Nashville Electric – Orville’s Folly
Nashville Electric — Orson’s Folly (Edgetone, 2015)
This long-form performance of electronics and electric instruments was created in 2015 as a live, improvisational soundtrack to a long-lost Orson Welles silent film. (The film wasn’t silent by choice — more on that in a bit).
It’s a continuous journey of sound and activity, with a foundation of howling-wind synthesizers setting up the background for brighter guitar and violin sounds — small curls or wide washes, heavily treated to add to the electronic mesh.
Everything is done for texture and effect; it’s a noise piece, in essence, with a prevailing mood built from lots of small details. It’s foreboding but not entirely dark. I imagine the music putting an eerie cast over the silent black-and-white footage.
The piece — two major sections recorded in the studio, plus a “closing credits” segment recorded in concert — starts out with an anthemic buzz of synths and electric guitar, with the occasional electric-violin tone drifting past for a dash of color.
Part 2 tends to be more sparse, with the string instruments playing more individualized roles. One attractive segment focuses on a traceable guitar riff, as if played at the end of a distant corridor. A choppy violin takes the foreground later, again in a distant, filtered vein, behind a deep electronic pulsing.
As with any soundtrack, the music is inspired by film — and, as a result, our listening of the music can be colored by the nature of that film, even if we can’t see it. I listened to the album first, then researched the Orson Welles film in question, “Jangadeiros” (“Four Men on a Raft”). Knowing what happened really does cast the music in a different light.
“Jangadeiros” was part of a larger project called It’s All True — a movie that Welles eventually decided was cursed, based partly on an anecdote involving a voodoo needle driven through a script.
A fictionalized quasi-documentary that evolved in a convoluted process after Pearl Harbor, It’s All True was meant to be a trilogy of stories filmed in Brazil. But, as explained on the Edgetone Records site, the film wasn’t the feelgood exercise that RKO Studio and the U.S. Government (a backer of the film) were expecting. Welles’ budget was slashed to a single black-and-white, silent camera, and the project deteriorated, never to be completed.
“Jangadeiros” survived in footage that was discovered in 1981. It’s actually meant to be a happy and triumphant story about four fishermen who rafted for 61 days — 1,650 miles without a compass — to protest to the goverment, in person, about the feudal nature of their industry. They were being forced to deliver half their catch to raft owners, leaving the fishermen themselves in poverty. The protest worked; Brazilian president Getúlio Vargas didn’t come through on all his promises, but the fishermen were at least granted the privileges of unionized workers.
The tragedy came later. Using the original four fishermen, Welles was filming a re-enactment of their arrival in Rio de Janeiro harbor. (Rio was the capital at the time.) But the raft overturned, and the fishermen’s leader, Manoel Olimpio Meira, was lost.
So … back to Orson’s Folly. The mood doesn’t strike me as full-on ominous. But it’s not exactly happy, either. There’s the eerieness that comes with the dredging-up of old, dead history; the heavy tragedy of Meira’s death; and the doomed nature of the project itself.
“Jangadeiros” happens to be available on YouTube, so you could play the album alongside it for the full effect. The footage is shadowy, but it’s professionally edited and does tell a fictitious story related to the four fishermen. I gave it only a minimal try. I think I prefer to let the visuals and the mood build in my imagination.
Entry filed under: CD/music reviews.