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Robert Bober : On devient mieux ce qu on est dans la relation à l autre

Robert Bober : On devient mieux ce qu on est dans la relation à l autre
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Cooking, Tripping and Staying Alive

We’ll hear music from Stain, the 1993 release from Living Colour. It was the band’s final studio recording for eight years. We’ll also hear selections from George Benson’s 1967 LP The George Benson Cookbook. Friday, February 12 Force Majeure is the new collection from bassist Dezron Douglas & harpist Brandee Younger. The record features 11 pieces performed by the duo from their Harlem, New York living room for a series of 2020 live streams. We’ll hear music from that release as well as selections from Living Colour’s debut album, Vivid. Saturday, February 13 III: Pentecost is the latest from English band Wytch Hazel. Marrying lyrics that touch on issues of spirituality with music that calls to mind early Jethro Tull and peak-era Thin Lizzy, the band has received wide critical acclaim for its classic but contemporary sound. We’ll hear selections from Wytch Hazel’s latest release, as well as songs from Jethro Tull, Wishbone Ash, and Conny Ochs.

Listen: Ben Cosgrove Makes Music For The Life Between The Cracks

This is an exclusive song premiere, part of The ARTery s effort to highlight ascending New England musicians. Does the modest perennial that grows from the cracks in the sidewalk possess any less beauty than a towering redwood? Boston pianist and composer Ben Cosgrove urges you to consider the equality of the natural world on the static tinkling of his sparse new single “The Machine in the Garden,” an impressionistic ode to the life that grows between the urban cracks. It’s the first song released from his forthcoming album “The Trouble With Wilderness,” due April 16. As gleaned from his previous releases, like 2017’s “Salt,” the work requires context. A solo-piano composer and self-described “singer-songwriter who doesn’t sing,” Cosgrove works solely in abstracts, using minimalism and deeper concepts to paint portraits with a soft, muted palette. For instance, “The Machine in the Garden” is a borrowed title from a piece of 1960s literary criticism by Le

Ólafur Arnalds on making characterful sound, fusing piano and synths and collaborating with Bonobo

Some Kind of Peace. We wish. Clearly fate took an ironic opportunity to intervene shortly before we had a chance to talk to him about both the new album and his approach to creativity more broadly: an earthquake shook Iceland right before this interview took place, prompting Ólafur’s opening exclamation of, “There’s a lot of energy in my body right now!” That’s true, of course, for all sorts of reasons. Having reimagined the piano with his remarkable, semi-generative Stratus instrument, which has been exquisitely sampled and captured by Spitfire Audio, Ólafur sought to follow his 2018 LP Re:member with a record that represents a sea change in how this musical perfectionist has decided to approach life. His aim? To let his guard down. Here, we press Ólafur on what spurred such an approach and how he achieves his unique sound.

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