WHAT WE LEAVE BEHIND / JEAN​-​LUC GODARD ARCHIVES

by SOUNDWALK COLLECTIVE

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  • Cassette + Digital Album

    LIMITED 300 copies.

    Featuring DVD + CASSETTE TAPE (includes Download Code)

    DVD : 44:35

    TAPE :

    SIDE A: What We Leave Behind - 22:38

    SIDE B: What We Leave Behind - 22:11

    Realisation: Stephan Crasneanscki

    Reel-to-reel Tape Transfer: Simone Merli

    Mixed by Tyler Friedman at Sakha Studio, Berlin

    Mastered by Stefan Betke at ~Scape Mastering, Berlin

    Produced by Soundwalk Collective with Marcus Gammel [Deutschlandradio]

    CAT NO : MATTER016

    FORMAT : DVD and Cassette Tape (including Download Card)

    -

    DVD: 44:35 min.

    Format: PAL

    Region Code: All

    This DVD is region free and can be played on any computer (MAC and/or Win.) DVD drive. No region switching is necessary for television screen viewing, it can only play back on a PAL or multi-system DVD player.

    Includes unlimited streaming of WHAT WE LEAVE BEHIND / JEAN-LUC GODARD ARCHIVES via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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  • Streaming + Download

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  • Full Digital Discography

    Get all 16 mAtter releases available on Bandcamp and save 35%.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of WHAT WE LEAVE BEHIND / JEAN-LUC GODARD ARCHIVES, DUO, Fukinsei, Tranquility Variations, SIX PIECES FOR GUITAR, the GARDEN, Three Shaded Leaves (for Bernhard Günter), Navy See Res in Brighton, and 8 more. , and , .

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about

Jean-Luc Godard’s longtime sound engineer, Francois Musy and I drove for 10 hours, from Switzerland, where Godard lives, to Cantal, in France, where the warehouse with his archive is. The idea was to create a sound composition from the recordings in the archive for Deutschlandradio and Radio France Culture. Once in the warehouse, in front of that endless series of boxes full of books, tapes, notes, cut-outs, the full map of his ean-Luc Godard’s longtime sound engineer, Francois Musy and I drove for 10 hours, from Switzerland, where Godard lives, to Cantal, in France, where the warehouse with his archive is. The idea was to create a sound composition from the recordings in the archive for Deutschlandradio and Radio France Culture. Once in the warehouse, in front of that endless series of boxes full of books, tapes, notes, cut-outs, the full map of his thinking, I felt that all this fragmented material will be the genesis of our sound composition. This is how the idea of What We Leave Behind came about. Sound is its own entity and should be used this way. Each sound has its own value, its own color. The sound of wind rippling through the leaves, a far-off airplane covering a voice, a ringing telephone, a slamming door. Listening to the tapes in Godard’s archive, you could feel this. Some had to be played back on a Studer J37s, the same tape recorder used on Sgt. Pepper’s Lonely Hearts Club Band. Many were full of fragments that didn’t make the final cut, that were never meant to be heard and that now, through this new sound composition, were resurrected. The edits and cuts, the microphone checks, before and after every clap, everything that was left behind, was now a reflection, rather than an omission. They speak to the passing of time. They are timestamps. The question is, when do we stop, when is a story finished, when do we need to stop? In one of the boxes I found some pages of Paul Klee that Godard has underlined in red: “Art plays an unknowing game with the ultimate things and yet reaches them nonetheless! Art does not give the visible but, instead, makes visible”.

Stephan Crasneanscki, 2018

Jean-Luc Godardの長年のサウンドエンジニア、Francois Musyと私は、ゴダールが住んでいるスイスから、彼のアーカイブの倉庫があるフランスのカンタールまで、10時間運転しました。私のアイデアは、DeutschlandradioとRadio France Cultureのアーカイブ内の録音から新しい作品を制作することでした。倉庫に入ったら、本、テープ、メモ、切り欠き、彼の思考の完全な地図でいっぱいの箱にあるその無限のシリーズの前で、私はこれらすべての断片化された材料が私たちの作品になると確信しました。これが、「What We Leave Behid」という考え方が生まれた理由です。音はそれ自身の存在であり、音として使われるべきです。それぞれの音はそれ自身の価値、色を持っています。葉の向こう側に波打つ風の音、声を覆う遠くの飛行機、鳴っている電話、叩いているドア。ゴダールのアーカイブのテープを聞いて、あなたはこれらは感じる事が出来るでしょう。 多くのテープは、Sgt.Pepper's Lonely Hearts Club Bandで使われていたのと同じテープレコーダーであるStuder J37で再生しなければならなかったものもありました。 ここにある多くのテープは最終カットをしなかった断片でいっぱいであり、そしてそれは決してこれまで聴かれることがなかったのですが、今、この新しい作品を通して復活しました。マイクチェックやシューティング前、終わりのクラップ指示を削除する事よりむしろ反映しています。彼らは時間の経過について語っています。それらはタイムスタンプであり、問題は、いつ停止するのか、いつストーリーを終了するのか、いつ停止する必要があるのか、ということです。1つの箱の中に、ゴダールが赤で下線を引いたPaul Kleeの言葉です。“Art plays an unknowing game with the ultimate things and yet reaches them nonetheless! Art does not give the visible but, instead, makes visible”.

Stephan Crasneanscki, 2018

credits

released March 27, 2019

Realisation: Stephan Crasneanscki

Reel-to-reel Tape Transfer: Simone Merli

Mixed by Tyler Friedman at Sakha Studio, Berlin

Mastered by Stefan Betke at ~Scape Mastering, Berlin

Produced by Soundwalk Collective with Marcus Gammel [Deutschlandradio]

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mAtter Japan

mAtter is an independent label and artistic organization based in Tokyo, founded in 2008.

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