These days, filmmakers are testing out new and exciting ways to draw viewers into their narratives. Take the recent insurgence of 3D films as an example. But where some grumble that the enhanced technology forces viewers out of the movie, the folks behind Split/Signal decided to try an ear-popping way of marrying audiences with screened images. On Saturday night, The Center for Arts at the Armory played host to eight teams of filmmakers and musical acts, each group meticulously merging sound and picture, celluloid (or, in this case, digital) frame for musical note.
Musically, there was a little something for everyone, or at least those folks who enjoy stringed instruments. One moment featured the chaotic avant-noise stylings of Black Yodel; a while later, Caspian's crushing post-rock harmonies burst forth from the speakers. Toss in a compelling set by ambient mood-melders Arms & Sleepers and the archaic somewhat-minimalism of electronic duo Mike Dunkley & Todd Brozman, and it made for a night that wasn't merely focused on winning over the hearts of indie kids.
The film pairings for the evening, though beautifully shot and produced, didn't have the same draw as the musicians. The synergy between the music and images was perfect almost throughout the screenings. Still, many of the musical compositions could have been heard independently from the movies and retained all qualities of having been created for the sake of writing music.
Fortunately, there were a few exceptional collaborations that combined the live performance and recorded art into a distinct, unique experience that drove the overall story home. Devil Music's southwestern Americana-styled composition deftly soundtracked the exploits of a young Texan stealing his father's car back from a gang in Barrett Films' animated affair, The Front Runner. Handcranked Productions' mish-mash of scenes from the forthcoming feature film, American Ruins, met a perfect match in Roger Miller. The man from Burma helped illustrate the pictures of beautiful decay with each bluesy guitar twang and rattling cut of noise, providing a humorous sound accompaniment for an old walker meandering through an abandoned asylum in Waltham and creating vast stretches of noise that only further the depth of emptiness in clips of monolithically dilapidated buildings.
Though many of the musical performances didn't transform the short films behind them into something completely new, they certainly added a little something to the flickering pictures at their backs. The Books' partner of choice for the evening, Rich Remsberg, offered a delightful collection of clips that juxtaposed a humorousness against the oft-seriousness of the duo's arty-experimental ditties. Even VJ Dziga's hodgepodge collection of colors that would morph and change like a lava lamp gained considerable tone, clarity, and even purpose under post-everything rockers Cul De Sac's compassionate performance.
Technical difficulties and lengthy set changes hampered the event's flow, but the artists' energy and the crowd's enthusiasm made Split/Signal a success. While this Bostonist would've like to have seen more than a scant ten-minute set that nearly every act—with the exception of The Books, who were given extra time in the headlining spot—was afforded, it still made for an endearing and memorable experience in movie-and-concert going affair. Perhaps this Bostonist may find himself in line for Disney's next 3D experience, G-Force, if the Jonas Brothers were performing the soundtrack live. On second thought, maybe not.
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