Home

Rather earlier than usual, today’s round-up – encompassing slightly more than the usual three tracks – starts with a bit of scenographic music from France and ends with a piece of choral music from Canada, while including a couple of works of more solitary music in between.

An electronic sound artist and composer in Toulouse, featured here once before, Christophe Ruetsch, has posted an extract of the music he devised for a theatrical production staged earlier this year in Paris by Les Sens des mots, a young theatre company in that city, directed by Thibault Rossigneux, of a play by Stéphanie Marchais entitled “Corps étrangers.” With a certain irony he’s called it “Tout – est – propre,” as this music is an intrusion, both understated and unexpected, by some other force or thing, which not least by its insistent softness did its share (presumably) to induce the requisite anxiety in the audience. (Although I have not seen this company’s production, nonetheless, taking this bande annonce as an indication, if at some point a video is made available, I imagine that it will be quite worth watching, albeit at times with one hand before one’s eyes.)

Of today’s tracks, the second is a performance by a musician likewise featured here before, the Utrecht pianist Danny van Straten, whose nom d’artiste is Gedrocht, of an energetic work by an American composer, Danny Buckley, called “Moonlight Funeral (Diana’s Final Breath).” By his capable hands the lunar glow of this piece is encouraged to shine, without extinguishing or obscuring the several dark flickers of melancholy that bespeckle the rapid procession overhead.

Third is a pair of versions of a new song by another artist featured here on a couple of occasions, the Canadian musician and singer known as Beaucrat – because each strikes flurries of sparks, I decided not to choose between them, electing instead to offer both. The number is called “Sometimes” and in either version it quickly conjures up the sights, the sounds, and even the smells of a dance-floor somewhere underground, a locale so cool it’s hot, and/or vice versa.

The fourth and last track is an exercise in pure fun by a Toronto band of singers who, the last few years, have been meeting once a week to do choral justice to some of the best pop songs, recording the results and sharing them further via the Internet. While the members of Choir! Choir! Choir! – as they call themselves – range widely in their choices, one of them did catch my ear, bubbling over as it does with a shared vocal joy and so, actually in keeping with the inner tenor of New Order’s “Bizarre Love Triangle,” uncovering the spiritual in the original song!