CHRISTINA VANTZOU UNVEILS HER SELF-DIRECTED VIDEO FOR ‘GOING BACKWARDS TO RECOVER THAT WHICH WAS LEFT BEHIND’
Christina Vantzou has a celebrated back catalogue of visual accompaniments to her music, stretching back to her longform animations for The Dead Texan and the refracted resplendence of the visuals she created for her debut solo album, No.1. Now, she has revealed the first video from No.2, her second solo album released on Kranky.
The video for Going Backwards To Recover That Which Was Left Behind matches her slow-burning score to a lulling scene of a mysterious nature. Presented in slow-motion, unidentified lights contend for possession of a mist-saturated forest, casting shifting emotions on to the canvas of a woman’s face. Walking over heaps of broken branches and leafy debris, you find yourself involved more and more in her deaccelerated movements, gleaning your own narrative from the onset of darkness which closes the video.
Watch Going Backwards To Recover That Which Was Left Behind at this link:
Going backwards to recover that which was left Behind from christina vantzou on Vimeo.
Developed over a four year period, and entirely funded by a part time job working as a SAT university entrance exam mathematics
tutor, No2 was composed using synthesizers and a variety of unidentified samples that were manipulated beyond recognition.
Christina Vantzou then collaborated with Minna Choi of the San Francisco based Magik*Magik Orchestra. Vantzou and Choi worked on the notation and arrangements and recorded the compositions with a 15-piece ensemble at Tiny Telephone studios in San Francisco. The chamber layer on No2 follows a similar pattern as her first record with the addition of bassoon, oboe, and an enhanced string section.
Vantzou spent four months premixing the album before Adam Bryanbaum Wiltzie (Stars of the Lid / A Winged Victory for the Sullen) engineered the final mixes, as well as added some of his signature sound texture, at his studio in Brussels, Belgium.
Perhaps a better title for the album would be “Symphony No2” as it was composed as a cohesive whole, much like her first album No1. Dense layers of strings are augmented by angelic voices, piano, woodwinds, & various synthesizers. Instrumental music, especially that which is scored with strings & horns, is invariably described as “filmic”. This is even more likely when the composer is a filmmaker such as Christina Vantzou.
Welcome to the future, which luckily for us is filled by a woman’s voice with a beautiful narrative. A recording that is a meeting of personalities is like the contact of chemical substances: if there is any reaction, all are transformed.