Blog — Page 178 of 281

Alva Noto and Ryuichi Sakamoto

Opera House

Sydney, Australia

October 21, 2018

The collaboration between Japanese composer, maverick and constituent of the synth pop outfit Yellow Magic Orchestra, Ryuichi Sakamoto, and experimental electronic cosmonaut Alva Noto, i.e. German minimalist par excellence Carsten Nicolai, may only appear curious on the surface as tonight’s incarnation of the two joining forces at Sydney’s Opera House illustrated what an organic chemistry the two manage to establish by blending minimal piano with austere electronics and beats in the realm of glitch.

Sakamoto by himself usually is more accessible and enters at times sentimental territory, but the synergy between him and Alva Noto that rest on a solid foundation of improvisation adds another dimension that balances warm emotions with electronic drones, rustling noises, piercing tones and hushed sounds. It is not for nothing that the alchemy they channel has dramatically enhanced the movie The Revenant with the soundtrack they provided.

In essence, Noto and Sakamoto incarnating in a live environment is an extended, abstract musical dialogue that meanders far away from any resemblance of popular music. Starkness, tense waves building and subsiding while being framed by a sense of calm and a foreboding of intense unease is what comes to mind had one to describe their performance.

Manually created sounds are digitally processed and alienated, accompanied by the emissions of Sakomoto’s synthesizer wafting about in space like high frequency audio flying saucers, and at times it feels like their collaboration elicits a physical reaction.

The performance was set against a strangely hypnotic and calming 3-D projection that not only corresponded with the performance but was in perfect alignment – abstract and free for interpretation yet borderline tangible.

There are times during the improvised parts when the performance appears overly unstructured yet it always finds its way back to the heart of the action / reaction dynamics that makes their relationship and which aids in them finding their path.

As they complemented each other while maintaining their individuality, it did not prove too difficult to see what they have chosen the name ‘Two’ for their joint performance and tour.

An enchanting and immersive evening that allowed one to space out from the daily humdrum of the white noise outside.

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Photos by Prudence Upton

Water of Life

Sake and Cocktails

In essence Kid Kyoto is a themed, dimly lit exposed brick lined Japanese restaurant whose ambience catapults you back into the throes of 90ies grunge and punk rock and when I say “themed”, I mean it: Every facet of the operation is a less than veiled allusion to either a song, band or something alternative music related down to the leather-bound menu carrying a freedom spike and the names of dishes and cocktails either directly referencing a band, a song or a phenomenon of the independent music scene.

What at face value could culminate in a gimmicky exercise and an ode to a decade that culminated in the year that punk died is actually a sophisticated culinary affair based on izakaya classics (think share style dishes), with a clever and genuinely well-sorted wine list, Japanese beers and premium sakes to match proffered by a team that is on point, attentive and forthcoming without being intrusive.

Kid Kyoto’s sake master class, which is conducted by the dedicated bar staff, is an exercise par excellence in not merely proffering but exploring the nuances of world-class sake, with a tasting journey specifically curated for the participants.

Sustained by nibbles and a curated, matched array of delectable dishes, alongside various sakes, paired for the occasion this intimate event is ideal for both the uninitiated as well as the well-versed samurai as it helps understand the complexity that makes Sake the mysterious tipple it is.

An affordable and highly interactive introduction to the world of premium Sake that helps unpack the differences between grades, types and brewing regions covering grades and types, sake brewing, the regionality of sake and of course the chemistry of taste, which will let you walk away with the right lingo and the confidence of a connoisseur.

Change of pace?

Like Cocktails?

Aight.

The diametric opposite of the laneway Kid Kyoto in terms of location is the waterfront Planar Bar & Restaurant, which offers basic fun cocktail mixology classes that prove to be the perfect launching pad for a night out as you learn how to shake, mix and muddle your way to being the life of the party.

Guided by in house mixologists and cocktail connoisseurs, you can learn how to make your favourite cocktails in an engaging ambience.

Based on a foundation of contemporary Modern Australian cuisine, i.e. a mélange of eclectic menus from all around the world, a culinary journey through the five continents.

A boozy exercise in Planar’s top-tier bartenders sharing the tricks of the trade covering everything from the tools you need to the basics of cocktail structure, as well as the history of alcoholic concoctions and tips for making your own recipes.

Summa summarum, an event that makes one salivate for Planar’s Melbourne Cup fashions on the field extravaganza sandwiched by drinks and canapés on Tuesday, the 6th of November.

Read more Water of Life entries here.

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1st image courtesy of Kid Kyoto, others courtesy of Planet Planar

SurlyFest 2018

The Hold Steady, Bad Bad Hats, Mixed Blood Majority, Static Panic, Rachel Kurtz, DJ Shannon Blowtorch

Festival Field (Surly Brewing Company)

Minneapolis, MN

October 13, 2018

SurlyFest is an annual tradition hailed by the brewery as a metaphor for their overall approach to beer. Much like Dogfish Head’s “Off-centered ales for off-centered people” core concept, Surly uses this Oktoberfest-inspired event to do their own thing. Yes, Surly releases an annual Oktoberfest-ish beer each year and throws this fest in that spirit, but the beer itself is well outside the rauch or Marzen flavors most associate with Oktoberfest. Surly’s version (which changes from year to year), embraces their hop-forward approach instead of highlighting that caramel malt base. Similarly, SurlyFest the even doesn’t emphasize lederhosen and accordion, but modern American indie rock.

This year’s lineup is a testament to that: diverse in style, generally from the vaguely-defined “indie scene” where bands are independent but have enough name recognition to highlight a festival. The lineup is usually local in focus, including this year, though technically The Hold Steady are from New York.

