From No Shape, which came out in May this year.
Phenomenal performance by Rashid Alexander at Orientalicious Bellydance festival, Amsterdam 2017
From Jules et Jim (Directed by François Truffaut, 1962), the song “Le Tourbillon”. The film was directed by François Truffaut and released on January 23, 1962. This song of Cyrus “Boris” Bassiak [aka Serge Rezvani] is interpreted by Catherine [Jeanne Moreau]. Albert on guitar, is none other than songwriter Bassiak / Rezvani. Other roles:
Jules [the short one with blond hair]: Oskar Werner
Jim [the tall one with white shirt]: Henri Serre
According to Wikipedia Rezvani actually wrote this song seven years before, in reference to the couple formed by Jeanne Moreau and his companion at the time, Jean-Louis Richard, who was also Serge’s best friend.
Elle avait des bagues à chaque doigt, (She had rings on every finger)
Des tas de bracelets autour des poignets, (A profusion of bracelets on her wrists)
Et puis elle chantait avec une voix (And she was singing with such a voice)
Qui sitôt m’enjôla. (That I was at once under her spell)
Elle avait des yeux, des yeux d’opale (She had eyes, eyes of opal)
Qui fascinaient, qui fascinaient, (That fascinated me)
Y avait l’ovale de son visage pâle, (And there was the oval of her pale face)
De femme fatale qui me fut fatale (bis). (That of a”femme fatale” who was fatal to me)
On s’est connus, on s’est reconnus, (We met, we met again)
On s’est perdus de vue, (We lost sight of each other)
on s’est reperdus de vue, (we again lost sight of each other)
On s’est retrouvés, (We found each other anew)
on s’est réchauffés, (We warmed each other)
Puis on s’est séparés. (And then we separated)
Chacun pour soi est reparti (We each went our own ways)
Dans le tourbillon de la vie; (In Life’s whirlpool of days)
Je l’ai revue un soir aïe aïe aïe! (One night I saw her again)
Ca fait déjà un fameux bail (bis). (It was such a long time again already)
Au son des banjos je l’ai reconnue, (To the sounds of banjos I recognized her)
Ce curieux sourire qui m’avait tant plu, (This mysterious smile that pleased me so much)
Sa voix si fatale, son beau visage pâle (Her voice so fatal, her beautiful pale face)
M’émurent plus que jamais. (Moved me more than ever)
Je me suis saoulé en l’écoutant, (I drank as I listened to her)
L’alcool fait oublier le temps, (Alcohol removes time’s sting)
Je me suis réveillé en sentant (I awoke as I felt)
Des baisers sur mon front brûlant (bis). (Her kisses on my burning brow)
On s’est connus, on s’est reconnus, (We met each other, we again met)
On s’est perdus de vue, on s’est reperdus de vue, (We lost each other, we lost each other anew)
On s’est retrouvés, on s’est séparés, (We found each other again, we separated)
Puis on s’est réchauffés. (And then, we warmed each other)
Chacun pour soi est reparti (We each went our own ways)
Dans le tourbillon de la vie; (In Life’s whirlpool of days)
Je l’ai revue un soir ah la la, (Again I saw her one night)
Elle est retombée dans mes bras (bis). (She fell in my arms anew)
Quand on s’est connus, (When two lovers met)
quand on s’est reconnus, (when they met again)
Pourquoi se perdre de vue, (Why losing sight of each other)
se reperdre de vue, (why losing each other again)
Quand on s’est retrouvés, (When they found each other)
quand on s’est réchauffés, (when they warmed each other)
Pourquoi se séparer? (Why go their separate ways?)
Alors tous deux on est repartis (Thus both of us resumed our ways)
Dans le tourbillon de la vie, (In Life’s whirlpool of days)
On a continué à tourner, (We continued to go round and round)
Tous les deux enlacés (ter). (Both together bound)
And this is a WONDERFUL interview, from 2002!
In my daydreams I am sometimes this girl.
Creative Director：Nozomu Hayashi (HAKUHODO DY MEDIA PARTNERS)
Producer：Yuki Miyamoto (HAKUHODO PRODUCT’S)
Director of photography：Chigi Kanbe
Assistant Director : Yuzuru Tatebe
Planner：Motoki Uno (HAKUHODO)
Hair & Make-up：Sayuri Yamashita (3rd)
Stylist assistant：Mana Iwanami
Choreography, Dance Inspired by Jillian Mayers
(English Subtitles by Junko Otsubo）
2017.6.6 Digital Release
Behind the scenes:
Expect a variety of sonic and visual explorations of the edges from a huge range of international and local artists: drumming ensembles, thunderous noise musicians, avant-pianists, drone ensembles, ambient artisans, post-post-punks, sonic clay sculptors, algorithmic composers, fringe poets, sound theatre, dance, live painting, the melodies of knitting patterns.
