Shadowland: Music For Pilobolus
Soundtrack to the award-winning dance piece by Pilobolus, on tour since 2009. Orchestral and electronic music and songs Not Enough Night, Like A Storm, New Friends, The Elephant, Mangez La Femme and JOY.
Shadowland must be seen to be believed. A short excerpt is here: http://youtu.be/QgvmlqqkofM
The dancers of Pilobolus often work behind huge, diaphanous screens of light. A collaboration between the company, Spongebob Squarepants writer Steven Banks and David, Shadowland tells a coming-of-age story about a girl who dreams of a bizarre world where the grass laughs, flowers are hungry and God turns young girls into dogs.
“A completely new show, Shadowland will become, without doubt, one of the more important theater events of the new season" said Absolute Madrid upon the show's premiere in Spain. They were right. Shadowland premiered to rave reviews in 2009 and has been on tour since, visiting every continent, garnering awards and performing for sold-out crowds, including a performance for Her Majesty Queen Elizabeth II featuring David's big pop song JOY that was broadcast worldwide.
The New Yorker: “In choreography, if you can’t be a genius, then you must be ingenious. Balanchine is a genius, Robbins is ingenious. Pilobolus Dance Theatre, I would have said a year ago, is simply ingenious. Now I’m not so sure that the gift of ingenuity isn’t capable of once in a while surpassing itself, so that we are shaken out of admiration into awe.”
Musically, this quick-moving piece exhausted David's proclivity for genre-jumping, and the project presented a natural opportunity for him to sing and write in a variety of voices, including a rare, full-throated performance on New Friends; a snarl on The Elephant; a faux-accented French on the bizarre "Mangez La Femme" that answers the long-standing question of how Maurice Chevalier would sound if he took psychotropic drugs, and JOY, one of David's most-downloaded songs, which features a vocal sample of his mom.
Shadowland represents the last of the unwieldy eclecticism that marked much of Poe's previous work -- a new approach to songwriting was beginning. This record was the way out, a celebration of tone, a clearing house for what was to come next.