Flowers of romance

Description

Michel is above all a worker, whether in Dustbreeders, the so-called "noise" ensemble from his native Metz, or in his collaborations with a broad and varied range of Japanese comrades such as Tetuzi Akiyama, Fukuoka Rinji and of course Junko, always keeping his name as the anchor point of a free man. Freed from the yoke of wage labor, the worker can claim his own name, Michel Henritzi; and paint the world and its oppressive separation that transforms into an indescribable but liberated future. This takes time and the work unfolds here over 2 full sides recorded Live. Against the "hunger killer" (Guy Debord in "L'Encyclopédie des nuisances") of canned music, Michel Henritzi's work creates a lived experience which, in a praxis, embodies the crushing destruction of exploitation and the struggle against it. This evolving repetition against decay reminds me of "MMMM (My Metal Machine Music)", the work of another Japan enthusiast, Magic Aum Gigi, French member of AcidMother's Temple. Perhaps also because of the inscription of both works in the history of rebellious music through the reference of their titles to the masterpieces of Lou Reed and, here, of Public Image Limited, injecting their irrepressible venom into your contemporary listening experience.But Michel Henritzi is also a writer, he is also a label owner (publishing "C'est parfait" indoctrinated you fall head first by Keiji Haino, etc) and he is also non-exhaustively described: A worker, a scholar, etc. In "Esthétique de la résistance", Peter Weiss describes artistic research in action and how it is possible (and crucial for a revolutionary spirit) to revisit the great works of humanity in the face of the oppression that produced them. It is my amusement and my honor to present the work of Michel Henritzi, "Fleurs de la romance", within the framework of this rich tapestry of the class struggle.