In collaboration with Contour Vinyl we will also be launching our first vinyl series: 12 highly limited lathe-cut 7″s containing exclusive works by the artists performing at the festival. These 7″s, each available in a micro-run of only 10 copies, will be available for purchase at our 2017 events.
“An edge is a special kind of being-in- place; it marks the transition between something and nothing. Edges are limits, and also shape-defining margins. To be at the edge is to exist in the “in” of the “in-between,” in the instant between one time and another. An edge cuts and changes whatever it encounters. It is where movement must stop or turn in a different direction; it is where people plummet into the abyss, or learn to fly. Things end, and begin, at this place—but nothing stays at the edge forever. Edges mark the boundaries of empty space, but they also represent the transformational places where new possibilities open up again.” – David Novak, Japanoise: Music at the Edge of Circulation
WED 26th Amuse Cafe, 34 5th St, Linden, Johannesburg, 19:00
– Healer Oran
– Datsrok [Norway]
– MONOMORT [Norway]
– Thomas Holme [Norway]
THU 27th The Bijou, 178 Lower Main Rd, Cape Town, 20:00
– Jill Richards
– Coila Enderstein / Daniel Grey
– Darkroom Contemporary (short film)
– DATSROK (Kenneth Korstad Langås, noise) [Norway]
– Dolly Turing [UK]
– Khoi Konnexion
FRI The Bijou, 178 Lower Main Rd, Cape Town, 20:00
– Daniel W J Mackenzie [UK]
– RISK (lliezelellick, nonentia, choir, four drummers)
– As Is with Didi Didloff and Vasti Knoesen
– Belinda Blignaut and Jacques van Zyl
– Cara Stacey and Hanan Benammar [Norway]
SAT 29th The Common Room, 135 Albert Rd, Woodstock, Cape Town, 19:00
– Justin Allart and Thomas Holme [Norway]
– Gareth Dawson and Rhea Dally
– Jason Stapleton, Lucy Hazard (projection to audio by Justin Allart)
– Chantelle Gray and Anastasya Eliseeva
– MORKEN [Norway]
SAT Afterparty at the Common Room
– DJ’ing by 3EYE, Violet Beausoleil and Kenneth Angerhand [UK/SA/UZ]
Hanan Benammar (DZ/FR) – Giraffes don’t Whistle
Giraffes don’t Whistle is a silent karaoke video installation made in collaboration with the students of Brendon Bussy’s class at the Dominican School for Deaf Children.
The videos will explore the relationship between dream, landscape, night activities and perceived sounds from the narratives of the participants.
Mattias Cantzler (SE) – Marius Stocking Blues
Marius Stocking Blues is an experimental sound installation consisting of a self made busker organ.
The organ plays automatically by using a handle and based on a traditional Norwegian knitting pattern called the Marius pattern.
The knitting pattern used in the project is translated into braille, a script for blind people. Inspiration for the project is taken from phonography, cryptography, geometry, mosaic and textiles. The work relates to older forms of communications like for example telegraphy, smoke and light signals, but also has similarities to early computer technology.
R100 suggested cover charge per event (more or less according to means).
Right of admission reserved. Cellphones to be switched off during performances.
STUFF TO BRING: A comfy cushion you don’t mind getting dirty. Your own drinks. An open mind.
A BIT MORE ABOUT EOW:
HUNTER THOMPSON ONCE SAID that there is no honest way to explain the edge, “because the only people who really know where it is are the ones who have gone over.”
It is a kind of hidden place that is revered and feared by some – the hellish underbelly of the world. Yet it is also a place searched for, written about, and found in the music of the strange. And it is this edge we want to bring to you by creating a space which allows musicians to etch out the edge of wrong, pushing the boundaries so that new sounds might be found.
The EDGE OF WRONG festival is currently in its twelfth year and serves mainly to facilitate cultural exchange. Though it has become an established production network it is forever evolving, intent on creating a sustainable environment for quality art of an exploratory nature.
Perfection is death, as it leaves nothing to be desired.
“The basic human need to be watched was once satisfied by God.”
