Music

20 Questions: Josh Reichmann

Mysticism runs wild on the Josh Reichmann Oracle Band's debut LP, Crazy Power, out now on Paperbag Records. The former Tangiers frontman is currently creating a one-of-a-kind genre, mixing layers of bouncing jazzy instrumentals over tribal beats, and matching it with his distinctive glammy, ethereal vocals.

1. The latest book or movie that made you cry?

I've Loved You So Long (film)

2. The fictional character most like you?

Carlos Castanada

3. The greatest album, ever?

Bob Dylan's Blood On The Tracks

4. Star Trek or Star Wars?

Star Wurst.

5. Your ideal brain food?

Sweet Breads.

6. You're proud of this accomplishment, but why?

Sobriety - Because I have energy - Infinite fucking self love and energy, and I have passed through the ego fire ahhhh!

7. You want to be remembered for . .?

Music/ Painting, some kind of service in my late life, and a sexual face.

8. Of those who've come before, the most inspirational are?

People who work in the field of mental health and who deal with those struggling.

9. The creative masterpiece you wish bore your signature?

The film 8 1/2 or mid career/life Picasso.

10. Your hidden talents . . .?

Sound effects with mouth. Slight levitation.

11. The best piece of advice you actually followed?

Concentrate on today.

12. The best thing you ever bought, stole, or borrowed?

This morning's coffee.

13. You feel best in Armani or Levis or . . .?

Armani condoms.

14. Your dinner guest at the Ritz would be?

My Girl friend and a credit card.

15. Time travel: where, when and why?

10,000 years in the future- to see wazzzup??

16. Stress management: hit man, spa vacation or Prozac?

Jungle retreat(ocean, no humans).

17. Essential to life: coffee, vodka, cigarettes, chocolate, or . . .?

Vitamin water. Coffee from The Common (Toronto).

18. Environ of choice: city or country, and where on the map?

City - I get itchy and weird in the country unless I'm naked and violent. Preferably Toronto/Barcelona/NYC.

19. What do you want to say to the leader of your country?

If you pull funding for the arts, our country will be a log exporter.

20. Last but certainly not least, what are you working on, now?

Resting after a solo art show, and releasing albums and singles. About to tour again!

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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Electronic music is one of the broadest-reaching genres by design, and 2017 highlights that as well as any other year on record. These are the 20 best albums.


20. Vitalic - Voyager (Citizen)

Pascal Arbez-Nicolas (a.k.a. Vitalic) made waves in the French Touch electro-house scene with his 2005 debut, OK Cowboy, which had a hard-hitting maximalist sound, but several albums later, Voyager finds him launching into realms beyond at his own speed. The quirky, wallflower vocals and guitar snippets employed throughout Voyager drop a funk that brings to mind WhoMadeWho or Matthew Dear if they had disco-pop injected between their toes. "Levitation" is as pure a slice of dance floor motivation as theoretically possible, a sci-fi gunfight with a cracking house beat sure to please his oldest fans, yet the album-as-form is equally effective in its more contemplative moments, like when Miss Kitten's vocals bring an ethereal dispassion to "Hans Is Driving" to balance out its somber vocoder or the heartfelt cover of "Don't Leave Me Now" by Supertramp. Voyager may infect you with a futuristic form of Saturday Night Fever, but afterwards, it gives you a hearty dose of aural acetaminophen to break it. - Alan Ranta


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Film

Hitchcock, 'Psycho', and '78/52: Hitchcock's Shower Scene'

Alfred Hitchock and Janet Leigh on the set of Psycho (courtesy of Dogwoof)

"... [Psycho] broke every taboo you could possibly think of, it reinvented the language of film and revolutionised what you could do with a story on a very precise level. It also fundamentally and profoundly changed the ritual of movie going," says 78/52 director, Alexandre O. Philippe.

The title of Alexandre O. Philippe's 78/52: Hitchcock's Shower Scene (2017) denotes the 78 set-ups and the 52 cuts across a full week of shooting for Psycho's (1960) famous shower scene. Known for The People vs. George Lucas (2010), The Life and Times of Paul the Psychic Octopus (2012) and Doc of the Dead (2014), Philippe's exploration of a singular moment is a conversational one, featuring interviews with Walter Murch, Peter Bogdanovich, Guillermo del Toro, Jamie Lee Curtis, Osgood Perkins, Danny Elfman, Eli Roth, Elijah Wood, Bret Easton Ellis, Karyn Kusama, Neil Marshall, Richard Stanley and Marli Renfro, body double for Janet Leigh.

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Mary Poppins, Mrs. Gamp, Egyptian deities, a Japanese umbrella spirit, and a supporting cast of hundreds of brollies fill Marion Rankine's lively history.

"What can go up a chimney down but can't go down a chimney up?" Marion Rankine begins her wide-ranging survey of the umbrella and its significance with this riddle. It nicely establishes her theme: just as umbrellas undergo, in the everyday use of them, a transformation, so too looking at this familiar, even forgettable object from multiple perspectives transforms our view of it.

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7

Those who regard the reclusive Argerich as one of the world's two or three greatest living pianists—classical or otherwise—would not have left the concert hall disillusioned.

In a staid city like Washington, D.C., too many concert programs still stick to the basics. An endless litany of Rachmaninoff and Tchaikovsky concerti clog the schedules and parades of overeager virtuosi seem unwilling to vary their repertoire for blasé D.C. concertgoers. But occasionally you encounter a concert that refreshes your perspective of the familiar. The works presented at The Kennedy Center on 25 October 2017 might be stalwarts of 20th century repertoire, but guest conductor Antonio Pappano, leading the Orchestra dell'Accademia Nazionale di Santa Cecilia, reminded us how galvanizing the canonical can still be. Though grandiose executions of Respighi's The Fountains of Rome and The Pines of Rome were the main event, the sold-out crowd gathered to see Martha Argerich perform one of her showpieces, Prokofiev's Third Piano Concerto. Those who regard the reclusive Argerich as one of the world's two or three greatest living pianists—classical or otherwise—would not have left the concert hall disillusioned.

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