The cover art for Björk’s hotly anticipated new album Biophilia, released 27 Sep, has been shot by Inez Van Lamsweerde and Vinoodh Matadin and with art direction by Paris design studio M/M. Quoting Björk herself, her ambitious new multimedia project is “an album, an app, a live show and a new website…” and explores the intersection of music, nature and technology. The first single and app is called Crystalline and has a music video by another French talent Michel Gondry, see below. The live show premiered at the Manchester International Festival in June, and will tour the world for the next 2 years, click for tour dates near you http://bjork.com/
For this one-off live show, French DJ and sound artist Chloé goes beyond the domains usually explored by the world of electro. Demonstrating her passion for the Dada and Surrealist movements, Chloé has developed a plural electro-acoustic flow “Chasser Croiser / The Surreal and it’s Echo”, where archived documents and the voices of the most important Surrealists of the 1920s resound and come together to create electricity. The musical piece is accompanied by an artist’s book, published by DisVoir, featuring photographs, manuscript excerpts and other ephemera, which serves as the echo to the live show. Grande Salle, Centre Pompidou, rue Beaubourg, 4th. www.centrepompidou.fr/
Musée d’Art Moderne’s cafeteria launched a summer fiesta of DJs and cocktails taking place every Thu, Fri and Sat on their terrace. Facing the Palais de Tokyo and Tokyo Eat’s outdoor space, the Terrasse FL shares the same stunning views of the Seine and the Eiffel Tower. Keep up with their DJ programme on Facebook. Every Thu, Fri, Sat, 6pm-midnight. Musée d’Art Moderne de la ville de Paris, 11 av du Président Wilson, 16th. M° Iéna. www.terrasse-fl.fr/
The weekly floating club l’Eté d’Amour, returns for the summer, opening tomorrow with DJ Gilb’R, Get A Room and Alexis Le Tan on the decks. The week after, the 15 June, there’s the launch of electro graphic novel Chant de la Machine, prefaced by Daft Punk, with DJ Mehdi, Romain BNO & P-Wax. Run by the Respect crew, the weekly party is now taking place on the Café Barge docked under the Gare de Lyon.
Every Wed till Sep from 8 June, 6pm-2am. Free entry.
Le Café Barge, 5 Port de la Rapée, 12th. www.facebook.com/etedamou
The long-anticipated brainchild of producer-composer Danger Mouse and Italian composer Daniele Luppi, Rome benefits from a bit of context. More than five years in the making, the project assembles many of the surviving performers of classic ’60s and ’70s Ennio Morricone scores — and, in half a dozen memorable cases, pairs them up with the vocals of Norah Jones or The White Stripes‘ Jack White.
Naturally, Rome can’t possibly exceed the sum of its parts, with its successful composer and arranger in Luppi, its groundbreaking producer and composer in Danger Mouse, countless combined years of orchestra experience, a painstaking recording process with vintage equipment, and the juxtaposition of White’s fatalistic moan with Jones’ coolly detached croon. It almost has to sound better on paper than in practice, but it’s terrific in practice, too, as it alternates appropriately cinematic instrumentals with a handful of nifty showcases for its headliners.
Jones is long overdue for an image makeover: All those tens of millions of records sold and armloads of Grammys have made it easy to forget that she’s still a remarkably cool singer. Here, Jones at times channels the wounded iciness of Metric‘s great Emily Haines, while still lending her own brooding gravitas to “Season’s Trees,” “Black” and “Problem Queen.” Of course, White makes the most of his own three appearances, from the tone-setting portent of “The Rose With the Broken Neck” to the album-closing “The World,” which helps conjure mental images of rolling credits. But Jones and White aren’t the only scene-stealers in Rome: Edda Dell’Orso pops up in the album-opening “Theme of Rome,” picking up where she left off in the soundtrack to 1966′s The Good, The Bad And The Ugly.
If it weren’t for the unmistakably contemporary voices among its ranks — White’s in particular — Rome could just as easily have emerged from a vault, sealed 40 or even 50 years ago. That’s clearly the point: From start to finish, the album provides a timeless, arduously arranged backdrop to past generations’ visions of panoramic vistas and blood-stained betrayals.
Ahmir Khalib Thompson, is the renowned drummer of Grammy-winning Philadelphia band The Roots, but that’s just the beginning. He’s also a DJ, journalist and record producer. He’s worked with Common, Erykah Badu, John Legend, Jay-Z, Bilal… the list goes on and on. And, of course, he’s on network television almost every weeknight as the leader of the house band on Late Night With Jimmy Fallon.
On April 17, ?uestlove teamed up with Parisian star Keren Ann to present “Philly-Paris Lockdown,” a one-night celebration of 1900s Paris that took place at this year’s Philadelphia International Festival of the Arts. Keren Ann is a multi-instrumentalist, producer, engineer and songwriter with six solo albums to her credit. Her recent 101 has already attracted acclaim for its subtle intricacies and strong storytelling.
For “Philly-Paris Lockdown,” ?uestlove and Keren Ann were joined by a slew of artists to present an event awash in jazz, classical and hip-hop styles. The collaboration reworks compositions from Satie, Ravel, Debussy and Stravinsky.
World Cafe, host David Dye sits down with ?uestlove to discuss the project and play highlights from the evening.
This year marks the 100th anniversary of The Vagabond, Colette’s classic novel that describes the simultaneous decadence and grittiness of Paris in 1910. The book is set against the backdrop of a music-hall dressing room, a vaudeville stage, and a very bohemian Parisian flat.
Colette’s books were often described as “shocking” and “scandalous,” and her life was no less so. In her twenties, she married a man 15 years her senior. In her thirties, she divorced him, began performing at the Moulin Rouge, and had a long lesbian relationship with the Marquise de Belboeuf, a fellow performer known as “Missy.” In her thirties, Colette married newspaper editor Henri de Jouvenel, had a notorious affair with his son, and divorced. (Like many of the events in her life, the affair inspired a book, The Ripening Seed.) In her sixties, she married her third husband, a man 17 years her junior.
She lived in many different homes, from a house in St. Tropez to an apartment in the Palais Royal, where she stayed into old age. It was there, during WWII, that she hid her third husband — Maurice Goudeket — in an attic to keep him from being found by Nazis. After the war, she hosted local luminaries at her home, including Jean-Paul Sartre and Jean Cocteau.
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As The Ghost of a Saber Tooth Tiger, Lennon and Kemp Muhl have produced a finely calibrated mix of blissful psych-pop, with sweet two-part harmonies and wistful, wandering melodies inspired by ’60s French pop.
Lennon and Kemp Muhl, who are also dating, say they started The Ghost of a Saber Tooth Tiger a couple years ago on a whim. The band’s name was the title of a play Kemp Muhl wrote as a child, but the project soon evolved into a serious songwriting venture for both performers. Lennon, who’s released several well-received albums as a solo artist — and with the band Cibo Matto — takes on lead vocals. Kemp Muhl is a multi-instrumentalist (bass, guitar, accordion, piano, melodica) and imaginative lyricist, with an enchanting voice in her own right.
Listen to their entire album courtesy of the delightful NPR