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Surrealist Saturday
27 May 2006

Dreams That Money Can Buy; The Real Tuesday Weld

Dreams That Money Can Buy
Film by Hans Richter, USA 1946, 99 minutes
Accompanied live by The Real Tuesday Weld

Programme Notes | Biographies | Performance Images | Audio


Cabaret svengali, Stephen Coates – British noir singer songwriter and creator of the critically acclaimed album I Lucifer – and the band of collaborators known as 'The Real Tuesday Weld’ previously performed this unique composition in 2005 at the National Film Theatre. The British Film Institute released the DVD version of their Dreams That Money Can Buy soundtrack in July 2006. This latest project for 'the pop-art-pop band' evolved as a natural extension of their self-promoted parties which encompassed striking visual and aural elements, merging cabaret with film, animation, performance and a prevalent nod to darker and more decadent times. The band is comprised of Coates on sonics, singing and sampling; Jacques Van Rhijn – a direct descendant of the great master Rembrandt – on clarinet; Clive Painter, on guitar; Jed Woodhouse on percussion; Don Brosnan on bass; and new boy Gary Bridgewood on violin.


Wit, raconteur, dandy, English eccentric, alchemist of the absurd: Host of London's infamous Modern Times club, David Piper is the gentleman's gentleman. Whether it is trawling through the backstreets of Soho or dining at the Savoy, David is always immaculately turned out and usually accompanied by one, if not two, of his many female admirers. Piper has trained extensively in the arts of hypnosis and psychic interpretation, and his forays into the field of Jungian analysis through immediate eye contact alone are legendary among the London cognoscenti. It is for this reason that he readily agreed to assume the role of the psychoanalyst narrator in Dreams That Money Can Buy. David is available for private consultations in his Albany practice by appointment only.


'The Girl With the Prefabricated Heart’: Cibelle's fragile yet mercurial beauty haunts the live stage production of Dreams That Money Can Buy. Cibelle makes use of a variety of elements to create unique, imaginative and enchanting pieces of music. Her new album, The Shine of Dried Electric Leaves, released this year, is a genuine masterpiece. The directions her songs take are often wildly unpredictable with the most sophisticated electronic embellishments combining rootsy acoustic instrumentation and electronic processing, noise guitars, childrens’ toys, captivating textural soundscapes and pure melodies carried by her unmistakable, moving voice. In addition to performing with The Real Tuesday Weld on Hans Richter's film, she has also been touring Europe and North America throughout 2006 and early 2007, performing with her own four-piece ensemble. She likes to stretch and bend rhythms and to reinvent genres, and she is obviously quite comfortable in challenging her audience.


The Real Tuesday Weld’s Dreams That Money Can Buy project was conceived
and produced by Marek Pytel. Pytel’s company, Realityfilm, is a pioneer
in ‘live sound cinema’. His premiere production of Jean Luc Godard’s Alphaville was presented at London's IMAX screen, remixed by electronic music artists incorporating the sampled bilingual dialogue and effects of the original film. Since then, working uniquely for the big screen, Pytel has produced longform video for Aphex Twin, worked with master drummer and Miles Davis sideman Jack Dejohnette on the Tribute to Jack Johnson project, toured with his live stereoscopic 3D production of 1950s cult movie It Came from Outer Space, and produced regular shows at the Barbican, Royal Festival Hall and the National Film Theatre. His shows have featured artists as diverse as Billy Childish, Acid Mothers Temple, award winning electric Tuvan throat singers Yat-Kha, Cleveland punk originals Pere Ubu, and most recently the outlandish pop art vision of William Klein's Mister Freedom, performed live at the Queen Elizabeth Hall by Jimi Tenor and his Scandinavian Big Band. Pytel is currently restoring Shostakovich's first and unrecorded work for cinema in its original and unreleased form.