Listening to Harold Melvin & The Blue Notes’ “Wake Up Everybody”I get a sudden striking flash of Michel Henritzi at work. To me Michel is first and foremost a working man, be it in Dustbreeders the Metz originating so called “noise” outfit, or in his collabs with a wide and varied range of Japanese comrades such as Tetuzi Akiyama, Fukuoka Rinji and of course Junko, always retaining his name as the anchor point of a free man. Freed from the salaried workers yoke, the worker can claim his own name, Michel Henritzi; and paint the world and its ugly oppressive separation morphing into the future of an indescribable liberation. It takes time to do so and the work unravels here over 2 full sides recorded in a live situation. Against the “abat faim” (Guy Debord in “the Encyclopedia of Nuisances”) of canned music the work of Michel Henritzi creates a lived in situation that, in praxis, embodies the grinding destruction of exploitation and the struggle against it. Michel Henritzi works as Penelope hunched over his tool, a lapsteel, protected by his workers cap which is also a military attribute. When the work is done is it now made possible to be done again, always different, unlike mass produced commodities it is the work of a sole man working within the frame of a disjointed society, trying to weave it back together.
Michel Henritzi - Lapsteel & effects.