Commissioned to create a piece for France Culture’s Atelier de la Création Radiophonique, and basically given free reign to do whatever she wanted, Colleen (aka French electronic musician Cécile Schott) conceived an exercise in restriction: She would limit her instrumental palette to music boxes.
Michael Gira sat across the table at a quiet Brooklyn bar on a rainy Wednesday night. The conversation had settled on a mutual hero, Werner Herzog.
The player piano was the first multi-track recorder. Yes, the individual staves on a sheet of manuscript paper could be seen as so many “tracks,” terraced into those polyphonic layer-cakes called scores.
On his new triple album, Orphans: Brawlers, Bawlers and Bastards, Tom Waits has re-asserted his place among the vanguard of daring and fiercely independent American recording artists.
What do dancing bears, birds on stilts, and neon lights have in common? They are features of Mozart’s Die Zauberflöte, directed by Julie Taymor, in the first new production by the Metropolitan Opera House in twenty years.
In 1987 Kristin Hersh had a baby and a six-year-old band with three recordings.