FRACTURED AIR

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Posts Tagged ‘Laurie Anderson

Chosen One: Candoco Dance Company

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Interview with Pedro Machado (Candoco’s Artistic Co-Director).

I think Dance has this ability, it breaks barriers when you do it, it allows you to tap into a different state of mind and body but it also creates intriguing and captivating ‘things’ to look at.”

—Pedro Machado (Candoco’s Artistic Co-Director).

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Candoco, the leading company of disabled and non-disabled dancers is celebrating its 25th anniversary in London with two special performances at Sadlers Wells (tonight and tomorrow).

Beheld features music by German composer Nils Frahm reworked by fellow musician Machinefabriek. Set and Reset/Reset features music by Amercian avant-garde artist Laurie Anderson.

Founded in 1991 by Celeste Dandeker-Arnold OBE and Adam Benjamin, Candoco quickly grew into the first professional dance company of disabled and non-disabled artists in the UK. The rich beginnings of Candoco happened out of workshops, where disabled and non-disabled people got together to dance, create and have fun.

Candoco’s current Artistic Co-Directors Stine Nilsen and Pedro Machado were appointed as Celeste’s successors in 2007 having danced with the company for seven and nine years respectively. They have taken Candoco from the Bird’s Nest in Beijing to the Olympic Stadium in London, performing at the handover ceremonies in 2008 and returning, alongside Coldplay, at the Paralympic Closing in 2012 and have commissioned works for the company from leading choreographers Emanuel Gat, Rachid Ouramdane, Wendy Houstoun and Javier de Frutos.

Candoco’s ‘Beheld’ & ‘Set and Reset/Reset’ take place London’s Sadlers Wells on 21-22 October (tonight and tomorrow), performance commences at 7:30PM. For ticket bookings visit HERE.

http://www.candoco.co.uk/

https://www.facebook.com/candoco/

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Interview with Pedro Machado (Candoco’s Artistic Co-Director).

 

Please discuss the relationship between music and dance, and where you feel both these worlds intersect?

Pedro Machado: They both make us aware of rhythm and form and can be evocative of imagination and emotion. They are also ephemeral, you can reproduce and record it but the experience or listening to music or seeing dance disappears the second it happens. I like that specially as society tend to put some much emphasis on consuming and owning.

The Candoco Dance Company celebrates its 25th Anniversary this year and the forthcoming London production is to reworks of music by Nils Frahm and Laurie Anderson. I would love to gain an insight into the music program itself and your approach (and preparations) to reworking the music of Nils and Laurie Anderson? Also, what are the qualities and particular aspects to the music of Nils Frahm and Laurie Anderson that makes for such a compelling dance performance?

PM: Nils Frahm’s work is atmospheric, cinematographic, evocative… with plenty of space for contemplation, it’s a great match for dance and it’s capable of subtle but powerful emotional responses.  Laurie Anderson score for Set and Reset is full of layers and surprises, with a quirky humour and an engaging beat. Just like the dance.

Please discuss the aura of live performance and the feelings involved when it comes to the dance performance, live onstage and witnessing the production bloom into life?

PM: I love the communion aspect of live work, the fact that is experienced by lots of people at the same time… In one way the music and sounds help us to connect. When we work in the studio the music is a driving force and also guides dancers but sometimes it can take over and we also rehearse without music a lot. One of our performances at Sadler’s has a special aura as it will be audio described on the spot, to support further access to blind people.

As an integral force behind this world-renowned dance company, can you talk me through the rise of dance (in general) and your artistic vision (from the outset) when it comes to the inception of a particular dance piece, and its evolution to the final, end result?

PM: Candoco is an international reference in the field of dance and disability and it’s one of Britain’s most eclectic repertory Company but 25 years ago we didn’t set off to become a company, that happened out of workshops, where disabled and non-disabled people got together to dance, create and have fun.

I think Dance has this ability, it breaks barriers when you do it, it allows you to tap into a different state of mind and body but it also creates intriguing and captivating ‘things’ to look at. It’s like seeing a sportsperson performance where you have to decide for yourself what are the rules… What audiences see on stage is just the tip of the iceberg of months of preparations and hard work, many many hours that culminate in a one-hour event.

