La Blogothèque http://en.blogotheque.net Thu, 28 Aug 2014 17:11:17 +0000 en-US hourly 1 http://wordpress.org/?v=3.8.1-alpha The Wilder Papers http://en.blogotheque.net/2014/08/28/wilder-papers/ http://en.blogotheque.net/2014/08/28/wilder-papers/#comments Thu, 28 Aug 2014 13:00:00 +0000 http://blogotheque.net/?p=22789 In March of 2014, after filming a video for Eddi Front in their space, the Knockdown Center asked me to pitch an idea for a music series in their space. They were inspired by my work on the Take Away Shows and wanted to find a way to bring people out to their space for intimate and engaging night of cultural appreciation, far removed from the large-venue bookings that they had been exploring the year prior (Red Bull Music Academy, M.I.A.).

I contacted a colleague and friend who I had directed several dance films with, Emily Terndrup, and told her about the opportunity. We both immediately began to dream up an immersive show that would marry an aspect of contemporary dance with the friendships I had developed in the world of independent music. We moved through dozens of iterations of the idea (a Rite of Spring festival involving the actual gods showing up, a send up of the Wicker Man, a paean to the Furies and an experience that explored the seven Celestial Orbs). A simple narrative surrounding a composer and the genius choreographic mind that became his wife stood out to us by the end, a concise and elegant expression of the main tenet of our project, the intersection of dance and music.

We worked for a month straight, first with Emily’s sister Helen to write the story surrounding our figures. We were consumed and had marathon planning sessions in spite of the demands of our professions. We assembled a team of dancers, we called in every favor we could, we used every skill we had even casually accrued up to the point. The lead up to the show took every ounce of effort that each of us could muster. We utilized every piece of the Knockdown Center that we could, even to the point of moving hundreds of bricks from the basement into the space to serve as symbols in our overture. We transported hundreds of items from the history of the Knockdown Center from their immense storage areas back into the space to try and fill the voluminous space with meaningful ephemera of our imagined protagonists. By the time we were finished, the building was transformed by light, set design and performance to the point where any sign of the modern Knockdown Center, even if was visible, was swallowed up into the mystery of the secret evening between 200 people.

Along the way, Julianna Barwick was the first musician to sign on. We had spent the better part of two years together as a team in support of her record Nepenthe, and her commitment became the first anchor for our fledgling ship. Skyler Skjelset and I had worked with one of the dancers, Mariel Lugosch-Ecker, on a long-form dance film set in an abandoned building earlier that year. As soon as he heard the concept, he was locked in. Skyler’s belief that we were creating something of worth and something that he had never seen or dreamed of being a part of became a strong source of inspiration for the piece. Hannah Epperson had toured with Julianna the year before, and they had fallen in love with each other. She volunteered immediately after hearing the concept. Mauro Remiddi was a lock as soon as he heard that he could bring his modular synth to the show. I had never met Sarah before, but was in love with her music. I told her about the concept, and she was on board from first contact.

After working day and night for 5 days straight once we actually got the keys to the venue and wiring 60,000 sq ft for sound, light and audience movement, we opened the doors to the Wilder Papers at 7PM on June 4th, and I just paced around the building crying at every moment of the show. So many deeply committed performers living in our constructed world and giving everything they had to the work. The audience could not believe what they witnessed that night. I had never experienced something like it to that point, and may never again.

The event was invitation-only and one night only. When we were done, we walked to a local bar for a celebration, leaving everything in place (including the entire setup in the old ruin beside the building that would be swallowed up by a giant thunderstorm that evening). The next day, Emily, I and Mariel watched the footage that the brilliant videographers had captured of the evening and spent the day crying about what kind of commitment had been captured in every one of the performers and in the eyes of the captivated audience.

In October of 2014, we do it all again with our new production, “Debut”. We return to the Knockdown Center years later and with endless activity between now and the events of the Wilder Papers. “Debut” depicts the events of a single evening in the lives of 8 teenagers that break into the long-derelict structure of the Knockdown Center on the night of their senior prom.

