No measured overview allowed, only deep diving, unpacking, conspiring. The balloons make it hard to take in the show from a safe, not to say critical, distance. Now, at the show’s close, they’re at your feet, like a deflated Great Pacific Garbage Patch, pressing visitors closer to Paige K.B.’s intricate collages on wood panels, pastiches of art-historical material, and political sound-bites closer to the web of found objects and deadpan references supplementing the paintings, to the sour red walls they hang on. Īt the opening, the red and white helium balloons were in everyone’s face. Many beloved zombie games at the time featured stereotypical characters or cliched trash-talk (which can become its own campy genre), but The Last of Us built indelible characters enlivened by high-quality acting. In The Last of Us we follow the journey of Joel, a middle-aged smuggler who lost his daughter at the start of a global fungal pandemic, and Ellie, a ferocious queer teenager who has never experienced the world before its collapse, across America on a mission to facilitate the creation of a cure/vaccine. I remember being captivated by the zealousness of “world-building” efforts dedicated to sensationalizing its end. The game premiered a decade earlier among a “cohort” that included the TV series The Walking Dead (in its third season), the game Resident Evil (in its sixth), the Hollywood blockbuster World War Z, and Cao Fei’s morbidly humorous Haze and Fog, a zombie film that offered incisive observations of middle-class ennui and environmental ruin, inspired by Cao’s own fascination with eschatological imaginations in the broader culture. Catch him while you can.When the HBO adaptation of the video game The Last of Us came out at the start of 2023, it already felt nostalgic for an earlier cultural moment of imagined future apocalypses. Tracks such as K.K.P.D, from 2010’s Yesterday You Said Tomorrow, and Danziger, from ambitious 2012 double album Christian aTunde ADJuah, tackled issues of inequality and institutional racism, and confirmed both political statements and brooding grooves as key features of his work.Ģ012’s Ninety Miles Project, a collaboration with Cuban musicians, among them pianists Rember Duharte and Harold López-Nussa, saw Scott explore yet another avenue, and he arrives in London at the height of his creative powers. Many of the tracks on his 2007 follow-up, Anthem, a meditation on the havoc wreaked by Hurricane Katrina on Scott’s hometown of New Orleans and the suffering its residents continued to endure, had a dark, indie rock vibe appropriate to the subject matter. He still regularly gets called up by the likes X-Clan and Mos Def, and hip hop remains a major influence in his work, but recent releases have seen him range further afield. His 2006 debut Rewind That was a blend of slow-burning grooves and sophisticated R&B that earnt him a Grammy nomination straight out of the starting blocks and showcased the two sides to his sound, which ranges from dusky and Miles Davis-esque to brassy and bold. Like many many of his contemporaries, Scott has made a name for himself exploring the fertile ground between jazz and hip hop. Free-thinking US trumpeter Christian Scott leads his killer quintet, featuring Isadora Mendez-Scott on vocals, Matthew Stevens on guitar, Kris Funn on bass and Corey Fonville on drums, in this London return.
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