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Nick Cave: Idiot Prayer: Nick Cave Alone at Alexandra Palace

Bad Seed Limited B08GV91Y6Q (LP). 2020. Dom Monks, Cave, prods.; Matt Coulton, eng.

Performance *****

Sonics ****

This double album, and the accompanying film, were recorded at Alexandra Palace in June 2020, when London was in full lockdown. Ally Pally, as it’s affectionately known, sits in grandeur atop a hill, looking out over glorious panoramic views of the city—now deserted because of a fear of a microbe. It was a scene repeated across the world, as everywhere fell silent.

This sense of isolation is captured on the stunning sleeve of this LP, a still from cinematographer Robbie Ryan’s film of this streamed concert. Nick Cave sits alone at his piano in the vast hall, light streaming in. It’s worth the purchase on vinyl, just for the photograph.

In their starkness, the songs match the image. These are songs of grief and remorse, of fear but also hope. None were written for the pandemic; all come from his extensive back catalog, including his work with the Bad Seeds. Yet, they form the perfect commentary on this time.

They are totally stripped-down versions. No other musician is present, just the piano to accompany his words. Cave’s deep, booming voice is at times as righteous as an Old Testament preacher, whilst at other times it’s as gentle as a lover. His songs often reference religion, so when an almost biblical plague is affecting humanity, they resonate more than ever. They speak to the time while articulating the strength of the human spirit.

This is a remarkable album. Cave fans will love it, but even those ambivalent about Cave (like me) should give it a listen so as to experience its raw power. Ally Pally is just down the street, but this album, with its themes, message, and hope, is global.—Phil Brett

Brian Eno: Film Music 1976-2020

Opal Records 073 571-9 (2020). Eno, prod.; Various, engs.; Miles Showell, mastering.

Performance ***½

Sonics ****½

Music from soundtracks is a funny beast: Can the music be judged fairly on its own merits, without visuals? What if it brilliantly complements the scene but isn’t much fun to listen to without it? What if the opposite is true?

Whatever the answers to these questions, with this Brian Eno compilation, the music has to stand alone, if for no other reason than that I’ve only seen a third of the television shows and films they’re sourced from.

Not that it loses out on that score (pun intended). Famously, Eno often composes soundtracks without seeing the film. And he has repeatedly proved that, among his many other attributes, he is an accomplished composer.

There are some simply beautiful pieces of music here. Sonically, this music has a clear but warm feel, across a range of styles, whether that’s “Prophecy Time,” which is majestic, sounding cathedral in scope, or the exquisite delicacy of “Ship in a Bottle.” The standout track, “Final Sunset,” reminds me of the work he did with David Bowie on Low.

With any album, there are likely to be tracks that don’t click, and with a compilation spanning 40 years, all the more so. That’s true here: “Deep Blue Day” and “You Don’t Miss Your Water” sound like country and western music with synths. Musical mashups can be fun, but they aren’t always. Listening to these tracks made my teeth ache.

Despite the varying shades of tone and the years that separate the tracks, this is an album that hangs together. It’s more than background music, whether to a movie or to one’s own life. Film Music is something to lose yourself in.—Phil Brett

Anna McClellan: I Saw First Light

Father/Daughter Records (16-bit/44.1 kHz streaming on Qobuz). 2020. McClellan and Ryan McKeever, prods.; McClellan, McKeever, Carl Saff, engs.

Performance ***

Sonics ***½

Anna McClellan is a Nebraska native who tried New York City and went home. She wears that journey as a badge of honor on her third album, I Saw First Light, created with fellow Nebraskans. The result is self-consciously unpolished, celebrating whatever the opposite is of coastal-city slickness.

McClellan and Ryan McKeever’s coproduction seems intent on avoiding artifice, as if the songs are in charge of their own sound. The simple piano chords that open “Con S Sewer” multiply unfettered into layers of drums, sax, and fiddle. By the bridge, the accompaniment has grown so dense that the voice is nearly swallowed. “Raisin” goes retro with a New Wave–style electric keyboard line, a surprising match to the jazz syncopation and meter-defying lyrics. Motown girl groups get a nod in the music of “Desperate,” but McClellan defies expectations with her stripped-down solo vocal and humorous, conversational lyrics about wanting love.

Nothing is quite what it seems, and everything is intriguing. On the comically sad love song “Veronica,” McKeever sings harmony just a hair off the rhythmic mark, as he might while walking a friend home from a party. This album brings to mind the early days of punk, when part of the message was in sounding like you’d just picked up your instrument for the first time—yet here, Sean Pratt’s robust guitar work hints that this is all an act. Still, the act works. McClellan’s lyrics portray a young woman trying to figure out her identity and her home; her music is a straightforward roadmap to her complicated thoughts. She’s not interested in fancifying the route she’s taken.—Anne E. Johnson

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The Dyad have been denied their WWE releases.

