4/28/2023 0 Comments Su tissue salon de musique![]() It’s in this spirit that you find the Glasgow underground’s Anxiety pulping minds and vocal chords one night, a specially-brought together ensemble that realises the full band ambitions of songwriter and improviser Ashley Paul for the first time, and Les Filles de Illighadad another night, supplying polyphonic Tuareg funk rock from Niger. Takada’s performance in the Chapel on the opening night neatly typifies the ambitions of the festival and the unique platform it creates: democratic, inclusive and collaborative. Hands running through hair, the church bell and the crossing and crossing again of dead legs gained equivalence to Takada’s abruptly lush and austere rhythms. Throughout her procession-like performance the decaying ripples of the gong seem unending – stretching time out so that each sound held an uncanny intensity. ![]() Both the reverence given to Takada’s performance, and the inherent holiness of the audience taking their seats in serried pews had the effect of making the chapel paper-thin. Seeing the place packed to the rafters the festival co-curator announces on the mic that it seems that marginal music seems not to be so marginal anymore. Through the Looking Glass, her seminal 1983 record, has been garnering a cultish status for years with its spectral ecosystem of clicks, calls and hypnotic-almost shamanistic-percussive rhythms, and is re-released this year on WRWTFWW. has been sold out weeks in advance, the queue snaking around the University lawns to enter its Chapel. Like the majority of the festival’s events, the Japanese composer and percussionist Midori Takada’s rare appearance in the U.K. As such, the four-day melting-pot programme of avant-garde artists and traditional musics from the peripheries incrementally folded the city into its texture.Ĭhafing polyester trousers can be unbearably loud. It is spread scattergun across Glasgow like a minimal composition – in its sanctified music halls, community centres and its dripping non-places. She also played the role of Peggy Dillman in Demme's 1986 comedy movie Something Wild opposite Melanie Griffith, Jeff Daniels, and Ray Liotta.The logic of a music festival so pointedly obtuse as a Counterflows is in part that it asks you to un-learn what you know, and demands instead that you piece knowledge back together through scattered fragments. In 1982 McLane recorded a solo album, Salon de Musique. McLane attended Berklee College of Music, where she studied piano. Records, featuring new wave radio favorite "Janitor." ![]() Their sole album, Suburban Lawns, produced and engineered by EJ Emmons and Troy Mathisen, was released in 1981 on I.R.S. Records, featuring new wave radio favorite "Janitor." Read Full Bio Sue "Su Tissue" McLane was the vocalist for LA post-punk band Suburban Lawns whose 1979 debut single "Gidget Goes to Hell" (released on their own Suburban Industrial label) gained the band notoriety when its Jonathan Demme-directed music video was shown on Saturday Night Live. Sue "Su Tissue" McLane was the vocalist for LA post-punk band Suburban Lawns whose 1979 debut single "Gidget Goes to Hell" (released on their own Suburban Industrial label) gained the band notoriety when its Jonathan Demme-directed music video was shown on Saturday Night Live.
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