Originally from New Orleans, currently Brooklyn-based, formerly professional skateboarder, fluid hierarchies between discipline and chaos skillful slider, shapes of old European architectural monuments borrower, void, silence and loneliness investigator, rising star druid-alike Duane Pitre works as a composer and performer.

Besides, we’re pleased to announce the official beginning of his sonic contribution to Sang Bleu!

Currently working on a soundtrack composition based on tattoo gun records that will take part of a film, exploring unaccustomed intervallic relationships, you’ll be able to experience the result of our collaboration in the framework of Colophon (a biennial symposium for magazine makers, experts, advertisers, readers and all creatives involved in the world of the independent magazine. http://blog.colophon2009.com) in Luxembourg, from 13 to 15 March 2009.

Big up!

Check Duane’s website: www.duanepitre.com

Musicality is a learned awareness, just as dancing is a learned awareness.

I have a rhythm when I walk, I have a rhythm when I speak, I have a rhythm standing next to somebody when I’m about to interact with them. It’s a kind of inner clock.

In most classical dance classes, the rhythmic work is very often directly linked to the music, whereas I recently realized that most of my dance classes are hardly ever counted at all.

I suppose that movement is originated first by muscular rhythm: how long does it take to do a specific move. The point is: do you want a slow arabesque… or a fast arabesque?

One should always choregraph to silence and add the music, or sound -if there is any- after. If a dance cannot stand on its own silence, with its own internal phrasing and its own dynamic build, external sound is never going to help it.

When you are doing a physical move with your entire body, it’s like a clock chiming somewhere inside you, just pick up on the rhythm, and you know if it is just that bit faster or not.
This also involves reading dance’s (an music’s) visuality in relation to its silence…

Music produced for or around the “Sang Bleu, Le Pavillon & Emmanuelle Antille présentent” book.
download

download

the cure—charlotte sometimes

Two male artists, Kalup Linzy and Shaun Leonardo, lip sync to the Hunter and Jenkins tune, which was banned from the radio in the 1930s.

Minimetal is Nik Emch on guitar and Laurent Goei on drums.
As visual artists, they squeeze music between sculptures, videos, conceptual light shows, and stage architecture.
Be welcome to their Halloween performance “CUT !” at Swiss Institute in NYC, a music set involving deafening sound and special guest from Zurich Marydale.

http://www.swissinstitute.net/

nb
minimetal are be featured in SB III/IV!