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Tiny Ruins http://en.blogotheque.net/2014/08/27/tiny-ruins-2/ http://en.blogotheque.net/2014/08/27/tiny-ruins-2/#comments Wed, 27 Aug 2014 13:46:13 +0000 http://blogotheque.net/?p=22768 An outstretched hand by Basia Bulat, a warm bed in Ruby Kato Attwood’s absence, a shared stage with Jody Glenham and a letter across the water from Melbourne… an invisible trail of kindnesses lead me to Hollie Fullbrook and caused me to bring her together with Emma Judkins for an experiment in form on the shore of the East River this summer in Williamsburg.

 

Hollie’s voice is as pure as they come, arresting at first, soothing and enriching as it unfolds. Emma, understanding immediately what was necessary of her body, locks into step with Hollie’s undeniable gift and the two sail through an afternoon. They find the waterfront, the same as the rest of the those gathered for a Sunday respite, and gaze out to the expanse between them and the city, the responsibilities therein forgotten for an hour… no load-in, no front desk, no gas money, no phone calls.

A singer and a dancer are caught from the swaying shore of the camera, a standing wave on a sunny day.

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St Paul & The Broken Bones http://en.blogotheque.net/2014/08/20/st-paul-broken-bones-2/ http://en.blogotheque.net/2014/08/20/st-paul-broken-bones-2/#comments Wed, 20 Aug 2014 12:55:06 +0000 http://blogotheque.net/?p=22765 How could I not? A guy getting on his knees to sing an Otis Redding song to me was emotionally too heavy. Paul Janeway isn’t just a guy anyway. He is proper kindness, power, groove and a voice that you rarely get to hear.

It was a jaw dropping performance. Peoples’ eyes were wide open. And I cried. Yes, I cried because it was the only answer my body could give to Paul’s voice: a moment of utter abandonment, tears without sadness and the incredible feeling that I was brought back to March 21st, 1967, a day I’ll never get to see, when Otis Redding played the Olympia Theatre in Paris for the very last time.

 

Thanks to Joel ‘Bob’ Sadler for introducing me to this amazing band earlier this year under the Texan sun.

St Paul & The Broken Bones are playing Rock en Seine festival near Paris on Saturday, August, 23rd, and Cabaret Vert festival in Charelville-Mézières on Sunday, 24th.

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Steve Reich with Bryce Dessner & Sö Percussion http://en.blogotheque.net/2014/07/30/steve-reich-bryce-dessner-percussion-2/ http://en.blogotheque.net/2014/07/30/steve-reich-bryce-dessner-percussion-2/#comments Wed, 30 Jul 2014 15:07:37 +0000 http://blogotheque.net/?p=22699 A late evening in Brussels, 1972, Steve Reich attends an ill-performed night of flamenco in a cheap nightclub. He and his ensemble deride the playing, grimace through the singing but are suddenly struck by a moment of epiphany as the dancers bring hands together in the corrillo for a section of Palmas.

Walking out into the streets, Reich and crew began clapping, immediately attempting the phasing strategy that had brought the composer such focused attention in the period. A score for the body was written, a piece without need for amplification or any of the accoutrement of percussive performance.

One performer (or section of performers) claps a basic rhythm in 12/8, a variation of a fundamental African bell pattern. Another performer begins clapping in sync with the first, and following 8 or 12 bars, shifts by one eighth note to the right (in notation). This continues until the second performer has shifted the structure 12 eighth notes and is back in sync with the first performer.

In 2013, at the MusicNow festival of Cincinnati, I find Reich joined by Bryce Dessner and the members of Sö Percussion. They are rehearsing for an evening-length performance of the composer’s now legendary body of work. This piece, one he has dubbed a perfect work, contains the central gene of the artist’s body of work. 41 years after the piece’s conception, its divine symmetry rings out in an empty concert hall, as radical and succinct as the day it was born.

