As more and more of Europe’s right-wing populists seem ready to dance with Putin, it is high time to listen to Pussy Riot dissident punkprotester. Now with the addition of ”Theatre” and a kind of honour of wittgenstein make up based on Maria Aljochinas brutally striking bladvändare ”Riot days,” if the time in prison following the famous ”Punkbönen” in the christ the saviour cathedral in 2012. A forty seconds long appearance that would change her life in Putin’s Russia.
”anyone can be Pussy Riot”, declares, in the book and it is a statement which becomes clear in the scene, where not even the organizer knows in advance who is going to perform. Producer Alexander Cheparukhin instead provide a brief introduction to the show, which toured in almost two years. He emphasizes that Pussy Riot never really been a band but a loose collective of activists, poets and artists. First up on stage is Diana Burkot and Oleg Larionov in solbrillor and cap, respectively, sotarmössa would be easy to be mistaken for the hipstermusiker at any time.
make an entrance in the typical rånarluvan, but taking the early of the. Maybe to the group’s colorful balaklavor come to be perceived as a gimmick. Since the river she’s a seventy minute long epitome of the ”Riot days,” with the accompanying soundtrack. The tone is sharp and raw, just like in the book. The words gushes forth in Russian, but subtitled in English to filmmaker Vasily Bogatovs videokollage in the fund – blinking man so misses something essential.
Spotify is that the number of studiopolerade the Pussy Riot songs with a genremässig width far beyond the rudimentary punkbönen. Yet it is really impossible to talk about Pussy Riot based solely on the music. Not least to the members and authors vary. The roots are in the 90s Riot grrrl movement, which was also a feminist and political activist phenomenon. If in a democratic part of the world, where the revolution meant something different than the requirements of basic human rights.
But a performance at the music venue, Fasching is also something else than the protest in christ the saviour cathedral, or the storming of the pitch during this summer’s world CUP finals. The big arenas have been necessary for the attention. Sunday’s gig is, after all, an event for the already inaugurated, but not less important for it. The sound shifts between the small ljudmattor and electropunk, heavy beats and rowdy livetrummor.
Larionovs trumpet and brölar out a sad frustration, where Shostakovich – 1900-composer in klammeri with the stalin era – almost is closer at hand than free jazz. Punkbönen recalls, in turn, more of a suggestive choir.
at Times it gets monotonous, but the music cannot be separated from the message and the story itself is just as mesmerizing as the shattering. The actor Kiryl Kanstantsinau works as a sort of sidekick. And while Alyokhina empty water bottles over himself, hurls them out like projectiles over the crowd so that it splashes all the way up on the balcony.
As a simple reminder that no one is safe.
Read more musiktexter by Johanna Paulsson, for example, if the nittioårige filmmusikgiganten Ennio Morricones farewell tour.
