sounds of Amsterdam
Michael Vatcher, percussion (Angels’ Share, sculpture exhibition, Herbert Nouens; Westerpark, Sculpture Park), 2014
John Ashbery, July 28, 1927-September, 3, 2017
Alcove (Planisphere, 2009)
Is it possible that spring could be
once more approaching? We forget each time
what a mindless business it is, porous like sleep,
adrift on the horizon, refusing to take sides, “mugwump
of the final hour,” lest an agenda—horrors!—be imputed to it,
and the whole point of its being spring collapse
like a hole dug in sand. It’s breathy, though,
you have to say that for it.
And should further seasons coagulate
into years, like spilled, dried paint, why,
who’s to say we weren’t provident? We indeed
looked out for others as though they mattered, and they,
catching the spirit, came home with us, spent the night
in an alcove from which their breathing could be heard clearly.
But it’s not over yet. Terrible incidents happen
daily. That’s how we get around obstacles.
Want to be swept away?
Robert Schumann (1810-1856), Cello Concerto in A minor; Concertgebouw Chamber Orchestra with Nicolas Altstaedt (cello), live, Amsertdam, 2016
art beat: other day, Art Institute of Chicago
Lewis Wickes Hine (1874-1940), Fresh Air for the Baby, New York East Side, c. 1910
Soundtrack for a man in a box trying to escape.
Ab Baars (tenor saxophone), “Asor,” live, Amsterdam, 2014
I thought that you were an anchor in the drift of the world;
but no: there isn’t an anchor anywhere.
There isn’t an anchor in the drift of the world. Oh no.
I thought you were. Oh no. The drift of the world.
—William Bronk (1918-1999, MCOTD Hall of Fame), “The World”
only rock ‘n’ roll
Building a Broken Mousetrap (2006), concert film of The Ex
only rock ’n’ roll
The Ex, “Double Order,” France (Orleans), 2013
From the Chicago Reader music section (2/20/14):
. . . hails from the same quasi-grimestep/post-IDM interzone that’s home to artists as disparate as . . .
This Liverpool trio plays what it calls ‘caveman doom’ . . .
. . . retrofuturist murder ballad . . .
. . . works the same territory that grindcore and sludge bands cleared in the 90s.