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“Arua Amusica” : Take Away Shows in Brazil (5/5) http://en.blogotheque.net/2014/07/29/arua-amusica-take-away-shows-brazil-55/ http://en.blogotheque.net/2014/07/29/arua-amusica-take-away-shows-brazil-55/#comments Tue, 29 Jul 2014 12:58:08 +0000 http://blogotheque.net/?p=22690 Apanhador Só

Let’s make an exception and get out of Sao Paulo to go to the Rio Grande Sul in Porto Alegre to introduce you to Apanhador Só, one of the most emblematic rising band from Brazil rock scene. They distinguished themselves by reinterpreting their first eponymous album acoustically, covering each song using almost only recycled objects as instruments : a kid bike, an old phone, toys ect…

We spent all afternoon with the guys who brought us to some of the places they relate to the most in Porto Alegre. Their hit Maria-Augusta was then filmed in « La Lancheria », one unexpected heartwarming restaurant. It used to be the place where young people fighting the dictatorship in the 70’s used to meet, a coop where everyone is paid the same whatever the job they do, and where prices are the cheapest bringing all kinds of people to the place, the ones who need it, the ones who love it. Uma mescla.

Then the guys brought us to the central market, one of the oldest buildings of the city. We wanted the band to play right in the middle of the shops but a policeman that was standing on a stool right where we wanted to film refused… so the owner of a shop offered us his little corner for the band to play. The central market burned down a few months later…

 

Kiko Dinucci & Juçara Marçal

Kiko Dinucci is a multi-facets artist, and besides his music work, he creates images with xylography (that’s how he made the beautiful cover of « Metal Metal ») and produced film documentaries. Aside from Metá Metá, Kiko has produced several records, most recently with his project Passo Torto and Juçara’s first solo album. He also constantly collaborates with numerous musicians in Brazil.

Juçara Marçal sings in A Barca and Vésper, later experienced an intimate artistic development with Kiko, resulting on the duo’s album Padê (2007). Recently she released her own solo album, called Encarnado (2014).

On this Saturday morning, Kiko invited us to join him while he was shopping at the market with his dear friend Juçara Marçal, carrying his guitar along with him… The artistic complicity between these two friends is one of the most beautiful thing to witness, and the repertory they put together has a few of the most beautiful songs ever. One of them is “Vias de Fato”… They sing it in a remote place in the park where people come to chill among the huge bamboo trees. Just before that we couldn’t help jumping in the little touristic train for a tour, and a song.

 

A Barca

A Barca is a collective as well as a band, founded in 1998, members of the band change often and ones after the others they keep alive popular songs of Brazil. They travelled across the country looking for traditional songs that are transmitted from generations to generations and that’s how they composed their repertory, finding little pearls along the way that resonate with the spirit of Brazil.

This one night we went to see A Barca show at Casa de Francisca, an institution in Sao Paulo, a small room cabaret-like with an excellent programmation. The members of the band miraculously found a way to all stand on the tiny stage and the idea was to film a few songs after the show when the famous Casa de Francisca would be emptied out… Marcelo Pretto & Juçara Marçal, along with amazing Thomas Rohrer first played a beautiful song by Humberto de Maracanã « Senhor São João » to be then joined by the whole band to play Maria José Menezes’ « Santo Antonio ». Both of those songs are on their amazing album Trilha.

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Peter Matthew Bauer http://en.blogotheque.net/2014/07/23/peter-matthew-bauer-2/ http://en.blogotheque.net/2014/07/23/peter-matthew-bauer-2/#comments Wed, 23 Jul 2014 12:39:37 +0000 http://blogotheque.net/?p=22675 A rain-soaked morning that threatened cancellation followed by a thick, wet blanket of heat that turned a ten minute walking commute from Mexican Summer to Msgr. McGolrick Park in Greenpoint into a crossing of the river Styx leads Peter Matthew Bauer, Skyler Skjelset and I to a nondescript park bench and a scene for Peter’s raga.

A raga is a set of four or five notes upon which a melody is constructed, their approach tempering the meaning to suit the player’s temperament. It can also mean a dyeing or coloring, something to provide hue to a psychology, a tint to the perception.

