11XX Goh Lee Kwang:::: The Lost Testimony of Rashomon


























Choreographed by Yukio Waguri (JP) & Lee Swee Keong (MY)
Original composition & sound by Goh Lee Kwang (MY).

1. Rain
2. The Spirit of Rashomon (excerpt, vbr mp3)
3. Masago - Extorting A Confession
4. The Witches
5. The Hair Stealer
6. The Judge (excerpt, vbr mp3)
7. Rashomon Stuck by Lighting

Audio CD, 6 panels digipak
50 minutes+
Release date: Jan 2011
12 Euros + shipping order

Buy Digital

Related resources:
Also by Goh Lee Kwang
Goh Lee Kwang: Vice Versa
Goh Lee Kwang: Hands
Goh Lee Kwang: Draw Sound
Goh Lee Kwang: Good Vibrations

Review(s):
Cyclic Defrost
Music for a multimedia stage production loosely based on Rashomon, a short story about moral ambiguity written in 1915 but based on a thousand-year-old tale from a Japanese collection of thousand-year-old tales. It is far more well-known and celebrated around the world as a classic film by Akira Kurosawa, though he borrowed only the name and a fragment for his story about the subjectivity of memory.

Kuala Lumpur-based Goh Lee Kwang is one of southeast Asia´s most fascinating and prolific multimedia artists. He produced this score for Nyoba Kan, a postmodern dance company that ”showcases ugliness and indecency, while integrating it with philosophies of yoga, Buddhism, qigong, modern dance and other forms in its ongoing meditation on inner wisdom and universal compassion and mercy”. The Lost Testimony of Rashomon proves to have a life beyond the stage, as his ambient soundtrack relates the tale with vibrant detail and great restraint – Goh is otherwise not normally shy about making quite a racket. ´Rain´ and ´The Spirit of Rashomon´ are light and beneficent, but then things turn ugly. ´Masago – Extorting a Confession´ is twelve minutes of deliciously drawn out and tortured tones, death by a thousand cuts in stereo. Goh proceeds to ingeniously harness the muscle of Anglo-European industrial music in order to conjure a coven of ´Witches´ glimpsed distantly across wastelands and through thick fog. ´The Judge´ is a pitch black, unrelenting, stentorian rebuke; finally, a thunderstorm washes it all away.

When listening to music written specifically to accompany images on stage, screen or video monitor, the original story is reduced to fleeting shadows and the music is forced to recall its own version of events. Goh´s recording succeeds admirably as a vivid parallel cinema of sound.
- Stephen Fruitman -

Monsieur Delire
Voici la musique d’un spectacle de butoh de Lee Swee-Keong. Kwang utilise ici une esthétique bruitiste pour rendre l’expressionisme du butoh, danse lente aux gestes et expressions d’un tragique suramplifié. Incidemment, approché comme une œuvre musical en soi, The Lost Testimony of Rashomon est plus expressif et varié que la plupart des autres disques de Goh Lee Kwang, parce que moins conçu en fonction d’une idée, d’un mécanisme ou d’un modèle spécifique. Bref, on a droit ici à un Kwang étonnamment lyrique, toute relativité conservée.

This is the music for a butoh performance by Lee Swee-Keong. Kwang uses noise esthetics to translate the expressionism of butoh – a slow dance with overamplified tragic gestures. Incidentally, taken as a stand-alone musical work, The Lost Testimony of Rashomon is more expressive and diverse than most of Goh Lee Kwang’s other records, because it is less designed around a specific idea, mechanism or template. In other words, this is a surprisingly lyrical side of Kwang, in all relativity.
- Francois Couture -

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