Can you describe the dance choreography and sequencing to the ‘Beheld’ movement, which sees a visually striking dance piece performed to the backdrop of Nils Frahms’ score? Please discuss the symmetry between the dance movement itself and movement of Frahms’ music?

PM: Beheld is beautiful to look at but it’s much more than that. There are great odd harmonies and collective effort and exhilarating dance sequences. Nils’ music creates an intimate still epic atmosphere that supports and extrapolates the action on stage.

What other composers and musicians would you love to collaborate with in the future? What other projects do you have planned, Pedro?

PM: We are working with Yasmeen Godder next year, she is very cool and has great taste, in our early conversations names like PJ Jarvey and Radiohead came up but we are aware these are big artists so we are also looking for other artists who can be political and emotional without being preachy or sentimental.

Candoco’s ‘Beheld’ & ‘Set and Reset/Reset’ take place London’s Sadlers Wells on 21-22 October (tonight and tomorrow), performance commences at 7:30PM. For ticket bookings visit HERE.

http://www.candoco.co.uk/

https://www.facebook.com/candoco/

 

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October 21, 2016 at 6:26 pm

Ten Mile Stereo

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Laura Veirs “Warp and Weft” (Bella Union)
Laura Veirs has firmly established herself as one of the finest songwriters making music today. Even despite her unwavering consistency, it is nonetheless a remarkable achievement to consider this is Veirs’ ninth studio album. “Warp and Weft” (a weaving term), can be seen to sum up her music perfectly as her output has been beautifully nuanced and lovingly crafted since her self-titled debut back in 1999. Renowned producer (and husband to Veirs) Tucker Martine is on board once again. The album is a darker and denser set of songs and is another stunning achievement from Veirs that draws much inspiration from the landscape, motherhood, love and violence (the latter in the form of suicide, war and gun crime). Featuring a host of contributors including Jim James, kd lang, Neko Case and members of The Decemberists, the album sees Veirs at her beautiful, brilliant best. According to Neko Case herself, “It’s masterful; as a listener, it makes me feel loved. As a musician it makes me feel challenged and engaged.” “Warp and Weft” will be released 19th August 2013 on Bella Union.

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Various Artists “Rare Cajun Recordings” (Tompkins Square)
Some of the finest compilations this year has come courtesy of the incredible San Francisco-based Tompkins Square label and their ongoing Long Gone Sound series (whose goal is “to create a catalyst for musical and cultural transformation.”) My personal highlight has been “Let Me Play This For You”, a collection of rare Cajun recordings made between 1929-1930. The tracks are by Babineaux & Guidry, Angelas LeJeune and Blind Uncle Gaspard. As the sleevenotes state: “Most of the performances on this collection have not been heard since they were original recorded on 78 rpm disc and yet they serve as a discrete Rosetta Stone for the traditional Cajun and Creole repertoire that exists today.” Also essential is “Turn Me Loose : Outsiders oF ‘Old-time’ Music”, a collection of 78 rpm records curated by Frank Fairfield, also available now on Tompkins Square.

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RocketNumberNine “MeYouWeYou” (Smalltown Supersound)
London-based RocketNumberNine comprise the brothers Tom and Ben Page who have toured extensively with a hugely impressive number of acts, including Radiohead, Four Tet, Caribou, Nathan Fake and James Holden. In fact it was Four Tet’s Kieran Hebden who released RocketNumberNine’s first material, courtesy of the 12″ “Matthew & Toby” (released on Hebden’s own Text imprint) which closes “MeYouWeYou”, their debut album, available now on the wonderful Oslo-based independent label Smalltown Supersound (the incredible sleeve is courtesy of the impeccable talents of multi-disciplinary artist Kim Hiorthøy).