Rip Fowler (Zack Gibson) wrote on Twitter Monday evening that he and Jagger Reid (James Drake) were denied their WWE releases on Monday after requesting them earlier in the month. He also said that they would become free agents in October.

“Today WWE have denied our release, which was requested on April 3rd,” Fowler wrote. “On 15th Oct '23 we will be free agents again. I personally want to thank all of our fans for your continued support, it means a lot to both of us especially during times like these! We'll see you on the 16th!”

“As of today, WWE has denied my request for my release, Reid wrote. "I want to thank you all for your support throughout my career, I'll never take that for granted. My contract with WWE expires on 14th October 2023. I'm excited to share our next chapter, once we are free agents."

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It had been reported earlier in the month that The Dyad, formerly The Grizzled Young Veterans, had requested their release. Despite that, they continued to appear on television. They most recently appeared on the April 18 edition of NXT, losing a three-way tag match for the NXT Tag Team titles over champions Gallus and The Creed Brothers.

I wrote an article for the March 2017 issue of Stereophile called “The Permanent Jazz Festival: The Rise of Europe and the Future of Jazz.” It presented two theses: that much of the energy in jazz now comes out of Europe, and that the best place to feel that energy is in the crowd at a European jazz festival. There are hundreds of them throughout the year.

I had planned to write a sequel. I had three trips to Europe booked for 2020—all canceled of course. The loss of live music is not the worst casualty of the pandemic, but it matters. For now, the only sequel possible must be drawn from the past.

This is not a sequel. This is a few memories to which I cling.

Jazz in Europe is a different experience. Europeans have never thought of jazz as anything but art. “The jazz community” actually exists in Europe, where jazz fans are bound by their membership in a counterculture with foreign origins. Lee Konitz was American, but he lived in Germany for many years. He once said, “Jazz is what we have instead of religion.” In Europe, not only major cities but an amazing number of small towns have their own jazz festivals.

Gârâna (pop. 126) is a village on a mountaintop in western Romania. A 1996 jam session in a farmhouse somehow grew into the Gârâna Jazz Festival. The main venue is a field rented from a local farmer. The festival program identifies the field as “Poiana Lupului,” which means “Wolf Meadow.” There are almost no hotels in the area. Driving to Wolf Meadow from the village, you see many tents on the side of the road.

Behind the rows of logs where the crowd sits, enormous vats of goulash bubble and steam. Gârâna is in July, but the mountaintop is bitter cold at night. Two thousand people huddle together on the logs and sip tuicâ, Romanian white lightning, from clear plastic bottles.

I was there in 2016, for the festival’s 20th anniversary. The program had Nils Petter Molvær and a trio of Jack DeJohnette, Ravi Coltrane, and Matthew Garrison. Coltrane’s soprano saxophone pierced the night air. Arild Andersen’s quartet with Tommy Smith played the last set on the last night and ended the festival with triumphant anthems. Smith’s clarion tenor saxophone was one with the wind that blew through the tall trees surrounding the meadow, trees stark against the faint light of a starlit sky. To be there made you feel like one of the Chosen.

In Europe, those who present music pay close attention to setting. (It helps that Europe is full of castles, ancient monasteries, and magnificent town squares.) There is a festival in Bolzano, Italy, whose entire identity is based on placing music in transformational environments. (It helps that the Tirol region of northern Italy is one of the most beautiful places on earth.) At the Südtirol Jazz Festival, edgy emerging musicians, mostly young, play on bridges over gorges and on rock outcroppings 7000 feet up in the Dolomites, reachable only by cable car.

In 2018, Maria Faust gave a quintessential Südtirol concert. She composes deep rituals and performs them with a brass-and-woodwind octet she calls “Sacrum Facere”—in Latin, “to make sacred.” Her band played from a high ledge in a stone quarry with a sheer cliff face behind. Faust’s music evolved patiently in dark, rich blends. The meaning of the evening came from the relationship between the resonant music and its context of silent stone.

Not all settings are idyllic. Serbia is one of the poorest countries in Europe. Against all odds, Belgrade sustains a world-class jazz festival. There is no Serbian phrase for “off the grid,” because the grid barely exists. In 2012 and 2013, the festival’s after-hours club for jam sessions was located near downtown, in a mostly abandoned building known by its acronym, BIGZ. It had once been a large printing factory, but by 2000 it had fallen into dereliction and was a jungle of graffiti. The building’s owners rented spaces to artists for ateliers and to musicians for rehearsal studios. The club was on the seventh floor. At 2 a.m., you had to climb seven flights of stairs. No one trusted the elevator.

When I entered through a heavy door, Leszek Mozdzer, one of the great pianists of Poland, was soloing. He had performed a stunning concert earlier in the evening in the festival’s main auditorium but apparently had left some things unsaid. Playing a cheap electric keyboard, he unleashed a vast solo that kept circling back on itself and spilling forth again.