Here he plays his Philadelphia Raga, a song to the city where he recorded his first solo record, a hymn to passage, scattered moments, epiphany.

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Arua Amusica” : Take Away Shows in Brazil (4/5) http://en.blogotheque.net/2014/07/17/arua-amusica-take-away-shows-brazil-45/ http://en.blogotheque.net/2014/07/17/arua-amusica-take-away-shows-brazil-45/#comments Thu, 17 Jul 2014 14:08:15 +0000 http://blogotheque.net/?p=22671 Tulipa Ruiz

Sao Paulo. March 2011. April 2012.
Tulipa is one of the most charismatic Brazilian singers today, her powerful presence and her sense of humor on stage are a sincere reflection of her personality.
Tulipa grew up in a musical environment, in a family of musicians, and worked at a local record store. She brings this past up with her at the stage: her father Luiz Chagas and her brother Gustavo Ruiz are her strong guitar duo.

Extremely talented, she sings like no one. It’s easy to recognize her vibrant high vocals. Her first album “Efêmera” (2010), a tuneful record with soft melodies in beautiful pleased a large audience. All attentions were focused on her, but Tulipa, unlike the Brazilian squad at the world cup, did not wilt by the weight of expectations, and in her second album “Tudo Tanto” (2012) she shows up with a more potent and cathartic release, full of her strong personality.

Tulipa recorded the videos before the release of Tudo Tanto. The first one “Brocal Dourado” in 2011 in a sunny afternoon at a park with her band and the second one “Ás Vezes” she was with her dad and Rafael Castro at Paulista by night, in Rua Augusta which is referred in the song.


(Text: Filipe Franco)

Thiago Pethit

Sao Paulo. March 2011.
Thiago is a major newcomer of the new musical scene of Sao Paulo.
His first album « Berlim, Texas » (2011) is a delicate record of folk-minimalist songs arranged in a very simple and organic way, with heavy influences of european cabaret & american pop. His music is in that sense is representative of the city of Sao Paulo, where cosmopolitanism & crossings of cultures are very much present.

In 2012, Thiago releases a second record « Estrela Decadente » (Decadent Star), theatrical album, where he distances himself from folk & minimalism by incarnating a more dandy-like character, with a lot of irony, sex and decadence…

He & Dom La Nena became friends a few days prior to recording those films, realizing that they used to live in the same street in Buenos Aires a few years earlier… It gave the idea to Dom to invite for a duet on her song « Buenos Aires » recorded on the album « Ela », and she played with Thiago a few times in his own shows… and in those videos filmed 25 storeys above Paulista Avenue. It was a typical sunday with nothing much to do except having fun with friends, and the city spreading to the horizon reminded us of the Mapa Mundi (World Map) Thiago sings about.


(Text: Filipe Franco)

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Watch Damon Albarn live from Paris http://en.blogotheque.net/2014/07/07/watch-damon-albarn-live-paris/ http://en.blogotheque.net/2014/07/07/watch-damon-albarn-live-paris/#comments Mon, 07 Jul 2014 13:08:23 +0000 http://blogotheque.net/?p=22629 We already proclaimed our deep love for Damon Albarn on La Blogo but because we love him so much, we will film his concert at Parisian festival Days Off this Wednesday.

The sold-out gig will be broadcast live here and on Arte Concert from 9:15 French time (8:15pm in London, 3:15pm in New York and 12:15pm in LA). We will also film and broadcast the opening act, Alexis Taylor from Hot Chip, from 8pm French time. Don’t miss it!

