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The Legacy of Robert Wilson Not far into Herman Melville's 1851 epic novel Moby-Dick, a shipowner describes the man who will take their whaler on a tragic quest. Captain Ahab, he says, is 'a queer man … a grand, ungodly, godlike man.' The same might be said of Robert Wilson. By the time he died last July at the age of 83, Wilson had transformed himself from a stuttering, gay son of conservative southern Baptist parents in Waco, Texas, into New York City's titan of experimental theatre, opera and dance. Wilson's Final Masterpiece Wilson launched many of these theatrical explorations from the Brooklyn Academy of Music (Bam), from 1970's almost-silent play The Life and Times of Sigmund Freud to 2016's Letter to a Man, starring Mikhail Baryshnikov as Vaslav Nijinksy. This spring, his final work will reveal itself to his hometown crowd after an initial 2024 presentation in Düsseldorf. In Moby Dick, Melville's wild rumination on global capitalism, obsession, masculine intimacy and fate comes to life on a stage at Bam defined by many of Wilson's signature gestures. The Collaboration There is Wilson's astonishing use of bands of light, for example, and his demands on performer's bodies to somehow do nothing and everything at once. There's a collaborator, too – in this case, the accomplished British musician Anna Calvi, who's written a raucous and glamorous suite of songs for the show. It's their second collaboration, following 2017's The Sandman. ' David Byrne put me in touch with him,' Calvi says via email, knowing she was a fan of Wilson's work with Tom Waits. '[Byrne] wrote to me, saying, 'Are you ready to go down the rabbit hole?' Which is a very good description of working with Bob!' The Impact of Wilson's Work In many ways, though, Wilson harpoons expectations for what might happen when a god of American theater hunts down a Great American Novel. Wilson's Moby Dick is short, sleek and almost sentimental. And it reminds us that ambition might sometimes have lethal costs, but that life isn't worth living without it. 'All the things that made him Bob Wilson are represented in this project,' says Bam artist director Amy Cassello, who worked with him for decades. The Future of Wilson's Legacy Indeed, Wilson and Calvi largely jettison Melville's notoriously verbose texts, building sea-shanty glossolalia into little cabins for all you need to know about, for example, a bar full of sailors, or how it feels to walk a plank. 'I loved how he always got me to do things I would never normally do,' says Calvi. 'I remember being at a casting and at one point, at Bob's request, I was rolling around on the floor with the other actors!' Moby Dick is at Brooklyn Academy of Music from 29 April to 3 May.

Punchbag, a south London-based electropop duo, is making waves with their sweaty and unvarnished sound. Recommended for fans of Charli xcx, Confidence Man, and Klaxons, their music is a perfect blend of off-kilter beats and maximalist bass. Their debut single, Fuck It, was a riotous mix of 90s rave and Clara's spit-soaked vocals. Their latest EP, I Am Obsessed, takes a darker turn with tracks like Playing God, a dry ice balladry that tackles the men in power. For those who crave a glorious racket, I Love This! is a shouty, nu-rave adjacent track that channels Charli xcx's style. This week's best new tracks Tara Clerkin Trio – Silently: A relaxing song with gauzy synths, a low-slung beat, and Spanish guitar that evokes a dusky shoreline. Babyfather – Slumpz: A corroded-symphony beat with Dean Blunt's steady flow makes for a welcome return. Thistle. – Pylon: A wobbling mass of noise that rides a giant wave of pondwater surf. Katseye – Pinky Up: A brat-pop party anthem with a chant-along chorus and hyperactive production. Massive Attack – Boots on the Ground (ft Tom Waits): A long-awaited return with wheezing breath, mournful piano, and eerie wailing. Disgusting Sisters – Weirdo Magnet: A playfully creepy track with succubus-style vocals and a bassline that prowls around. PPP – Wisco: A steamy, syncopated track that recalls the harder end of DJ Koze's recent album.

Massive Attack has returned with their first single in a decade, 'Boots on the Ground', featuring the iconic voice of Tom Waits. The song is a seven-minute track that showcases the band's signature dark and experimental sound.The song's release marks a significant event in the music world, especially given Massive Attack's influential history in shaping the trip-hop genre with their debut album Blue Lines in the 90s. The band's music has since evolved to incorporate more abstract and disquieting elements, as evident in 'Boots on the Ground'.The track features a haunting intro and coda with Tom Waits's labored breathing, creating an unsettling atmosphere. Waits's vocals are unmistakable, and his presence elevates the song to a new level of intensity. The lyrics are surreal and disturbing, tackling themes of violence and authority.The song's accompanying video features the work of a documentary photographer, showcasing powerful images of Black Lives Matter protests, ICE raids, and homeless veterans. This visual component adds to the song's impact, making it a thought-provoking and timely release.'Boots on the Ground' is a fitting addition to Massive Attack's discography, reflecting the band's continued ability to push boundaries and create music that resonates with the current times. The song's dark and ominous tone, combined with Tom Waits's haunting vocals, makes it a standout track in the band's oeuvre.

Jim Jarmusch, the 73-year-old director known for his offbeat Americana films, has spent seven years crafting his latest project, 'Father Mother Sister Brother'. The film, which won the prestigious Golden Lion at the Venice film festival, is an anthology drama that explores the complexities of family relationships through three distinct stories set in New Jersey, Dublin, and Paris.Jarmusch's approach to filmmaking is characterized by his unique ability to elicit low-key performances from big stars and his focus on the quotidian aspects of life. He cites influences from filmmakers like John Cassavetes and David Lynch, but emphasizes his own humanist approach. 'I make films out of the things other people would leave out,' he notes, highlighting his attention to detail and ability to find beauty in everyday moments.The film features a star-studded cast, including Cate Blanchett, Adam Driver, Mayim Bialik, and Tom Waits. Jarmusch's process involves casting first and then writing the script quickly, often in a matter of days. 'I cast first then write fast,' he explains, showcasing his collaborative approach with actors.Jarmusch reflects on his career, mentioning the challenges of getting films made without compromising his artistic vision. 'It's harder every time to get a film made,' he acknowledges, but remains committed to his unique approach. The director also touches on themes of mortality and the cyclical nature of life, emphasizing the importance of living in the present.The film 'Father Mother Sister Brother' is set to release in UK cinemas on April 10, offering audiences a glimpse into Jarmusch's distinctive filmmaking style and thematic explorations.