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Laurie Anderson “Homeland” (Nonesuch)
Have been revisiting Anderson’s songbook since Colleen’s Influences mix for Second Language to coincide with Colleen’s new album “The Weighing Of The Heart” which includes Laurie Anderson’s “Big Science” (from 1982’s “Big Science” LP, Anderson’s first part in her extensive portrait of the United States). Also essential in Anderson’s considerable output is “Homeland”, released in 2010 on Nonesuch, her first album in a decade. Features the haunting sounds of Anderson’s singular violin playing, as Anderson says in the sleevenotes: “Homeland” is built on groove electronics and new string sounds for the violin. I spend a lot of time inventing new ways for the violin to sound. The string filters created melodies that turned into songs.”

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Marsen Jules Trio “Presence Acousmatique” (Oktaf)
Marsen Jules has long been responsible for some of the most quietly breathtaking and tenderly beautiful music released over the last decade or so. Albums such as “Herbstlaub”, “Les Fleurs” and “Golden” have established Dortmund-based Jules as one of the finest composers making music today. As the Marsen Jules Trio, Jules is joined by twin brothers Anwar Alam and Jan-Philipp Alam on violin and piano. Across the six pieces on “Presence Acousmatique” Jules and brothers Alam create heavenly music featuring abstract ambient spaces and textured passages of impeccable musicianship.

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Waxahatchee “Cerulean Salt” (Don Giovanni)
Katie Crutchfield’s Waxahatchee project began with 2012’s debut LP “American Weekend”. This year saw the release of follow-up “Cerulean Salt” (also on New Jersey independent label Don Giovanni Records). The former P.S. Eliot singer Katie Crutchfield establishes herself as one of the most promising American songwriters where her introspective, personal songs are set to wonderfully crafted guitar-based songs. For the set of songs on “Cerulean Salt” much inspiration is drawn from her family and Alabama upbringing.

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fieldhead “a correction” (Gizeh Records)
fieldhead is the moniker for Leeds-born ambient/electronic composer Paul Elam who will be joining Kranky’s Loscil in Spring of next year for his European tour. As well as making his own compelling and hugely immersive ambient material, Elam is also the full-time member of Hood side project The Declining Winter and a part-time member of Glissando’s Fleeting Glimpse Ensemble. Elam’s fieldhead soundscapes are beautifully augmented by the wonderful talents of violinists Elaine Reynolds (The Boats, The Declining Winter) and Sarah Kemp (Lanterns on the Lake, The Declining Winter). Since 2010 Elam relocated to Vancouver, Canada, and has two full length studio albums to date, a host of EP’s, as well as an impressive number of remix work.

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White Denim “Corsicana Lemonade” (Downtown Records/MapleMusic Recordings)
“It has taken five records to make one that sounds the way we do on stage” is how White Denim’s James Petralli describes the band’s forthcoming album “Corsicana Lemonade”. The Austin outfit will be touring with Tame Impala in October, while “Corsicana Lemonade” has been produced by Wilco’s Jeff Tweedy (whose production duties has included recent albums by both Low and Mavis Staples). LP due 28 October 2013.

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Suuns “Images Du Futur” (Secretly Canadian)
Currently, Montreal’s Suuns are performing live across Europe in support of their current LP “Images Du Futur”, released earlier in the year by Secretly Canadian. Lately, the band’s profile increased with the inclusion of the track “2020” for the UK trailer to Nicolas Winding Refn’s “Only God Forgives” where Ryan Gosling reunites with Refn for the first time since 2011’s “Drive”. “Images Du Futur” features a tight, visceral set of songs where the influences of Wire, Clinic and Radiohead can be heard.

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Julia Holter “Loud City Song” (Domino)
One of the most anticipated albums of the year comes from Los Angeles-based artist Julia Holter whose previous two albums – debut “Tragedy” and follow-up “Ekstasis” – elevated Holter’s status to being hailed as one of music’s modern greats. “Loud City Song” is Holter’s first album for the Domino label (who she signed to after previous “Ekstasis” album was released on RVNG INTL) and again displays Holter’s truly individual and captivating artistry where divine musical arrangements are combined with enriching and emotionally charged songs. In fact, the origins of this set of songs predates Holter’s 2011 debut “Tragedy”, and were worked on in late 2012. Holter has expressed inspiration from Collette’s 1944 novella Gigi, the music of Joni Mitchell and the poetry of Frank O’ Hara. “Loud City Song” is released by Domino on August 19th, 2013.

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