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“Arua Amusica” : Take Away Shows in Brazil (3/5) http://en.blogotheque.net/2014/07/04/arua-amusica-take-away-shows-brazil-35/ http://en.blogotheque.net/2014/07/04/arua-amusica-take-away-shows-brazil-35/#comments Fri, 04 Jul 2014 13:05:27 +0000 http://blogotheque.net/?p=22619 Metá Metá

Metá Metá is a São Paulo-based trio formed by guitarist, singer and composer Kiko Dinucci, singer Juçara Marçal & saxophonist Thiago França. After releasing their eponymous debut album in 2011, they have become one of the most celebrated new acts to emerge in the city over the last few years, with an ever-growing audience and critical acclaim. It’s hard to say where they fit in the vast musical history of Brazil and its trends, but it’s possible to distinguish features from African-descendent music, the urban music of Itamar Assumpção’s riff driven songs and several brazilian rhythms such as samba and jongo.

Kiko and Thiago are very expert and inventive instrumentalists and Juçara a great and inspired singer, they sound often as if many musicians were on stage, joined by a hypnotized audience singing along choruses in a language they usually don’t understand a word of – the Yorubá dialect, which was also an inspiration for the group’s name which means « three at the same time ». As popular and peculiar as it could get.

As Metá Metá they have released two albums so far: “Metá Metá” (2011) and “Metal Metal” (2012). Their debut album is more based on the trio and is mostly song-driven. For the second one, they invited other musicians to the sessions and it explores a more agressive, afro-punk sound and also some sonic trips on tracks like “Man Feriman“.

These shootings took place in Kiko’s neighborhood in São Paulo, Cambuci. He gently invited us to kill some time at his place while we waited for the other Metá Metá members, showing us some items of his record collection, some of his favourite Brazillian films such as the great “O Bandido da Luz Vermelha” by Rogério Sganzerla, which is considered of the brazilian marginal cinema of the 60s, and his documentary about afro-religions in Brazil, called “Dança das Cabaças”.

In this sunny autumn afternoon in Cambuci, the trio played Kiko’s “Engasga Gato” and Kiko and Douglas Germano’s “Oranian” along with daily characters of the city… Most notably an enthusiastic fellow in a bar that claps along and ends up getting more syncopated than the group.

 

(Text: Fernando Rischbieter)

 

Dom La Nena

Dom La Nena is a Brazilian cellist and singer. She sings mostly in Portuguese and Spanish, but also sometimes in French and English.

« O Vento » (The Wind) is a song from her first album Ela released in the beginning of 2013 and acclaimed by both critics and audience in America as well as in Europe. The 13 songs of the album deals with a certain nostalgic melancholy of her childhood that Dom carries, having lived a very short time in her country until the age of 8, either to follow her parents in France for their studies or to go live by herself in Buenos Aires to study cello with the prodigious Christine Waleska.

This saudade album written at age 21 in the 12th district of Paris, and recorded in the Cévennes mountains at Piers Faccini’s house, has a tensed softness, where sadness and joy co-exist in deep harmony. The memories of the places left come to haunt the ones she settles in, and in this album Dom seems to have found a peaceful place for all the ghosts of the ones she misses. As if she had invented her own country.

It’s always easier to find the right moment to film a musician when you live together… So when we saw this huge and impressive storm coming above Sao Paulo, we instantly thought of Dom’s song « O Vento » inspired by the massive and deadly storms and floods that happened in Brazil recently.

Dom La Nena will release her 2nd album in February 2015. Meanwhile she will be on the road with her project or with Rosemary Standley with whom she forms the band Birds On A Wire.

 

Emicida

Everyone loves Emicida. As well as being a respected composer & a followed writer, he became a spokesman of the people.  São Paulo rap scene was for a long time out there in the dark, Emicida brought Rap into the spotlights.

Surrounded by good and faithful friends, he started a do-it-yourself career, producing his mixtapes, singles, recording and burning some CDs to sell it by hand. He sold more than 30.000 records this way, which is very impressive.

it couldn’t be otherwise, Emicida is something else, matching rhymes and melodies perfectly and with such ease. But even all his skills as a singer remain at the background when you’re paying attention to his lyrics.

