Old dogs and new tricks
The impact of the avant-garde.
I called my dad today to get his opinion on some things about music.
Yes, he’s Gary Briggs of Briggsy Boys fame; part of the highly lauded duo that play dim Sutherland Shire pubs and clubs about twice a year. Their setlist is a tapestry of 70s and 80s hits that set the sticky dance floor alight with the wayward legs and arms of forty-somethings. One such gem is Stone Temple Pilot’s
Plush, which my dad thinks isn’t popular enough to perform but my uncle likes too much to take off rotation. Uncle Mark is two years older so he wins.
An die ferne Geliebte, Op. 98, Schumann’s
Liederkries, Op. 39, and Beethoven’s
Aus Goethes Faust, Op. 75, No. 3. Register and view here until April 18.
8 pm ET: Tippet Rise Art Center presents
Spring Festival. For the first day of Tippet Rise’s Spring Festival, two films have been captured at the DiMenna Center. The first features violinist Katie Hyun founding member of the Amphion String Quartet performing Vytautas Barkauskas’s Partita for violin solo. For the second film, Tippet Rise’s Artistic Advisor Pedja Mužijevic performs in a program titled
Is It Real (A Loving Homage to Surrealism), which includes music and spoken word by Satie, Schwitters, and Antheil. At 7:30 pm ET there will be a “backstage” gathering via Zoom, giving artists the opportunity to discuss their performances, followed by the release of the films. View here.
David McKenna
, March 16th, 2021 09:08
David McKenna celebrates ten years of the Rockfort column and tackles folk, rap, the dark arts - and classic French Europop
This column marks the ten-year anniversary of Rockfort on The Quietus, a realisation which is a source of delight and no little consternation (for me, but perhaps for others too). It’s the sort of moment that leads to pained reflections on where the time has gone, and what I’ve achieved. Then I remember that over the same period Daft Punk only managed to release one paltry album before splitting up and I feel much better!
Time Xone
Jack Barnett: This was always intended as a prelude to We Want War – to lull you into a false sense of security; maximum contrast. It was important to us to avoid the trap of bringing in classical instrumentation to make things sound orchestral or authentic . We were going for the opposite – to make the music even more uneven and distressed. 2D and stark, like a charcoal drawing. I d taught myself music notation in the preceding six months so this was a new world to me.
Graham Sutton: I ve always thought the process devised and decided on to make something has a really important effect on its outcome. For