"Bricolage," a French word meaning to assemble something from available materials, is such a perfect term for the art of the remix that it's surprising no one has ever used it before. It's less surprising that Ryuichi Sakamoto, whose work has always had a cool Continental flair despite the artist's Japanese roots, would choose such an elegant term for his swish remix collection. Focusing on reworks of material from 2005's back-to-the-roots electro-pop experiment Chasm, Bricolages features a cross-cultural and cross-generational batch of remixers including Cornelius, whose playful sense of pastiche is to current hipster Japanese pop what Sakamoto's Yellow Magic Orchestra was a quarter-century before; his take on the spoken word cut-up "War & Peace" is considerably lighter and groovier than Aoki Takamasa's tense, austere version.
Vous ne pouvez plus voir votre appartement en peinture ? Vous manquez de place ? Vous paniquez à l'idée de changer le robinet du lavabo ? Vous aimeriez vous lancer dans quelques travaux d'aménagement mais n'osez pas ? Votre budget est serré et votre temps compté ? Ce guide est fait pour vous : dépannez-vous seul au lieu de payer un professionnel, réparez sans paniquer, changez facilement et à moindres frais votre intérieur, aménagez et décorez sans utiliser de perceuse…
Is it fair to say that most born Frenchmen have considered themselves exceedingly fortunate in their nativity? Moi? I didn't enjoy such luck. Neither did Jean-Baptiste Lully, the favorite of Louis XIV and thus the tyrant of French music for thirty-four years. Lully was born in Florence in 1632, but carried to France as a youthful Ganymede; he entered the service of the Sun King in 1653 as a dancer, and he rose to a position of monopoly influence in Louis XIV's court despite his flagrant debauchery and libertine sexuality. Just as Louis declared, that 'he was the State,' Lully could well have said "French Music, it's me!"
Kathleen Battle ended her operatic career on a sour note when she was fired from the MET, and this album somehow reflects that–it lacks her usual vivacity and joy. This is the only recital I've heard form her that's routine, and things aren't helped by the fact that her voice, a light colorature, isn't substantial enough for many of these arias, which are for a lyric soprano.By Santa Fe Listener