20:00 – Main Hall – Lliezel Ellick / Roxanne De Freitas / Rosemary Lombard (vocal performance piece)
20:25 – Main Hall – Louise Westerhout /Keenan Chas Ahrends / Nicola van Straaten (word/sound/dance)
20:40 – Minor Hall – Inka Kendzia / Jessica Smith (video and live performance)
21:00 – Main Hall – Rhea Dally / Justin Allart (sound/noise performance)
21:20 – Main Hall – Lucy Hazard / Puleng Lange-Stewart / Hannah Walton (video with spoken word performance)
21:35 – Minor Hall – FAITH XVII (video installation)
22:00 – Main Hall – Chantelle Gray (performance piece)
22:20 – Main Hall – Debra Pryor / Mark O’ Donovan (performance piece)
Continuous – Meeting Room 1 – Sydelle Willow Smith (photography)
Continuous – Meeting Room 2 – Miranda Moss (installation)
A window I. A partition. A voyeuristic interface between spaces. A civilizing constraint. Gazing. At the window, through the window, beyond the window. The voyeuristic gaze: preconditioned values, assumptions, desire. The civilizing gaze: conditioning values, assumptions, desire. Gazing. An act of memorializing (it suggests spectatorship, a fetishistic surveying; it suggests participation: in memory, in meaning-making).
A window II. A framing device. Commonly used in art and cinema. To exaggerate part or parts of a figure (forms, tones, shapes, shadows). To recompose an image. To slice up the world into smaller, more wieldy frames. To elicit metaphorical interpretation. (The audience is prompted to step into a world of windows.)
A window III. The window. A composing stratagem. (A perspectival arrangement.) A voyeuristic interface between artist and audience. An invitation to interact with the unknown, the unknowable, the known known. It is not a linear perspective of space, but a cutting up of, slicing into, carving through. (It suggests the existence of another, entirely otherworldly, place.)
“A concept is a brick. It can be used to build a courthouse of reason. Or it can be thrown through the window.”
– Gilles Deleuze
Just been thinking it’s really interesting how a lot of the satire I’ve seen about Trumpfest has taken the shape of musical/cabaret… The musical is an OTT form that foregrounds its own fabrication, bombastically, and also the stylised regression to past constructions of nationalist, individualist, whitecishetpatriarchal identity–the American cheesecake nostalgic dream as nightmare for those it doesn’t include. I think it’s a perfect medium for this work.
Estonian animated film by Rein Raamat, Tallinnfilm, 1983. The film brings to life in one nightmarish vision three detailed engravings from the early 1930s created by Estonian artist Eduard Viiralt: “The Preacher”, “Cabaret”, and “Hell”.
Great fan-made video from a scrap of studio footage. <3 From the new album Amnesty (I) out on Fiction Records. Samples from several songs on this album.
Please join us for an evening of experimental live music hosted by the Edge of Wrong and featuring performances from pianist Coila-Leah Enderstein, electronic musician Daniel Gray, noise maestro Justin Allart and movement-based composition artists Aragorn23, Chantelle Gray and Amantha.
Entrance is pay-what-you-can (recommended donation R50) and you can bring your own refreshments. Please make sure you arrive by 7:30 to minimise disruptions during performances.
___ ABOUT THE ARTISTS ___
Coila-Leah Enderstein is a classically trained pianist based in Cape Town. She’s into in experimental new music and interdisciplinary performance.
daniel gray is an artist from johannesburg and now lives in cape town. he is currently working as a high school maths teacher. he is interested in sound as image, dreams, collective improvisation and chance processes. in 2014-2016 he released an audiovisual album called “fantasmagoria”, a noise/peace album called “mssapessm”, took part in GIPCA live arts festival, performed around cape town, formed the now defunct subdwellers dj collective, started primitive ancestor records – a net label, to name a few of the many noisy endeavours. this will be the third edge of wrong event that he has participated in.
Justin Allart is a highly prolific experimental/noise musician who performs using a motley array of non-musical instruments. Expect sandpaper on turntables and effects pedals talking to themselves.
Aragorn23 is an experimental musician based in South Africa. His current work focuses on algorithmic and gestural composition and the use of the body as an instrument. He will be performing alongside collaborators Chantelle Gray and Amantha on the evening.
From Heligoland, released in 2010, with vocals by Hope Sandoval.
Also check out the epic 2011 remix by Burial:
And this one from Gui Boratto:
I can recommend this as a great album for dancing around a winter-sun-drenched flat at the end of the world, doing housework.
A compilation of live recordings made in Los Angeles, New York, Detroit, Boston, and Copenhagen, between 1968 and 1970.
“I’ll tell you this…
No eternal reward will forgive us now
For wasting the dawn.
And one morning you awoke in the strange sun,
And opening your door…”
Originally a silent film, this soundtrack was added by Nikos Kokolakis in 2015 – turn the sound off if you prefer.
