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My Heart Has Run Out Of Breath is a film and musical collaboration between multi-media artist Kristina Pulejkova and founding member of London-based group Piano Magic, Glen Johnson. Pulejkova animated the film taking her cues from Kubrick and Tarkovsky and Johnson composed the soundtrack. The lyrics are in English, Turkish, German, Pulejkova’s native Macedonian and Italian. Pulejkova’s works deal with mechanical and organic elements of science, whilst Johnson’s band have worked with folk icon Vashti Bunyan, Low, John Grant and Tarwater during their genre defying career.

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  • SL034 / CD on Second Language in 8-panel concertina sleeve

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My Heart Has Run Out Of Breath by Kristina Pulejkova / Glen Johnson 1 review. Add your own review. 8/10
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8/10 Staff review, 12 January 2016

Wayward ghost goth Glen Johnson, famed for harshing the vibes up with Piano Magic, has taken a different route down the corridor this year. ‘My Heat Has Run Out of Breath’ sees him in collaboration with Kristina Pulejkova, whose interests lie somewhere between artifice and authenticity. This record shifts between button-mashed electronics, tide-shifting ambience and proper noise, a landscape on which the artists’ meticulously and cautiously place their voices -- whispers, when appropriate, can later be replaced with chanted laments.

Pulejkova and Johnson are making musical tapestry here, freely exchanging one language for another (from Pulejkova’s Macedonian to Johnson’s English to Yasemin Barlas’ Turkish, as well as German and Italian). The unsettling sound palette is equally disparate, at times tinkering with real beats and motifs (the ones that rattle through “Heart Four” like they’re tapping on a hollow skull), and at others allowing the electronics to slither lethargically into place, offering a creeping ambience that the artists’ have to pierce through with their voices -- noise disruptions are not uncommon, as on the cadence of “Heart Six”, while the next track twinkles with xylophones many of my peers would call “hauntology”.

This work is marked by its incongruities -- its mixture of languages, both linguistic and sonic, suggests the difficulty in separating the beating of a heart from the churning of a machine. It’s a simple and almost cliched thesis, when I write it down, but this album unites both the mechanic and the organic under one guise: visceral, pace-altering music.




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