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- Exclusive video: PJ Harvey - The Words That Maketh Murder/The Last Living Rose
Director Seamus Murphy introduces two of 12 short films he made for PJ Harvey's forthcoming LP, Let England Shake
The film for The Words That Maketh Murder is one of a series of 12 shorts I made to accompany the songs on PJ Harvey's forthcoming album, Let England Shake. What interested me most was the enigma of England and the English. England has a complicated relationship with the past, its island status, its relationship to the land, geography and tradition. Contemporary England springs from a history of colonial adventures, military ambitions and industrial prowess. It is also defined by its waning power and military role in modern politics. At times, it can be a very odd place.
To open myself up to a country I live in but rarely get to shoot, I went on a road journey during one of the worst winters in living memory. I approached England as I would a foreign country, travelling alone with little equipment. I documented my experience in reportage style, using available light and real-life situations – this time with sound and pictures. I normally have the still and silent image as my universe.
I photographed, directed and produced the films myself, and worked with editor Sebastian Gollek in Berlin to complete the project. Budget prevented me from hiring assistants, but filming a road trip on your own makes the footage more personal, as I have found on similar journeys through America and Russia. You feel loneliness and savour friendships all the more, and it brings you closer to the subject. The ballroom scene from Blackpool is one of my favourites. It has what I hope for in any project – to find the extraordinary in the ordinary and to be ambiguous enough to allow personal interpretation. I am not trying to deliver messages, though something must sneak through as I film a particular place, scene or person.
I am showing what I saw, how I saw it and perhaps how I would like it to be.
Let England Shake is released on 14 February. You can download The Words That Maketh Murder from today
guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - Broadcast's Trish Keenan: a singer for whom life was a discovery
I remember Trish Keenan's laugh as well as her beautiful voice – for the Broadcast singer had a lot of fun taking music seriously
I don't like my loft at the best of times, but I don't think I've ever felt so unhappy to have negotiated the rickety ladder as I did this weekend. I've been sifting through boxes of music, magazines and notebooks, trying to track down a microcassette. It contains an interview I did back in 2003 with Broadcast's Trish Keenan – one of the purest, most elegant pop voices of the last 15 years – who died on Friday.
But just I was becoming ever more frantic in my attempts to find it – and I still haven't – I recalled snippets of our half-hour conversation. Like Trish's concern about second-album syndrome. Would fans take to the noisier, quirkier, more experimental direction of 2003's Haha Sound? I was struck by her earnest commitment to music; to its creation, power and beauty. Most of all, I remembered her laugh, a throaty cackle. Trish Keenan was serious about music, but she didn't half have fun while she was at it.
The Guardian's Alexis Petridis tweeted on Friday how he is glad he drunkenly approached Keenan in a club and told her how much he loved Broadcast. If the reaction of the blogosphere and Twitterati to Keenan's sudden death are reliable indicators, every one of their four studio albums should have been worldwide No 1s.
Blur's Graham Coxon called the news "devastating". Chillwave artist, Toro Y Moi, aka Chaz Bundick, tweeted that Keenan was "one of my biggest influences", while Colin Meloy from the Decemberists' wrote, "So sad. Everyone should listen to Broadcast today. Come on let's go ...", referring to the title of an early Broadcast single.
Even the Arkansas Times was touched by Keenan's passing. The truth is that while Broadcast were shamefully underrated they were also quietly, beguilingly influential. They encouraged people to seek out esoteric or long-forgotten music – from electronica to folk.
Yet for all the emotional tributes from those who knew Trish, the greatest loss will be felt by family, friends and colleagues who loved her – such as her long-time partner in Broadcast, James Cargill. I spoke to Martin Pike, Broadcast's manager of 15 years, who recalls receiving an "awfully recorded" tape in 1996 sent to his label Duophonic, home to Stereolab (who he also managed). "There were only three or four songs on it, but the vocals were amazing," he says. "I knew there and then that not only did we have to release it, but I wanted to be their manager."
Like many others, Pike recalls Trish's sense of humour and "fun-loving side", as well as her incredibly serious approach to music; tracks would be honed by re-recording take after take after take. "Only when it was spot on would they release it," Pike says.
Trish fell ill after returning home from Broadcast's first ever Australian dates in December. The last show of the tour, in Melbourne, was particularly special, says Pike. "The band went off but the audience kept on screaming," he recalls. "They wanted more but, because of the way the gig was structured, there were no more songs. So Trish just walked back on, on her own, and sang to them a cappella. That was Trish."
Keenan would send her friends CDs of music she'd discovered or TV shows she had enjoyed. Life was an exercise in discovery, and she wanted to share it with everyone. Hours after her death was announced, a link was posted on Twitter to a typically esoteric mix of psych, twisted folk and world music that Trish made for a friend prior to leaving for Australia.
Perhaps even more poignant is a short film on YouTube. It was recorded by Keenan on a Super 8 camera in 2007 at the Moseley Folk festival, held in the same Birmingham suburb where Broadcast were formed. It crystallises the kind of person she was. Rather than concentrating on who was performing, Trish focuses on festivalgoers. It cuts between a cast of grinning faces, kids with ice-cream, beer-carrying men pushing prams and assorted family pets. Trish is clearly revelling in their happiness. As legacies go, it doesn't get much better than that.
guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать
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