Archive for the ‘Music’ Category

From The Boston Globe, April 9 2013

The Knife, ‘Shaking the Habitual’


Calling “Shaking the Habitual” an album sells it short. The latest from the Swedish electronic duo the Knife, it’s more along the lines of an installation piece you’d find at a gallery, a knotty tangle of polyrhythms, distorted vocals, and heady influences ranging from French philosopher Michel Foucault to gender studies. It’s pop music that belongs under glass: Look, but don’t touch.

It’s the kind of record that is so self-possessed and primal, it nearly steamrolls the listener. Thirteen songs give way to 98 minutes and address everything from sexuality to the evils of capitalism and political corruption. Oh, and there’s a song called “Fracking Fluid Injection” full of fractured and oscillating vocals. (Let that be the line in the sand.)

rest of article

Another review
Also… a review of a London concert by the band

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From the Portail Michel Foucault

7 PROPOS DU SEPTIÈME ANGE D’après Michel Foucault

Création collective de Bruno Boulzaguet
Jeu : Bruno Boulzaguet
Percussions : Jean Christophe Feldhandler
Lumières : Olivier Oudiou.

Penseur excentrique, écrivain prophétique et linguiste « juché au point extrême du délire » (Selon Michel Foucault), Jean-Pierre Brisset (1837-1919) était animé d’une confiance absolue dans les raisonnements les plus tortueusement logiques qui mènent immanquablement aux confins de la divagation hilarante, comme le démontre ce spectacle, une drolatique leçon de grammaire pour un acteur et un musicien. (durée 40mn)

Deuxième partie : (De 20mn à 30mn) Chaque soir un concert ‘carte blanche’ Proposé par la Cie Théodoros Group.

Théâtre de L’Atalante
10, place Charles-Dullin 75018 PARIS

du lundi 20 au jeudi 30 juin 2011 à 20 h 30, le samedi à 19 heures, relâche le dimanche

Tarif préférentiel de 10 euros du lundi 20 au vendredi 24 Juin 2011
Réservation au 01 46 06 11 90

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Foucault Inspires Trio

From Hartford Courant

A venerable venue with a varied musical menu, Real Art Ways serves the highly original, sizzling, simpatico music by the trio Parrhesia on June 11 at 8 p.m. at the contemporary arts center, 56 Arbor St., Hartford, USA

Inspired by the French philosopher, social theorist and historian of ideas Michel Foucault, especially his reflections on the necessity for truth-telling, freedom and frankness in discourse, the empathetic trio members are Stephen Haynes, trumpet, cornet and flugelhorn; Joe Morris, electric guitar, and Warren Smith, drums, percussion, marimba and voice.

Released in 2010, Parrhesia’s self-titled album has been praised for the instrumental textures that emerge from the musical discourse among the three intensely interacting musicians. In their frank manner of speaking among themselves musically, the three freedom-loving musicians weave unique textures with their individualistic approach to their instruments, improvising true discourse without false discord.

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For full article see The Guardian

Promised End, an opera by Alexander Goehr is at the Linbury Studio Theatre at the Royal Opera House, London, on 9, 11, 14 and 16 October (box office: 020-7304 4000), then tours until 26 November.
Details: englishtouringopera.org.uk

At 78, Alexander “Sandy” Goehr is one of the linchpins of the British musical establishment. He was professor of music at Cambridge University for nearly a quarter of a century…

Goehr worked with Frank Kermode who wrote a libretto for the opera.

Working with Kermode gave Goehr the licence to focus on the aspects of Lear that most interested him, especially the journey Gloucester and Lear undertake. “Being politically radical, I have great scorn for who they are in the early part of the play. They are pompous fools, who are vain and mistaken in what they do. Frank and I were influenced by Foucault’s idea of insanity when we were working on the text, the notion that through madness you obtain a kind of wisdom. The whole trajectory of Promised End leads to the scene between Lear and Gloucester, when one is mad and the other has no eyes. Through their misfortunes, they learn something about humanity, about modesty.”

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For full details visit the Mumok site

‘The History Of Sexuality Volume One By Michel Foucault: An Opera’, 2010, Premiere
Gregg Bordowitz (USA) / Paul Chan (J/USA) 01./ 02.10.10
Fri 1 Oct / Sat 2 Oct., 8.30 pm in TQW / Halle G
Tickets: € 18,- (Reductions and Online-Ticketing on http://www.tqw.at)

The History of Sexuality Volume One by Michel Foucault: An Opera’ is a work-in-progress adopting the dramatic musical form to stage the major themes and philosophical insights of one of the most influential philosophers of the late twentieth century. In this adaption of Foucault´s great work, the philosopher will encounter one student, two rivals, and a sworn enemy – perhaps all of them are ghosts. Nothing less than a grand opera is required to stage the epochal theory of self-emancipation that is Michel Foucault´s unique legacy. The performance will be set against a backdrop drawn from Foucault´s biographical details; including his activism on behalf of prisoners´ rights, and his death from AIDS.

CONCEPT: Gregg Bordowitz, Paul Chan, DIRECTION & & LIBRETTO: Gregg Bordowitz, PERFORMERS: Siegmar Aigner, Alexander Braunsöhr, Didi Bruckmayr, Mara Mattuschka, Moravia Naranjo, ORIGINAL COSTUME DESIGNES: Paul Chan, COSTUME DESIGNER: Kristine Woods, PRODUCTION: Tanzquartier Wien in cooperation with MUMOK. In the framework of Push and Pull – a joint project by Tanzquartier Wien and MUMOK.

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