 |
| If you ever wondered what Dan Lanois likes to do when visiting Toronto, check the video below. |
Anti-Thesis follows Lanois' return to Toronto for a multi-media show at the Danforth Music Hall on Sunday in which Lanois and crew will provide live musical accompaniment to short films provided by Atom Egoyan, Mary Harron and others. Birmingham improvisational sound sculptor deluxe Lonnie Holley kicks off the evening in spellbinding fashion at 8 pm sharp.
Along with Lanois' Tinariwen collabo is a guerilla video (see below) of Lanois remixing the Tinariwen track live as he rides through the streets of Toronto in a 1972 Fleetwood Brougham; nobody said deep sonics couldn’t be fun.
“Anti-Thesis” is a celebration of “body music,” a sound more visceral than Lanois’ classic ambient experiments with Brian Eno, but with a similar bent towards the hypnotic and immersive, stretched out into structures that proclaim texture and rhythm over hooks and pop structure. From Can to Ornette Coleman, this is music that often fails to cut through traditional media channels because the expansive nature doesn’t lend itself to our quick click culture, but music that lives on in secret societies until it becomes the defining sound of the decades that follow.
These three artists couldn’t be more different in terms of industry tropes like “genre,” but within this context of “body music,” they are bonded. Take Lanois’ remixes of The Antlers, and now, Tinariwen: on The Antlers remix, he takes an already ruminative tune into an even more spiritual/ambient mode, while for the Tinariwen remix, he uses his sonic skills to amp up the patented rhythmic throb of the track, creating something that evokes both the past and future. Have a listen.
No comments:
Post a Comment