ime nije odomaćeno kao ona, u neku ruku, skandinavskih saboraca Mum ili Efterklang?! Tamo gde Mum, uprkos nekonvencionalosti, završavaju pesme, Finger entropijski napreduje i napreduje dugo nakon što se igla skloni sa rilne. Ako Efterklang mešaju razne uticaje i dekade, a njihovo raščivijavanje čini poseban sport u preslušavanju, Finger svoje uticaje prisvaja i razređuje na način da ih, nakon nekog vremena, poništava, a i uspeva mu da zaboravi gde i sa koje je tačke krenuo. Da ne bude zabune, uvek je izvan klišea i jedan je od samosvojnih koje sam čuo u poslednje vreme.

 

Kao i uvek kada su Fingerovi naslovi u pitanju, The Bet vodi slušaoce da sami vizuelizuju i na posebno ličan način prate ploču. Cenim da mu je to kao režiseru i neka vrsta inicijalnog pokretača. Recimo, meni je Rosenkrants Exit zazvučao kao muzički outtake iz Wendersovih filmova krajem osamdesetih. Razlog više da pomislim da mi je The Bet možda već sada najomiljeniji Fingerov album.

 

Benjamin Finger - The Bet (Watery Starve, vinil 2014) 


Benjamin Finger´s new vinyl album - first for Watery Starve (US) - is a musical roller coaster with subtile and poetic influences which describe Finger´s musical extravaganza. Last year he released "Listen to my nerves hum" on Time Released Sound, where he was strolling with Satie through field (of) recordings - now he is back with a different record where he arranges a mise en scène for theatre were everything is prepared for us.

 

Finger´s approach to music can best be described as collages glued together somewhere between child improvisation combined with hypnogogia, sometimes even in the same song. And this makes me wonder why his name isn´t as familiar as Mum or Efterklang, some of his Scandinavian companions. Where Mum, despite their unconventionality, ends a song definitely - Finger´s songs, like entropia, progress and progress long after the needle leaves the record. If Efterklang´s mix of influences and decades have led them to understand their records as one complete new sport, Finger adopts influences on modus but very soon cancels them and succeeds to forget where and from which point he started. To be clear: his musical expression is always free of cliches and one of the most independent ones which I have heard lately.

 

As always when Finger´s albums are out, The Bet guides the listener to visualise in his or her own personal and special way. For example, Rosencrans Exit sounds to me as one musical outtake from a late 80´s movie by Wim Wenders. One more personal reason to think The Bet is my favourite Benjamin Finger album.

 

Autor: Mileta Okiljević

 
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