On the heels of remixing The Antlers’ song “Doppelgänger,” Daniel Lanoishas reimagined the track “Adounia Ti Chidjret” by Grammy-winning desert blues band Tinariwen, capturing the collaborative spirit of “Anti-Thesis,” the Brooklyn concert event where all three artists will take the stage together this Monday, November 10th. Accompanying the new track is a guerilla video ofLanois remixing live as he rides through the streets of Toronto in a 1972 Fleetwood Brougham; nobody said deep sonics couldn’t be fun.
“Anti-Thesis” is a celebration of “body music,” a sound more visceral thanLanois’ classic ambient experiments with Brian Eno, but with a similar bent towards the hypnotic and immersive, stretched out into structures that proclaim texture and rhythm over hooks and pop structure. From Can to Ornette Coleman, this is music that often fails to cut through traditional media channels because the expansive nature doesn’t lend itself to our quick click culture, but music that lives on in secret societies until it becomes the defining sound of the decades that follow.
These three artists couldn’t be more different in terms of industry tropes like “genre,” but within this context of “body music,” they are bonded. TakeLanois’ remixes of The Antlers, and now, Tinariwen: on The Antlers remix, he takes an already ruminative tune into an even more spiritual/ambient mode, while for the Tinariwen remix, he uses his sonic skills to amp up the patented rhythmic throb of the track, creating something that evokes both the past and future.
So why are we doing “Anti-Thesis?” Because outsider music needs to start somewhere before it comes in from the cold. Because this music needs to be heard and more importantly “felt.” Because the union of these three great artists promises to generate new and unique sonic landscapes.