Emicida started with a successful single “Triunfo” from there he immortalized his whoop A rua é nós (“The street is ours”). One year later he published his first mix tape Pra quem Já Mordeu um Cachorro pro Comida Até que eu Cheguei Longe (“for a guy who once bit a dog for food, i’ve come a long way”). In 2010, Emicida released two other mixtapes: Sua Mina Ouve Meu Rep Tamem and Emicídio. His last work is a studio album called O Glorioso Retorno De Quem Nunca Esteve Aqui (“the glorious return of who was never here”).

The train took us to Laboratorio Fantasma, – his and his friend’s company, guided by our common friend and journalist Peu Araújo, who used to live there , in the north side of São Paulo, in the suburbs. Emicida was with a great partner of him, Rael da Rima who sang this song « A Cada Vento »with him with a voice full of tone that gives a even more melodic aspect to his rhymes.

We shot from his brother balcony who also played guitar for the song. From there, we had an improvised little stage, playing for the people passing by behind the obligatory Sao Paulo fences.

 

(Text by Filipe Franco)

 

Watch the previous episodes of our Brazilian Take Away Shows serie here.

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“Arua Amusica” : Take Away Shows in Brazil (2/5) http://en.blogotheque.net/2014/06/27/arua-amusica-take-away-shows-brazil-25/ http://en.blogotheque.net/2014/06/27/arua-amusica-take-away-shows-brazil-25/#comments Fri, 27 Jun 2014 13:07:20 +0000 http://blogotheque.net/?p=22582 Rafael Castro

With eight albums recorded, Rafael is an unstoppable composer, ironic and naïve at the same time, he might even make you weep in the middle of a joke.

Raised in a small town in the state of São Paulo, Rafael has a redneck will to São Paulo’s nightlife. To meet him is a clear sign that you are at the right place. Right where the music is nice, where no one ever sleeps and the booze flows.

It was just in one of those place that Jeremiah met him for the first time. This interesting figure just caught his attention, also the way he was alternating sips of cheap whisky & some the most refined sparkling water bought back from his place in the country.

 

Apartment 80 was the place, located in the heart of Augusta street, and it was merely an apartment. At the right time, the beds gave room to the stage, and that’s when the party used to start. Many important artists of today started out there.

Now, Rafael coincidentally lives next to this place, and we thought that it could be a nice walk, leaving his home, passing through Augusta and stopping in front of the deceased Apartment 80’s building for a beer.

On the way, Rafael stopped at a bar which was closing, took his guitar, leaned against the window and started to play a sad and beautiful song that he wrote back in his early days in São Paulo, and ironically the song is about the unshared love between a farm animal an its shepherdess.  Right at this introspective moment, the city shows its face in a beautiful dance scene of the ugly.

(Text by Filipe Franco)

Mallu Magalhães

Mallu is a phenomenon. For her 15th birthday, she asked her parents for a studio session as a gift. She recorded 4 tracks that she then put on myspace. Within a few weeks, those songs gathered millions of hits. Three albums later, at 21, she became one of the most acclaimed singer-songwriter of Brazil.

 

There’s something about Mallu that hooks you right away. This something is found in her songs as well. A subtle mix of gentleness, joyfulness, gravity & playfulness.

 

She received us with much grace & enthusiasm into her mother’s office house. Her mum Gigi is a landscape architect so we had a beautiful place as a playground for 2 hours. We recorded those 3 songs from her last album Pitanga, amazingly beautiful record produced by the incredbly talented Marcelo Camelo. Those two just formed a band together Banda Do Mar, along with a portuguese musician named Fred. This moment with Mallu was just plain fun.

 

Lucas Santtana

Lucas is well known for his production works, loaded with experimental sounds, pedals, effects, and different techniques, but also for his beautiful songs and his guitar always present. He’s a portrayal of a fight between electronic and bossa nova, São Paulo and Rio.

For this film, the newspaper Folha had offered us to use their heliport on the rooftop of their building… an amazing sight at the night fall for Lucas to play his song « Nighttime in the Backyard » as the sun was disappearing over Sao Paulo.

This take is the only one we could use because of the thousands of airwaves we were right in the middle of, that would never stop whispering into our HF mics…


Read and watch the first episode of the serie here

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