The Paris Opera Ballet is of course a more exalted place than either the Boise Statehouse or that grim New England penitentiary — its dancers are certainly easier on the eyes than legislators or social workers — but the quality of Mr. His curiosity is boundless but also disciplined, and he forgoes explanation in favor of a visual version of what anthropologists call thick description. It is, rather, about two kinds of time that exist outside traditional narrative frameworks: the long, slow, repetitive cycle in which institutions exist, and the fleeting moments of bodily motion and musical expression that make ballet such a singular and elusive art form.
All this makes the film sound remote, even abstract, but it is really the opposite. It is sometimes hard to follow what she is talking about, but her energy and cadences are mesmerizing. Dance is a vehicle of meaning and emotion, but it is also a technical undertaking consisting of minutely controlled muscular movements. What goes on in rehearsal is the negotiation between art and technique, and language is a paltry but necessary tool. The performances that result from all this work — and that are upheld by the gritty business of fund-raising and nearly obstructed by French labor troubles — are ravishing and also a bit anticlimactic.
By the time you see the dancers in costume, on a carefully lighted stage and accompanied by a full orchestra, you have attained an intriguing liminal status somewhere between spectator and performer.
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Maison de la Danse has a stage and 1. It was the result of a gamble taken in by five local choreographers Claude Decaillot, Michel Hallet Eghayan, Lucien Mars, Hugo Verrechia et Marie Zighera , who united to defend dance and to find a place dedicated to this art form. The City of Lyon granted an old theatre in the district of Croix-Rousse. The artistic direction was entrusted to Guy Darmet.
The success of the first season exceeded the most optimistic forecasts. The importance of a space for dance had been demonstrated. The project resonated at national and international level. Today still, Maison de la Danse is a unique place for dance in Europe. Electronic music is experiencing a golden age of sorts.
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Equipment, inspiration, people, and music are less and less tied to specific places and scenes. Repetto is driving in Bern, the car stereo locked on Radio Couleur 3.
The Young Gods are being interviewed, and the pioneering Swiss industrial band mentions the word "psychedelic" enough times for the driver to take heed. Inspired by a magical performance by the same band, he decides to experiment by injecting a dose of psychedelia into his productions. The result is "The Final Moment", a minute trip which began as a club track before turning into an ambient and yes, psychedelic tune, reminiscent of progressive rock forays but entirely synthetic.
Chorégraphie; ou l’art de décrire la danse
Repetto then meets Riesen, and the pair produce more tracks in the same vein. Some are resolutely geared towards the dance floor; others would not be out of place in a chill-out context. Demos are sent to labels with "The Final Moment" accidentally included in the package.
Rephlex was enthused with all tracks on the release but was especially impressed by "The Final Moment" and released The Purple Universe soon after. This album is of course neither the first nor the only one to blend electronic music and psychedelia.
It is ironic that a Swiss duo can be credited in part with writing the template for post-Detroit British techno, proto-IDM and braindance. But, it is not surprising either that this record was originally released by Rephlex, a very logical decision in hindsight. The Purple Universe is a versatile album, with a few club-ready bangers full of emotion, some more experimental cuts that feel both introspective and forward-thinking as well as "The Final Moment", a universe in itself and a masterpiece of sorts, an important artifact of a time where it became more and more obvious that electronic music and dance music did not have to be safe, straightforward or tame.
Includes three tracks from original CD version, never available on vinyl before. Scalable Architectures. Originally released in Cron is a project where Todd Sines focused on his long-running passion for electro music by exploring a specific set of machines composed of a Synton Vocoder SPX, a Yamaha DX , and an Arp Avatar in a vibe completely different from his.
La Danse (film) - Wikipedia
The record visual presentation was equally important as it features 3-D objects created by Todd Sines through intentional misuse of mathematical functions, creating unique forms and "scalable architectures". Six highly danceable futuristic electro tracks of deep, sharp-edged electric grooves and hypnotic warm cuts. Scalable Architectures Blue Vinyl. Musique Pour La Danse takes a short break from reissuing rare and essential music to bring you a selection of four new and exclusive tracks from the French underground entitled Equipe De Danse.
Cafe de la Danse, Paris: Address, Phone Number, Cafe de la Danse Reviews: 4/5
Curated by label co-manager Ed Isar , a DJ and promoter active in the Paris underground since more than a decade, this EP brings together different producers and styles, highlighting the diversity and the creativity currently flowing through the French scene and providing DJs and ravers with quality tunes to work with and dance to. Le Mysterieux EP. The release comes with a drawing by Ro Maron himself, in typical Genth style Rembert's hometown as well as liner notes written by the one and only Geert Sermon from Brussels, the man behind The Sound Of Belgium compilations.
Travelling EP Remastered. Sole and epic 12" of Orlando Voorn under his Defence moniker. Released in , this reissue has been remastered by former Dubplates and Mastering engineer Frederic Stader. Musique Pour La Dance is about collecting and archiving definitive and inestimably valuable works by key dance producers from the past and digging with them classic, hard-to-find, and unreleased gems. Bonesbreaks Volume
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