After missing the opening two acts due to schedule conflicts, I arrived just in time for Mixed Blood Majority, a hip-hop trio from the Twin Cities featuring rappers Crescent Moon (Kill the Vultures) and Joe Horton (No Bird Sing) and Lazerbeak (Doomtree) on beats. The crowd was still trickling in when their set began at 5pm but those up front where there for the music and not the beer, which is that fine line that sets an event like this apart from your average block party or parking lot event. Festival Field is built for bands, not just crowds. Mixed Blood Majority braved the temperate conditions, spitting lines as you could see their breath, and gradually shedding layers, ditching the winter coats but keeping stocking hats on. That’s kind of a theme for the night, besides the beer and music (of course). While I’m familiar with the artists and knew their first record, it was my first time seeing them in action. The chemistry between Crescent Moon and Horton was in full force, complementing each other’s flow and carefully sharing the spotlight as Lazerbeak worked his magic behind them. The two tradeoff for the most part, handing off verses and interacting physically at those points, otherwise taking up their own corners of the stage when it was time to shine individually.

Bad Bad Hats were a fitting segue. In full winter coats (to start) the dreamy pop band was less energetic on stage, befitting both of their style and that it was a chilly dusk. The set highlights their ability to straddle different styles: serious and fun, introspective yet universal, bouncy but with an inward-looking weariness. Autumnal music, for sure.

And then The Hold Steady took the stage. I haven’t seen them perform in any other city (not even St. Paul), but what always strikes me is that enormous grin on Craig Finn’s face whenever he takes the stage. It’s a homecoming show for the (half) Twin Cities-native band, and their enthusiasm is undeniable. The crowd also eats it up. Minnesotans take pride when one of our own strikes big. When a band like this – who namedrop everything from nationally-known landmarks to suburban strip malls in their material – achieve mainstream success, it’s embraced for life. They aren’t at a Purple Rain or Fargo level, but it’s a big deal.

Onto the actual show, though, which culled from their whole discography, opening with “Stuck Between Stations” and continuing for over an hour and a half. The ‘70s rock influence that overshadowed more recent albums was more subdued live. It’s ever-present in the light show and stage presence, but the solos and pomp added to the energy rather than taking something away. It’s a palpable energy that transcends from Finn’s grin to the shifting spotlight on stage that often turns to keyboardist Franz Nicolay. Nicolay adds the flair, while everyman Finn sings his stories and flails his arms like at a poetry jam. It’s a spectacle, in the good way. While the homage is certainly to an era of grandiose I’m generally not fond of, The Hold Steady keep a distinct balance. After all, the lyrics are accessible and relatable and Finn’s cropped hair, sportcoat, and vocal style are all more punk rocker than rock star.

So what’s the takeaway? In many ways it was a “greatest hits” show, and I’ve had the band in my head for the past week, even though I don’t know when I last listened to a full album. That’s the easiest way to say it was a rager. The band is always billed as a homecoming act in the Twin Cities, but it came across as a regular concert from a band that’s mastered their craft.

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Photos by Loren Green

An Enemy of the People

Belvoir Theatre

Sydney, AU

October 11, 2018

Norwegian playwright Henrik Ibsen’s prominent position on the forefront of the firmament of contemporary drama has never wavered as his artistic struggle against what he perceived to be the pig-headed middle class and political cowardice has found a myriad of incarnations and reinterpretations ever since he put a pen to paper.

An Enemy of the People (1882) was one of Ibsen’s more forward and direct emissions with the protagonists conveying large-type, stereotypical views and emotions that still resonate throughout this day and age – even more amplified through Melissa Reeves new contemporary version at Belvoir Theatre: Greed, politics, righteousness, corruption, complicit press and moral bankruptcy.

Fiery in delivery with well-calibrated and at times subtle comedic nuances, the ensemble lead by director Anne-Louise Sarks portrays the crisis of a small Australian country town; whose dynamics have more than obvious parallels to the macrocosm of worldwide big league political issues.

What Belvoir Theatre’s 2018 version accomplished is an extension of the surgical precision with which Ibsen smacked down the faults of his audience.

Not merely shedding light on the short sightedness of decision making along with the significance and implications of whistleblowing, but by adapting the main protagonist to feature a female lead (the vibrant Kate Mulvany), Reeves’ redux adds another dimension to Ibsen’s play by examining the discreditation and undermining of women in their endeavor to unveil the truth.

Part of the appeal of An Enemy of the People is that it is a play that switches its emphasis with each production.

Belvoir Theatre’s lively staging excels at displaying the dilemmas and intricate fabric of our society by emphasizing and embodying the fundamental and timeless questions that Henrik Ibsen originally raised.

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Photos by Brett Boardman

Mona Hatoum: Terra Infirma

Yale University Press

Dislocation, borders, political oppression are themes that are omnipresent and reverberate through Mona Hatoum’s oeuvre, which now spans over four decades.

In recent years, the illumination of the implications and contradictions of globalization has become part of her approach via either depicting or referencing mundane everyday household objects and altering or combining them in unusual manners with each other to reflect emotions such as alienation, instability and fear.

Terra Infirma is focused on Mona Hatoum’s solo exhibitions with mainly minimalist sculptures and installations that blur the line between reality and surrealism with the intent to subvert the familiar.

Highlighting the divide between technological advancement and regressions through conflicts and war, Hatoum explores gender issues, feminism and politics.

The copiously illustrated tome contextualizes Hatoum’s ominous work with essays that frame her significance in the canon of the arts as well imaginative interpretations which shed light on aspects that might only meet the eye upon further inspection from different angles.

An ode on book form to an artist that thrives on paradoxes and seems to enjoy frightening and entertaining her audience in equal measures with the aim to attack the barriers between art and life, self and structure, sense of belonging and nomadic uprootedness – the terra infirma we all dwell on.