paul schütze
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deus ex machina - the soundtrack
(panic heat vengeance)
59m
composed performed and produced by Paul Schütze
voice - VirginiaTrioli
assembled by Steve Burgess, Paul Schütze and Gareth Vanderhope
engineered by Steve Burgess
booklet and CD design - Paul Schütze and Michael Trudgeon
special thanks to Steve Burgess Roger Savage and Michael Trudgeon
recorded June 1989
vinyl mastering by Miroslav Piškulič, feb 2024
images and design – Paul Schütze
Thìs 59 minute piece was conceived as part of a total environment for the exhibition Deus
Ex Machìna. The project as a whole seeks to define and articulate the emotional, cultural
and aesthetic manifestations of man's uneasy relationship with technology. The work
takes the form of a film score complete with stylised dialogue and actions. During the 59
minutes four basic layers repeat in various configurations. The layers comprise: 1.
Directly emotive musical pieces in the style of 'static' film cues. By static I mean that each
holds a constant emotional tone with little change in colour. Each piece can be seen as a
fragment of an archetypal mood. These fragments may only be defined at the points where
they converge with other fragments. In the same way that it takes three points to fix a plane
it takes at least three such transitions to create the impression of movement through time
and so to imply narrative. 2. Both familiar and artificial atmospheres - the locating
components for aural narrative. Each of these is general and more or less constant. The
sound of rain on concrete is an irresistible locating atmosphere. With all the will in the
world you cannot hear it and retain the impression of a desert or the interior of an aircraft.
3. Specific sound events (actions) a car pass followed by the squeal of brakes must
initiate complex speculation and conclusions, which in the absence of specific visual
information are bounded only by the experience and attentiveness of the listener:. We have
no choice in these reactions as they are not voluntary. These events rely both on the
atmosphere in which they are located and the music around them for explanation. The
sound of ice cubes in a glass with the atmosphere of an open runway would be enigmatic.
The same sounds placed within the atmosphere of a cocktail party confirm their context
and may even go unnoticed because they are familiar parts of a familiar though highly
complex soundscape. 4. The sound of human speech. I have chosen speech in French and
Italian as these languages share inflections and phrasing familiar to speakers of English.
It is a mark of our isolation in Australia that few of us understand either language. I wanted
the presence of the human voice while remaining free to ascribe non-specific meaning to
the words, The dialogue ís more able to enter into the implication of narrative while also
remaining 'overheard', One is made to feel slightly voyeuristic. Over the course of the
piece most of the components appear at least twice in various relative movements of the
four layers. The effect is to provide a template of narrative in which the work on show may
become protagonist, to situate both the objects and the ideas in such a way as to assist in
understanding the purpose of Deus Ex Machina. A metaphor for our contentions about
information transmission.
Paul Schütze 1989
the annihilating angel;
or, the surface of the world
side one
1 cities of the plain
2 loss and the hand lense
3 the falls
4 the torture garden
5 the fatal muse
side two
6 reign of ashes
7 dead roads
8 the pressure of the text
9 trance militant
10 the tears of eros
11 cities of the red night
Tom Fryer - guitars
Judy Jaques - voice
Sandro Donnadi - trumpet
Sam Mallet - spoken voice
Jeff Jaffers - spoken voice
Paul Schütze - keyboards, percussion & programming
arranged & produced by Paul Schütze.
recorded at absolute studio & soundfirm melbourne,
january - june 1990
engineered by Steve Burgess.
original cover i|lustration realised by
Philip Jackson & Melissa Webb.
special thanks to Steve Burgess, all at soundfirm, Philip Brophy,
robert goodge, all the tunisian extras who sang & played for us
between scenes during the shooting of lsabelle Eberhard & finally to
sylvie Partiot for her marvelous sound recordings & atmospheres
vinyl mastering by Miroslav Piškulič, feb 2024
images and design – Paul Schütze
new maps of hell
side one
1 the eraser
2 topology of a phantom city
side two
3 the velvet horizon
4 eating the first map
s sacred agents
6 doubts about waking
side three
7 the mutant beautific
8 a soul reports
9 dead heart
side four
10 hallucinations (in memory of renaldo arenas)
11 the memory of water, part one
12 all that was solid
trombone - Simone De Haan
guitars - Mark Stafford
bass - Bill McDonald
percussion- François Tetaz
drums- Peter Jones
percussion- Peter Neville
keyboards & percussion - Paul Schütze
thanks to Craig Carter - field recordings
Gareth Vanderhope - atmospheres
Frank Lipsome - digital editing
Francois Tetaz/Garry Havrillay/bose
technology/John Crawford/australian broadcasting corporation/
Michael Trugeon & soundfirm melbourne.
recorded at absolute studios (engineering Paul Schütze)
& abc studio 325 (engineering - Gary Havrillay)
vinyl mastering by Miroslav Piškulič, feb 2024
images and design – Paul Schütze