A genre-bending recital for an audience on beanbags was too often at odds with its video visuals
Oliver Coates mixes things up. A fine classical cellist who collaborates with Johnny Greenwood and Massive Attack, who reworks music by Squarepusher and Boards of Canada, his website lists Pierre Boulez next to MF Doom. He’s of a generation of composers and performers whose horizons take in indie, electronica and folk as well as contemporary classical music, all of which chimes happily for those of us whose listening habits do the same.
But genre blending can’t work as an end in itself. This hour-long show staged by Glasgow’s Theatre Cryptic comprises eight short pieces, three with insipid accompanying video art by Laura Colmenares Guerra. With no real meat to the programme, no particular thrust or substance, it feels to have ended up back at square one, fixated on the labels and packaging it’s so self-consciously in the act of ditching. “Sometimes I feel like I’m wandering through a deserted video game,” Coates told us from the stage, which seemed about right.
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by Kate Molleson via Electronic music | The Guardian
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