It was an unexpected pleasure to see Naked Lunch again, reprising the excellent live soundtrack performance that they premiered at last year’s Donaufestival. Not much to add to my review of that event, except to say that Thomas Woschitz’s film Universalove now seems even more like a major work, its glancing and resonant plotlines balanced by a considerable emotional pull. And the music is really quite stunning, with its angular and relentless percussion bolstered by haunting guitar work and the parched croon of Oliver Welter’s voice.
After 18 years of existence, Naked Lunch still seem to be practically unknown outside of Austria and Germany. Doubtless this isn’t a situation they’re happy with, but I’m tempted to say that they’re too good to be allowed out anywhere else.
These pages are backed up because there has been so much going on lately. Normal service will be resumed as soon as possible. Backtracking…
My second and last visit to the 2008 Donaufestival was a far more positive and pleasant experience than the previous one had been. The evening opened at the Minoritenkirche with Universalove, a film by Thomas Woschitz with a live soundtrack by Austrian alt-rockers Naked Lunch (for more on whom, see my March 2007 column).
This event was marvellously engrossing from start to finish. The film was a collection of thematically linked stories focusing on love and relationships, each of them quietly eloquent in its own way. The accompanying music was no mere incidental backdrop, but a series of emotive, quietly devastating songs that informed and commented on the narratives. The main musical impetus came from the percussion, with the two drummers standing centre stage and bashing out beautifully immersive and textural rhythms. The wintry and plaintive vocals, meanwhile, contributed an air of dark melancholy to the film. This highly impressive collaboration was an indication that the somewhat jaded live soundtrack genre still has the potential to mesmerise.
One minor gripe: the seating arrangements in the Minoritenkirche were bizarrely ill thought out. Despite the fact that the event was very well attended, the organisers for some reason decided to lay out only twenty or so rows of seats in front of the stage, leaving the rest of the church as standing room. Having arrived fairly early, I was lucky enough to grab a seat, but it looked to me as though the majority of the audience was left to stand uncomfortably around. Why the entire church couldn’t have been given over to seating is utterly beyond me. This was a film, after all.
Over in the main hall later in the evening, a similar thoughtless disregard for the needs and comfort of the audience saw Tortoise come onstage at the absurdly late hour of 1.30am, by which time I had already been bored stiff by the wearisome sermonising of Ursula Rucker and the stilted meanderings of Xiu Xiu. Anyway, Tortoise were fantastic, insofar as I was able to stay awake and listen to them. Their last record It’s All Around You may have been a tepid approximation of former glories, but onstage the combination of the two drummers (again) with the jazzy guitar and vibes remains as potent and telepathic as ever. Kaleidoscopic, fresh and startlingly original, Tortoise music is pretty damn irresistible; but it would have been good to take it in through eyes and ears that weren’t pleading for some downtime.