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MP3 Sarah Weis - B-17: A Mini-Soundtrack
50 MP3 Songs in this album (95:15) !
Related styles: Electronic: Experimental, Avant Garde: Mixed Media, Type: Soundtrack
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Details:
Drippy Drops, Dirty Pops, Moogy Bops! /// Original Motion Picture Soundtrack for "B-17: A Mini-Epic" (The Wacky Adventures of a 17-Year-Old Sex Slave!) /// Juicy, unnerving analog moog score with sweet poppy treats, casio beats, fun homemade sound fx, theremin and girly vocals. Shibuya-Kei and punk inspired. Lo-fi electronic goodness! /// Composed and performed by B-17 writer and star Sarah Weis (w/ director Arturo Cubacub)
Info:
All recordings done between 2004 and 2007, mostly 2006 while the movie was being made. Sarah plays Moog Prodigy, theremin, various toys and sings. Arturo plays Moog MG-1 on tracks where noted. All dialogue written by Sarah Weis. Some sound design by Arturo on tracks that contain longer excerpts from the movie.
Tracks 1-29 are from the Orginal Movie Score
Tracks 30-38 are from the Original Re-Zoom (sequel) Score
Track 39 is the credits song.
Tracks 40-47 are extended tracks and alternate versions
Tracks 48-49 are scores from the original performance piece that the movie is based on, salvaged from cassettes and scratched cds, very very lo-fi and weird. Thought it would be interesting to include them but they are hard to follow, as certain lines were left out to be spoken live.
Track 50 is from the "Selected Sound Bank" on the cd release. I had to leave out the whole sound bank except for this one piece because I can only upload 50 tracks here! "Popix" was created as a track for use in "Slave Labor Bop".
***Physical album contains 65+ Tracks
Movie Synopsis:
Sarah and Yumi are top-secret sex slaves for a high-ranking government official. They spend their days in a bizarre play-pen/torture chamber/slave-labor station, where they produce pro-war polo shirts by hand and live in constant fear. Yumi, having lived in the cell the longest, is almost completely brainwashed and paralyzed, but Sarah still possesses enough spunk to try to escape. Her impulsive scheme is thwarted by a few terrifying obstacles... will Sarah''s inner courage be enough to save the day?
***A Film by Arturo Cubacub and Sarah Weis /// Recently awarded *BEST EXPERIMENTAL PROJECT* and *BEST ACTRESS* at the 2010 Action on Film International Film Festival /// Based on a 2004 performance piece by Sarah Weis***
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An 2007 Interview With Sarah About the Soundtrack (by Philip Fairbanks):
P: B17 is a really dark film and the music is really an indelible part of it. I was thinking, it''s almost a musical. Was this intentional?
S: Ha ha, I guess not, but almost anything I do has a musical aspect to it, and a theatrical aspect as well. I actually come from a musical theatre background, but it is more accurate to say I went into musical theatre because I was drawn to music and theatrics than it would be to say that this work is a product of my musical theatre experience. I just love to sing and I sing all the time and can’t imagine making an entire film without that coming up! It was my first “discipline”. It''s what got me started as an artist.
P: I discovered B17 while doing a search for Shibuya-Kei music and found your film which purported to be inspired by Shibuya-Kei and manga. What effect did the Shibuya-Kei scene have on the soundtrack and the movie?
Well, the Shibuya-Kei scene (or my late impression of it, having not been in Japan in the 90s) had a huge influence on my life and on this film. The sensibility is all over it, stylistically I guess, but more importantly philosophically. That scene was born from record junkies in the Shibuya district of Tokyo taking an overwhelming amount of “cool” and just totally random Western music from different genres/time periods/countries and…you know what Philip, here’s an excerpt from an email that I wrote to my friend MC Cat Genius a couple of months ago…
"I love Shibuya-Kei because the super-cool Japanese artists jumbled all these western elements, styles and periods up in a big colorful kaleidoscope, and what came out on the other side was so exhilarating and beautiful BECAUSE of the naivety and pure wonderment on their behalf, and BECAUSE it wasn''t logical in a western way, even though it was very well crafted. Anyway, with B-17, I was making a pass back to this style which had inspired me so much. I took my naive, outsider fascination with the part of Japanese pop culture that was built around their naive fascination with us, and created something that reflected (or rather refracted ) that. So the Shibuya style and everything else Japanese that I really know nothing about but love to fetishize and romanticize went into my own hand-built, equally colorful kaleidoscope, and B-17 is what came out. I’m making a pass back at them, keeping the wacky ball of sticky cultural misunderstanding and reconstruction rolling."
As far the technical aspect of the music, I don’t know. I mean, I think my interest in this music was one of the things that led me to start playing synthesizers. I don’t think the music itself is really Shibuya-Kei, maybe “Free!” in takes the most direct influence.
P: The score itself is one of the most unnerving I''ve heard in a while. What was going through your heads when you created this music?
S: Well, back when it was a performance piece and I started to compose a little bit of music (e.g. the “Sector B-17 Theme” - actually my first moog “composition"(!!!)- which was directly transferred to the movie from that first cassette tape), I wanted to make it as scary as possible. So I started it with the devil’s interval, between a 4th and a 5th, and went from there. Going into the elaborate process of composing the score for the film, I was thinking it would all be more along these lines. Ironically, it was really Arturo who changed the course of this. He would want to try a happy song like “Slave Labor Bop“ (an evolution of an unfinished piece I had showed him) for a scene that I had envisioned as being totally dark, and it would change everything, really add a lot of levels. Or put Que Sera Sera behind that speech about Yumi’s family coming to America. I would just be singing and he’d be like, “Let’s record that.” I recorded that one in the elevator shaft of the building we were working in. Then he’d weave it into the scene and it would blow my mind because it wasn’t what I had envisioned at all. I had envisioned pure terror. All the dark ambient underscoring is just me with my Moog, trying very hard to bring the audience into the creepy world that my character was living in.
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