I recently wrote about The Sneaker Pimps’ and Kelli Ali’s versions of Willow’s Songs from The Wicker Man soundtrack, with Kelli Ali being the vocalist on both versions.
In an interconnected manner, a while ago I came across The Kiss from Kelli Ali’s 2008 album Rocking Horse, on which she took a more folk orientated direction and which contains gentle, pastoral, lulling songs that may well share a subtly fabled landscape with Vashti Bunyan and some of the solo work of Isobel Campbell/The Gentle Waves such as The Green Fields Of Foreverland.
(As mentioned when I was talking about those versions of Willow’s Songs at A Year In The Country previously, Max Richter produced Rocking horse and also produced Vashti Bunyan’s 2005 album Lookaftering, which was part of her return to recording around that time.)
A track on Rocking Horse that has very much stood out for me is The Kiss.
Rather than me thinking of folk so much when I heard it, it more made me think of one of those wordless songs that you find on the soundtrack to an obscure late 1960s/early 1970s continental film, maybe a semi-forgotten giallo or the like… a hazy corner of cinema that seems to conjure an atmosphere and world parallel but distant to our own.
In an interconnected manner of conjuring a sense of continental hinterlands/never-never lands, it also seems as though it could be a forebear of both the bucolic otherworldly explorations of Cat’s Eyes on their soundtrack for Peter Strickland’s The Duke of Burgundy film and maybe also the cosmic aquatic folklore of Jane Weaver/Septième Souer’s Fallen by Watchbird album…
…or possibly the experimental work on Jane Weaver’s side of the Finders Keepers Records released La Rose De Fer / Intiaani Kesä, in particular Parade of Blood Red Sorrows, which in that just mentioned parallel world is the soundtrack to a tender, fever dream of a film in my mind’s eye.
That Finders Keepers reference is quite appropriate as, linking back to sound tracks to semi-lost films, if I had stumbled on The Kiss on a Finders Keepers release of a semi-forgotten soundtrack then it would not have sounded out of place, possibly filed next to the soundtrack for Valerie and Her Week of Wonders or other Czech New Wave conjurings of their own cinematic worlds and fantasia.
Conjuring is a word that I keep thinking of when I think of The Kiss; it conjures a sense of a film that seems to exist just out on the edges of my consciousness, reality and the further flung reaches of cultural history.
(File Post Under: Cathode Ray & Cinematic Explorations, Radiowave Resonations & Audiological Investigations)
Audio Visual Transmission Guide #1:
Kelli Ali’s The Kiss (and it’s Epilogue)
Day #6/365: The Fallen By Watchbird – Jane Weaver Septième Soeur; the start of a journey through cosmic aquatic folklore, kunstmärche and otherly film fables…
Day #150/365: Parade Of Blood Red Sorrows
Week #1/52: The Duke Of Burgundy and Mesmerisation…
Ether Signposts #6/52a: Peter Strickland – six films that fed into The Duke of Burgundy
Audio Visual Transmission Guide #28/52a: Valerie And Her Week Of Wonders Unreleased Variations Away From Bricks And Mortar
Wanderings #29/52a: Broadcast; constellators and artifacts (revisiting)
Audio Visual Transmission Guide #47/52a: Summer Isle In (Sort Of) Pop #2 – The Sneaker Pimps’ How Do / Kelli Ali’s Willow’s Song