{"id":4922,"date":"2019-08-08T14:48:34","date_gmt":"2019-08-08T13:48:34","guid":{"rendered":"https:\/\/www.ecletismomusical.pt\/?p=4922"},"modified":"2019-08-08T14:49:04","modified_gmt":"2019-08-08T13:49:04","slug":"new-single-bonnie-prince-billie-bryce-dessner-eighth-blackbird-one-with-the-birds","status":"publish","type":"post","link":"https:\/\/www.ecletismomusical.pt\/en\/new-single-bonnie-prince-billie-bryce-dessner-eighth-blackbird-one-with-the-birds\/","title":{"rendered":"[New Single] Bonnie &#8220;Prince&#8221; Billie, Bryce Dessner, Eighth Blackbird &#8211; One With The Birds"},"content":{"rendered":"<div class=\"wp-block-embed__wrapper\">\n<iframe width=\"900\" height=\"506\" src=\"https:\/\/www.youtube.com\/embed\/fxjcl10zaow?feature=oembed\" frameborder=\"0\" allowfullscreen><\/iframe>\n<\/div>\n\n\n\n<p><em>&#8220;One With The Birds&#8221; appears on the album When We Are Inhuman available from 37d03d on August 30th, 2019. Artwork by Elsa Hansen Oldham <\/em><\/p>\n<p><em>__________ Julius Eastman and Will Oldham are kindred spirits. Self-styled provocateurs, they have positioned themselves on the outskirts of distinct traditions, pulling all manners of musical influence towards their outr\u00e9 stance. Eastman, who passed away in 1990 and whose work is experiencing a necessary revival, harnessed the vocabulary of minimalism for joyfully insurgent ends; Oldham\u2019s songwriting regularly conjures a pantheon that Greil Marcus called \u201cthe old, weird America.\u201d <\/em><\/p>\n<p><em>Last spring, these two visionaries collided at Cincinnati\u2019s MusicNOW Festival, and any distance between them was mediated by curator Bryce Dessner and ensemble Eighth Blackbird. On this album, woven between new arrangements of Oldham\u2019s cryptic songs and Eastman\u2019s iconic \u201cStay on It\u201d are several of Dessner\u2019s \u201cMurder Ballades,\u201d works that tease out the homicidal strain of old folk tunes. In \u201cDown in the Willow Garden,\u201d a classic Appalachian tune, Oldham sings bleary-eyed atop harshly twanging timbres; \u201cUnderneath the Floorboards\u201d takes inspiration from a recent murderous classic by Sufjan Stevens. <\/em><\/p>\n<p><em>These explorations of violence are natural fits for Oldham, who has always examined the interstices between intimacy and cruelty. Four of his songs appear here in new, sumptuous arrangements by pianist Lisa Kaplan. In Cincinnati, Oldham compared working with Eighth Blackbird to becoming acquainted with a \u201chaunted house,\u201d continually returning to the same spot and observing how his fear was interlaced with a charged energy. The arrangements push Oldham\u2019s voice to new heights, as in the ecstatic refrain of \u201cNew Partner\u201d or the lithe polyrhythms of \u201cBeast for Thee.\u201d On \u201cOne with the Birds\u201d and \u201cWhen Thy Song,\u201d shimmering introductions deploy avant-garde effects as a window into Oldham\u2019s bleak, poignant sound world. <\/em><\/p>\n<p>\u00a0<\/p>\n<p><em>Musicologist Matthew Mendez has identified the web of influences on Eastman\u2019s \u201cStay on It\u201d: a post-Stonewall queer subjectivity, which the composer-performer flaunted; disco hits by Diana Ross, to which Eastman regularly danced at a Buffalo gay bar; and 1970s minimalism, via Eastman\u2019s emphasis on what he called not \u201cthe pulse\u201d but \u201cthe beat.\u201d \u201cStay on It\u201d was worked out in performance in the \u201870s, and no complete score exists. This live rendition, based on archival recordings, sharpens the edges of Eastman\u2019s music while still capturing its anarchic ideal. Oldham\u2019s repetitions of \u201cStay on it\u201d are subversively subdued, and Dessner\u2019s guitar inserts a punch of the urbane. The riff mutates, changes, fades away, returns triumphantly. It overpowers and is overpowered. Boundaries between musicians and audience dissolve\u2013\u2013in concert, percussionist Matthew Duvall ran off the stage to make a surround-sound ruckus\u2013\u2013addressing the broader political hierarchies that Eastman sought to triumphantly topple. The party is political. \u2013 Will Robi<\/em><em>n<\/em><\/p>","protected":false},"excerpt":{"rendered":"","protected":false},"author":3,"featured_media":4923,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[],"tags":[845,847,846],"_links":{"self":[{"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/posts\/4922"}],"collection":[{"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/comments?post=4922"}],"version-history":[{"count":1,"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/posts\/4922\/revisions"}],"predecessor-version":[{"id":4924,"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/posts\/4922\/revisions\/4924"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/media\/4923"}],"wp:attachment":[{"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/media?parent=4922"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/categories?post=4922"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ecletismomusical.pt\/en\/wp-json\/wp\/v2\/tags?post=4922"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}