For a decade, the last recordings of the psychedelic pop auteur behind Sparklehorse seemed lost or simply unusable. His family found and finished them.
Built around wistful piano pieces that follow unexpected paths, the Chicago composer’s third album has far more personality and strangeness than its almost aggressively generic title suggests.
At the end of the show on opening night the Sadler’s audience gave an appreciative, extended standing ovation. Skid, in particular, is not to be missed.
GöteborgsOperans Danskompani’s versatile dancers tumble, slide and climb in Damien Jalet’s vertiginous piece then switch to more measured movements by Sharon Eyal