The room’s tall windows would have offered a view over the Sava River if they had ever been cleaned.

Shai Maestro, from Israel, played after Mozdzer. He is an ECM artist now, but he was little known in 2013. He generated powerful swells from the undersized keyboard, but his drummer, Ziv Ravitz, also from Israel, stole the night. Ravitz took a monstrous, wild, 20-minute solo. When he finally finished at 3 a.m., he stood up, smirked, and walked away. The crowd went crazy.

Was it really one of the best drum solos I ever heard? I will never know. In Europe, music is inseparable from its place and its moment in time.

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MCLEAN, VA — Journalism students at McLean High School earned praise from the Fairfax County Board of Supervisors after being the only school in Virginia to earn a prestigious journalism award.

In March, McLean High School’s The Highlander won a Gold Crown award for high school hybrid news from the Columbia Scholastic Press Association for the second consecutive year. Two other Fairfax County student publications won Silver Crowns — Chantilly High School’s The Purple Tide news magazine and website and Thomas Jefferson High School for Science and Technology’s tjTODAY news magazine and website.

McLean was among 16 schools in the U.S. to earn the Gold Crown honor. There were 805 publications eligible for judging this year.

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Find out what's happening in McLeanwith free, real-time updates from Patch.

“You have done an amazing job,” Dranesville District Supervisor John Foust told students. “I know how hard it is to accomplish the types of things that you regularly are accomplishing, and so we thank you. As a community, we invest in public education, and you are a tremendous return on that investment.”

Farah Eljazzar, the editor-in-chief of McLean’s Highlander, spoke to the board about how the recognition resulted from students’ hard work and the guidance of teacher and advisor Lindsay Benedict.

Find out what's happening in McLeanwith free, real-time updates from Patch.

“I’ve not only had the experience of seeing my peers’ creative visions come to life but also become a part of the journalism family,” said Eljazzar. “We work as a well oiled machine. We go from doing rap battles and ranking the worst foods of all time to writing articles regarding [Governor] Youngkin’s changes to Virginia’s history curriculum or the debate on affirmative action in an instant. The staff has put their heart and soul into this publication.”

Providence District Supervisor Dalia Palchik said the skills students learn from the student newspaper will benefit them well beyond school.

“Right now you’re probably a little bit focused on your GPAs and your SATs scores, but what really is going to stick with you forever and help you throughout your careers are these skills, the collaboration skills, the writing skills, the communication skills, the investigative skills, and your ability to be able to share what you’ve learned and what you want to share in the community and to help grow whatever future endeavors you have,” said Palchik.

Chairman Jeff McKay said it was impressive that the students are producing high quality journalism at the high school level.

“Journalistic integrity, in particular, seems to be in small quantities anymore with the advent of the Internet and so many other things that call themselves journalism but are not the type of journalism that you all are practicing, which is not only ethically based but also complete,” said McKay.

Eljazzar, a senior, said the team works like a well-established publication and has inspired her to pursue journalism as a career. Even when she graduates, she knows the Highlander will continue to thrive.

“I know that the Highlander work will continue to do great things, both in print and on our website and look forward to seeing all the publication accomplishes in the future,” said Eljazzar.

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Woody Allen dévoile aujourd'hui la bande-annonce de son 50ème long-métrage, "Coup de chance". Lou de Laâge, Niels Schneider, Melvil Poupaud et Valérie Lemercier sont au casting.

Un an après Rifkin’s Festival, Woody Allen revient déjà avec son nouveau long-métrage : Coup de chance. 12 ans après Minuit à Paris, le cinéaste est de retour dans la capitale française pour son 50ème film.

Porté par un casting 100% francophone composé de Lou de Laâge, Niels Schneider, Melvil Poupaud, Valérie Lemercier, Grégory Gadebois, Elsa Zylberstein, Sara Martins et Guillaume de Tonquédec, ce thriller est présenté par Woody Allen comme “un polar vénéneux dans la veine de Match Point”.

Coup de chance

De
Woody Allen

Avec
Lou de Laâge,
Valérie Lemercier,
Melvil Poupaud

Sortie le

27 septembre 2023

Le film suit Fanny (de Laâge) et Jean (Poupaud), un couple à qui tout semble sourire : épanouis dans leur vie professionnelle, ils habitent un magnifique appartement dans les beaux quartiers de Paris et semblent amoureux comme au premier jour. Mais lorsque Fanny croise, par hasard, Alain (Schneider), ancien camarade de lycée, elle est aussitôt chavirée. Ils se revoient très vite et se rapprochent de plus en plus…

Si en juin 2022, le cinéaste de 86 ans annonçait lors d’un live Instagram avec Alec Baldwin que Coup de chance serait son dernier film, son agent est finalement revenu sur ses propos précisant que Woody Allen n’avait pas l’intention de prendre sa retraite.

Coup de chance sortira dans nos salles le 27 septembre prochain.