About her fourth complete film, Ritual in Transfigured Time (1946), Maya Deren writes: “A ritual is an action that seeks the realisation of its purpose through the exercise of form… In this sense ritual is art; and even historically, all art derives from ritual. In ritual, the form is the meaning. More specifically, the quality of movement is not merely a decorative factor; it is the meaning itself of the movement. In this sense, this film is dance […] It’s an inversion towards life, the passage from sterile winter into fertile spring; mortality into immortality; the child-son into the man-father; or, as in this film, the widow into the bride”.
– Maya Deren: Chamber Films, program notes for a presentation, 1960
A poem for those who died, shot in Pulse nightclub in Orlando this weekend past.
i was going to see you
i was going to dance
in the same place with you someday
i was going to pretend not to notice
how you and your friends smiled
when you saw me and my partner
trying to cumbia to bachata
but i was going to feel more free anyway
because you were smiling
and we were together
and you had your stomach out
and you felt beautiful in your sweat
i was going to smile when i walked by
i was going to hug you the first time
a friend of a friend introduced us
i was going to compliment your shoes
instead of writing you a love poem
i was going to smile every time i saw you
and struggle to remember your name
we were going to sing together
we were going to belt out Selena
i was going to mispronounce everything
except for amor
and ay ay ay
i was going to covet your confidence and your bracelet
i was going to be grateful for the sight of you
i was going scream YES!!! at nothing in particular
at everything especially
meaning you beyond who i knew you to be
i was going to see you in hallways
and be too shy to say hello
you were going to come to the workshop
you were going to sign up for the workshop and not come
you were going to translate the webinar
even though my politics seemed out there
we were going to sign up for creating change the same day
and be reluctant about it for completely different reasons
we were going to watch the keynotes
and laugh at completely different times
i was going to hold your hand in a big activity
about the intimacy of strangers
about the strangeness of needing prayer
we were going to get the same automated voice message
when we complained that it was not what it should have been
we were going to be standing in the same line
for various overpriced drinks
during a shift change
i was going to breathe loudly so you would notice me
you were going to compliment my hair
it isn’t fair
because we were going to work
to beyonce and rihanna
and the rihanna’s and beyonce’s to come
and the beyonce’s and rihanna’s after that
we were going to not drink enough water
and stay out later than our immune systems could handle
we were going to sit in traffic in each others blindspots
listening to top 40 songs that trigger queer memories
just outside the scope of marketing predictions
we were going to get old and i was going to wonder
about the hint of a tattoo i could see under your sleeve
i was going to blink and just miss
the fought-for laughter lines around your liner-loved eyes
i was going to go out for my birthday
but i didn’t
and you did
we were going to be elders
just because we were still around
and i was going to listen to you on a panel
we didn’t feel qualified for
and hear you talk about your guilt
for still being alive
when so many of your friends were taken
by racist police
and jealous ex-lovers
and no access to healthcare
and how you had a stable job
you suffered at until the weekend
how you avoided the drama
and only went to the club at pride
and so here you were with no one to dance with anymore
i was going to see you and forget you
and only remember you in my hips
and how my smile came easier than clenching my teeth eventually
and how i finally learned whatever it is i still haven’t learned yet
i was going to hear you laugh and not know why
and not care
our ancestors fought for a future
and we were both going to be there
until we weren’t
and i don’t know if it would hurt more
to lose you later after knowing you
i don’t know if it would hurt more
to know you died on your own day
by your own hands
or any of the other systems
that stalk you and me and ours forever
i only know the pain that i am having
and that you are not here to share it
you are not here to bear it
you were going to pass me a candle at the next vigil
but now i am pulse
and now you
This is the most irrepressible music I have heard in forever.
Dis ‘n roering! And how.
That sample at the beginning is from Hildegard von Bingen’s “O Euchari in Leta Via”.
Grimes performing “Be a Body” at Good Records in Dallas, TX. Shot with a Sony HX9v, with audio from a Zoom H1.
Marble Machine built and composed by Martin Molin. Video filmed and edited by Hannes Knutsson.
Wintergatan website: www.wintergatan.net.
The most decolonised academic space I have yet had the joy of experiencing. The conference continues today. If you’re in Cape Town, come. It’s free!
HERE is the programme. 🌸
The first track of the classic album, Pirate’s Choice, recorded in Senegal in 1982. Malick Sidibé’s iconic photography graces the album artwork.
The band was Senegalese Afro-Cuban, Son, Wolof and Pachanga. Organized in 1970, as a multi-ethnic, multi-national club band, Orchestra Baobab adapted the then current craze for Cuban Music (growing out of the Congolese Soukous style) in West Africa to Wolof Griot culture and the Mandinga musical traditions of the Casamance.
