What to Watch That Isn’t “The White Lotus”

The instrumentalist Tamara Lindeman founded the Canadian people set the Weather Station successful 2006, but it could beryllium argued that she didn’t genuinely find the project’s calling until 2021, with the band’s majestic medium “Ignorance.” One of the champion LPs of that year, the euphony explored our ongoing ecological emergency, mustering up idiosyncratic meditations from wrong the clime crisis. “I consciousness arsenic useless arsenic a histrion successful a metropolis parkland / Standing arsenic a awesome of what we person blown apart,” Lindeman sang connected “Tried to Tell You.” The songs are scenic, and filled to the brim with the wonders of the extracurricular world—wild roses with crumpled petals, misshapen reeds and rushes; shearwaters, robins, crows, and thrushes; the upwind connected the water; the prima successful each its splendor, mounting oregon slinking done the blinds; pinkish clouds amassing against the cliffs.

The philharmonic possibilities of the Weather Station seemed to unfastened up with “Ignorance,” and past 2022 brought a companion release, and unneurotic they seizure the beauteous fragility of our planet. On the followup, “How Is It That I Should Look astatine the Stars,” the elevated folk-pop of the archetypal blurred into an awe-inspired jazz, unfurling into a boundless, tranquil expanse, wherever the large outdoors isn’t conscionable a refuge from an unfeeling integer society; it’s a panacea for quality self-absorption.

On the Weather Station’s caller album, “Humanhood,” Lindeman’s mode of seeing the satellite deepens. Trying to fig retired “how to beryllium an activistic and speech to radical astir this contented emotionally,” arsenic she enactment it to Interview magazine, led her to self-analysis, to reasoning astir dissociation and the value of staying connected to one’s feelings and to the earthy order. In exploring this connectivity, Lindeman extends the scope of her euphony further than ever, portion besides continuing to turn the Weather Station’s dependable into a vespertine orchestral domain each its own. “Some radical don’t privation to spot the seams / They privation it each done by machine,” she sings connected “Sewing,” her dependable mildly breaking isolated amid subdued soft and drums. “Straight and plain, nary traces of making / But nary 2 days are ever the same.” Finding and embracing the traces of making—on some intimate and biology scales—has go her guiding originative principle. The Weather Station plays Bowery Ballroom connected April 1 and Music Hall of Williamsburg connected April 2.—Sheldon Pearce

About Town

Off Broadway

The Wooster Group explores its archive with the wistful Nayatt School Redux, returning to a 1978 portion composed by Elizabeth LeCompte and Spalding Gray, with Libby Howes, Joan Jonas, and Ron Vawter. Originally, Gray played T. S. Eliot’s “The Cocktail Party,” connected a grounds player, his monologue exploding into zany antics. Now Scott Shepherd channels Gray, and with his fellow-actors reënacts juddering, black-and-white documentation from the period. The Wooster doyenne Kate Valk tells stories astir that long-ago cast, recalling the time she had to perpetrate Howes, aft the histrion began imagining mystic correspondences. Someone, Howes had insisted, was coming—her mania eerily reflecting Eliot’s play, successful which a young ascetic follows interior voices into harm’s way.—Helen Shaw (Performing Garage; done March 29.)

Classical

The composer Yoko Kanno is simply a pioneer of soundtracking anime. She grew up successful Miyagi, Japan, and, though her household had small involvement successful music, she learned soft and attended euphony schoolhouse arsenic a child, yet going connected to put songs for her college’s pop-music nine and constitute for commercials. Her unplanned crossover into anime feels unequivocally natural. Kanno wrote a peculiarly dynamic people for the 1998 amusement “Cowboy Bebop,” which channels the fever of the jazz subgenre. At Town Hall, Kanno showcases vibrant selections from “Cowboy Bebop,” with the assistance of the saxophonist Logan Richardson and a astir twenty-person ensemble.—Jane Bua (Town Hall; March 28.)

Art

If the scope of subjects successful Richard Learoyd’s caller photographs—portraits, nudes, still-lifes, landscapes—suggests an world exercise, look closer. The work’s mannerist formality is subverted by a haunting beingness and an oddity that edges into the surreal. Credit Learoyd’s unsocial attack to the camera obscura—here, a painstakingly elaborate process of his ain plan that gives his images a extent that tempts touch. In the portraits, solitary young women and an androgynous boy, each unconventional beauties, look from spaces that consciousness not conscionable bare but endless: a seductive void. Arrangements of flowers—wilted tulips, tangled poppies—and a triptych of gnarly elephant skulls person the uncanny, 3-D prime of antique stereoscopic views.—Vince Aletti (Pace; done April 26.)

R. & B.