Perhaps the most rewarding examinations of Radiohead’s recent album, The King of Limbs, is in the realm of remixes. Several surfaced over the course of the summer after the album’s release, collected and available now in album form as TKOL RMX 1234567. The whole matter of remixing as a creative venue has gained more recognition and respect in the last few years, but has been percolating happily for as long as the old release by the Cure, “All Mixed Up” and lots of Björk-related singles.
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My collaboration with cellist, Matt Haimovitz, in the double-album CD set, Shuffle.Play.Listen and its eponymous and ongoing concert tour was a natural meeting of two musical paths. Matt’s been known to take classical works, like Bach’s “Cello Suites”, to unlikely venues such as the old CBGB’s and other non-classical venues, juxtaposed with my introducing classical concert halls with my own takes on Radiohead, Elliott Smith, Nick Drake, Nirvana, et al. In exploring our mutual musical loves, the first name to spontaneously spring up was John McLaughlin. Matt actually was joined by John on his cello-ensemble, Grammy-nominated Meeting of the Spirits. So, for our first concert, I meticulously transcribed John McLaughlin’s hyper-virtuosic guitar solo from his Mahavishnu Orchestra’s “Dance of Maya” from The Inner Mounting Flame and our very first concert together, a year ago in Billings, MT, featured it as the show-closer to an intrepid and enthusiastic crowd there at the Alberta Bair Theater.
Radiohead have, especially in the more Thom Yorke-primary pieces, shown a proclivity for deconstruction. “Like Spinning Plates” is, on record, an amalgam of reversed vocal recording spliced in with recordings of Yorke’s singing backwards, in live performance, an ingenious piano/vocal piece (for which I get credit for unwarranted originality only by being super-fan familiar with the released live version on the EP, I Might Be Wrong).
More recently, one got a bigger dose of this live/studio disconnect when Thom Yorke’s solo album, The Eraser was released. To my ears, the album sounded like someone too enamoured of his laptop, while the live versions of the Eraser songs sounded like a songwriter at his creative peak.
Ever wondered where other art house films go to premiere if not the big names like Cannes or Sundance or Toronto? Well, starting this year, PBS is hoping to be among those jumping off points. February 27th saw the kickoff of the First Annual PBS Online Film Festival. The Festival will present five new “short stories” every Monday until March 30th, with each week representing a different theme, or type of film. During this time the public will be given a unique opportunity to play judge for the films presented. Each time a viewer “likes” a video shown, it will help the film’s chances of being selected as the “People’s Choice Winner”, and the triumphant film will be announced on April 16th, after all the films have been showcased.
Matt’s peripatetically touring in all sorts of genres and combinations, centered by his position on the cello faculty at Montreal’s McGill University. We were privileged to record our double-album CD set, Shuffle.Play.Listen at McGill’s wonderful studio/experimental sound laboratory, the MMR Studio for five days last June. In light of Montreal being the home as well for the band, Arcade Fire, it was a natural choice to include, as we did, two tracks by the band on the non-classical of the two CDs. There were two mini-HD cameras archiving most of the five days’ sessions, so we ended up with a lot of footage for live performance video (good evidence of there being no overdubbing, as one might suspect, given the complexity and sheer speed of this arrangement). Matt actually took on even more virtuosic responsibility, as he became envious of my constant 16th notes. It’s justifiably one of the more popular tracks on a recording of which I’m most proud.
// Moving Pixels
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