As part of the Edge of Wrong organising team, I’d like to invite you to join us for our tenth annual music festival, happening in Cape Town on the 22nd and 23rd of April (with a mini edition in Johannesburg on 15th April) and featuring an array of international and local artists presenting a wide range of experimental, uncompromising and dangerous music.
In celebration of our first ten years of existence, during which time we have hosted more than 30 cutting-edge events, we’ve compiled an extra-eclectic line-up of South African and Norwegian musicians, including Daniel MacKenzie, Gunfire Orchestra (Reza Khota, Beat Keller and Morten Minothi Kristiansen), Arnfinn Killingtveit, Kenneth Angerhand and Amantha, Ad undas, Mark Fransman, Darren English, Brendon Bussy, Justin Allart and Hezron Chetty.
Expect everything from feedback guitar and malfunctioning drum machines to improv violin, dance-controlled piano and walls of screeching noise from hand-built instruments.
__VENUES, LINE-UPS, COST, ETC.:
*** FRIDAY 22nd ***
1 Perth Rd, Maitland, CT
Doors open at 7pm, music starts at 8pm
Pay what you can – recommended contribution R50-R100
∞ Brendon Bussy (SA)
∞ Daniel W J Mackenzie (UK)
∞ Ad undas (NO)
∞ Kenneth Angerhand with Amantha23 (KI)
∞ Arnfinn Killingtveit (NO)
*** SATURDAY 23rd ***
Moholo Live House
42 Ncumo Rd, Harare Square, Harare, Khayelitsha, CT
Doors open at 7pm, music starts at 8pm
Pay what you can – recommended contribution R50-R100
∞ Gunfire Orchestra (NO/SA)
∞ HORNS NOISE (NO/SA)
∞ Swamps up Nostrils (NO/SA)
∞ Hezron Chetty (SA)
*** SUNDAY 24th ***
Music Hacker Lab – details to be confirmed!
GENERAL INFO: Right of admission reserved. Drinks will be available for purchase at the venues. Cellphones to be switched off during performances.
Performing in Johannesburg on the 15th are:
* Gunfire Orchestra (Reza Khota, Beat Keller and Morten Minothi Kristiansen) (https://gunfireorchestra.bandcamp.com/) (NO/SA)
* Kenneth Angerhand (www.further.co.za/asqus) (KI)
* Jill Richards (www.jillrichards.com) (SA)
* Carlo Mombelli (www.carlomombelli.com) (SA)
* Daniel MacKenzie (www.danielwjmackenzie.com) (UK)
This is a post from a few years ago. Julia Clark reminded me of it today.
A still from here, at 0:27:
it is so startling to see yourself somewhere you are not
in my sleep
i am this dancing girl
in the weimar nightclub
and i buzz with black holes
between the nets of swinging cliches
kurt weill refrains
they’re all unravelled, sucked away
and i’m left with only questions
to clothe her dancing bones
so who was she?
and what was her name?
what was her favourite food?
how did she move?
was she a good dancer?
where did she work?
was she in love?
was she lonely?
did she have a brother in the army? a lover?
as she donned that “vaterland” hat, did her chest swell with pride
or was it just the dress code?
where was she in 5 years’ time?
did she have any children? grandchildren? where are they now?
do they also look like me?
more and more questions
and all from just a 1-and-a-half second cutaway to anonymous archive in
a lousy louise brooks documentary
i feel dizzy
eisenstein was right
montage is dangerous.
“I could live in the world just like a stranger
I could tell you the truth or a lie
I could tell you that people are good in the end
But why, why would I?
Angels will cry when it’s raining
Tears that are no longer clean…”
And HERE is an interview with her.
Lilith Performance Studio, June 5, 2010
Melati Suryodarmo (b. in 1969 in Surakarta, Indonesia, lives and works in Braunschweig, Germany) performs EXERGIE – Butter dance, an older piece but shown for the first time at Lilith.
20 blocks of butter in a square on the black dance carpet. Suryodarmo enters the space, dressed in a black tight dress and red high heels. She steps on the pieces of butter. She starts to dance to the sound of Indonesian shamanistic drums. She dances and falls, hitting the floor hard, rising, and continuously being on the verge of standing, slipping and falling in the butter. After twenty minutes Suryodarmo rises one last time, covered in butter, and leaves the space.
Copyright of the performance: Melati Suryodarmo
Documentation done by Lilith Performance Studio.
Copyright of the documentation belongs to Melati Suryodarmo and Lilith Performance Studio, Malmo, Sweden.