Whatever lines can usually be drawn between the roles of a statesman and a showman, Mr. And a series of upward modulations, deployed in the original for a ratcheting of suspense, feels instead like a glide up a curved staircase - and a nod to an evident touchstone, the Weill-Brecht standard known as “Mack the Knife.” The vocal performance is wry and confiding, framed by a cool drapery of bandoneón and strings.

Blades’s elegant new album, sounds courtlier and more insinuating, opening with a shimmery flourish and proceeding in a deft sashay. Though they may not be playing in the traditional style, they’ve been completely subsumed into the group.ĭespite this music’s predetermined composition, these pieces become structurally volatile: The roles of different players and sections might become inverted several times over in a single song, with the gamelan players moving to rhythmic from melodic roles, and with Yoshimio moving to gestural phrases and whoops from chants. She’s added two gamelan players to her band, Tomoyuki Hamamoto and Koheysai Kawamura they’ll be included in the band’s rare tour of the United States, which will stop at Rough Trade Brooklyn on July 18 and Le Poisson Rouge on July 20. OOIOO performs in a circle, and sometimes you get the idea that Yoshimio is creating a kind of idealized nonprofessional orchestra, a people’s band, working with musical elements adapted from nature or passed down through old cultural practices or half-imagined in dreams. But the band’s tracks build their bones through ritual real-time repetition.

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