Sunday Matinee

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Ashley Paul
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Powerdove (ES/USA) + Ashley Paul (USA) + Steve Gunn solo & band (USA/BE/IR)

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16:00
8€
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POWERDOVE

 

War Shapes is het vierde album (uitgekomen op 26 mei 2016) dat Annie Lewandowski uitbrengt onder de naam Powerdove (ES/USA). Deze muzikante, geschoold in de improvisatie, zingt er zachte en ongeruste liedjes op die een specifieke behandeling hebben ondergaan om er elke zone van ongemak en gevaar van bloot te leggen. Zo verkreeg ze op haar vorige platen hulp van Amerikaan John Dieterich (Deerhoof, Gorge Trio, Colossomite) en de Fransman Thomas Bonvalet (Cheval de Frise, L’Ocelle Mare) om onvergelijkbare magnetische velden in het hart van de melodieën te zaaien, waarbij ze de structuur en materie vernieuwden van wat we doorgaans verstaan onder een popsong. De gitaar van gebroken porselein van Dieterich heeft plaats gemaakt voor het kabaal van Chad Popple op drums, vibrafoon en klokkenspel in een eerbiedwaardige dialoog met het veelzijdige instrumentarium van Thomas Bonvalet (banjo, concertina, kleine versterkers, opgelapte koperblazers, zelfgemaakte percussie-instrumenten, diverse installaties, …). De gracieuze melodieën die Lewandowski uitblaast als kaarsjes boven haar bescheiden synthesizer lijken preciezer, verfijnder en intenser dan voorheen. Met een mengeling van extreme concentratie en overgave zingt ze valse haïku’s, terwijl er om haar heen een metafysische smid zijn aambeeld rood doet oplichten en een hypernerveuze landmeter de maat neemt van onmogelijke landschappen die zich alleen voor zijn ogen lijken te ontplooien.

 

War Shapes, released on the 26th of May 2017, is Annie Lewandowski’s fourth Powerdove (ES/USA) album. This musician, schooled in improvisation, sings sweet and anxious songs which have been treated so as to lay bare every possible zone of discomfort and danger. On previous albums, she was assisted by the American John Dieterich (Deerhoof, Gorge Trio, Colossomite) and the Frenchman Thomas Bonvalet (Cheval de Frise, L’Ocelle Mare) to sew incomparable magnetic fields into the heart of these melodies, thus renewing the structure and matter of what we usually call a pop song. Dieterich’s guitar of crackled porcelain has made way for Chad Popple’s clamour on drums, vibraphone and glockenspiel, in a respectful dialogue with the diverse instruments of Thomas Bonvalet (banjo, concertina, small amplifiers, reassembled copper, home-made percussion instruments, installations of all sorts, …). The gracious melodies Lewandowski exhales over a modest synthesizer as if she were blowing out candles, seem more precise, refined and intense than before. With a mixture of extreme concentration and abandon, she sings faux haiku’s, while around her a metaphysical blacksmith heats up his anvil and a hypernervous geometer takes measure of the impossible landscapes that seem to unfold for his eyes only.

 

War Shapes est le 4ème album (sortie le 26 mai 2017) que signe Annie Lewandowski sous le nom de Powerdove. Cette instrumentiste formée à l’improvisation la plus savante, y écrit et chante de douces chansons inquiètes dont elle s’applique ensuite, en les soumettant à quelques perturbateurs de choix, à révéler chaque zone d’inconfort et de danger.
Ainsi ses précédents disques invitaient-ils l’américain John Dieterich (Deerhoof, Gorge Trio, Colossomite) et le français Thomas Bonvalet (Cheval de Frise, L’Ocelle Mare) à organiser d’incomparables champs magnétiques au coeur même des mélodies, renouvelant de fond en comble la structure et la matière même de ce qu’on attend traditionnellement d’une pop-song. Alors que la guitare de porcelaine ébréchée de Dieterich a disparu au profit des tapageuses papouilles que Chad Popple dispense aux percussions (batteries, vibraphone, glockenspiel) dans un dialogue vénéneux avec l’instrumentarium hétéroclite du toujours fidèle au front Thomas Bonvalet (banjo, concertina, petits amplis saturés, cuivres rafistolés, percus artisanales, installations diverses…), la grâce mélodique des airs que Lewandowski souffle comme des bougies par dessus ses modestes synthétiseurs semblent s’être intensifiée, précisée, le trait comme affiné. Et c’est avec un mélange de concentration extrême et d’abandon qu’on l’entend chanter ses faux haïkus tandis qu’aux alentours, un forgeron métaphysique fait rougir ses enclumes et qu’un arpenteur géomètre hyper nerveux prend les mesures à grand bruit de paysages impossibles qu’il semble seul à voir se déployer.

 

 

https://muraillesmusic.bandcamp.com/album/war-shapes-2

 

ASHLEY PAUL

 

De Amerikaanse multi-instrumentaliste en componiste Ashley Paul maakt gebruik van een unieke en ingewikkelde mengeling van instrumenten/elementen, waaronder saxofoon, klarinet, stem, snaren, diverse klokken en percussie. Hiermee produceert ze in een intuïtief proces liedjes met een vrije vorm, met veel aandacht voor sonore details en subtiel geklik en gekraak. Met haar soloalbums oogstte ze wereldwijd lof bij de gespecialiseerde pers en dook ze op in menig lijstje van album van het jaar. Getokkel op dissonante snaren, psycho-akoestische experimenten, drijvende melodieën, mechanisch gehamer, schelle tonen, een hoge stem die over dat alles heen klautert en een aanzienlijk spel van mogelijkheden.

 

The American multi-instrumentalist and composer Ashley Paul makes use of a unique and complicated mixture of instruments/elements, among which saxophone, clarinet, voice, snares, diverse bells and percussion. She uses them in an intuitive process to produces songs with a free form, with much attention for sonorous detail and subtle clicks and crackles. With her solo albums, she received much international praise and appeared regularly on album-of-the-year-lists. Dissonant snare-picking, psycho-acoustic experiments, floating melodies, mechanical hammering, lurid tones and a high-pitched voice crawling over it all within a broad spectre of possibilities. 

 

La multi-instrumentiste et compositrice américaine Ashley Paul utilise une unique et complexe mixture d’instruments/éléments incluant saxophone, clarinette, voix, cordes préparées, cloches diverses et percussions générant par le biais d’un processus intuitif des chansons à la forme libre avec une approche hautement focalisée sur la projection de détails sonores et autres cliquetis/claquements. Ses albums solos ont fait l’unanimité auprès des presses spécialisées du monde entier, figurant dans bon nombre de listes d’albums de l’année. Pincements de cordes dissonantes, expérimentations psycho-acoustiques, mélodies flottantes, martèlements mécaniques, tons stridents de anches mordues, une voix haut-perchée rampant à travers le tout et un formidable jeu de potentialités ouvertes. Le tout avec un sens merveilleusement flexible de ce qu’une chanson peut être.
Une musicienne/artiste hautement acclamée pour ses démarches intuitives/introspectives, à l’univers/langage sonore réellement unique en son genre et considérée, à juste titre, comme l’une des plus originale voix de la scène expérimentale actuelle.

 

http://ashleypaul.net/

 
STEVE GUNN

People have written about roads for as long as they've been around. And before there were roads, they still wrote about travel and about landscape. Landscape is the stage upon which our greatest experiences and desires play out. Steve Gunn's music has always embraced expanse and movement. It springs from the simple and profound relationship between humans and their environment. Eyes On The Lines is his most explicit ode to the blissful uncertainty of adventure yet.

Gunn's roots in the underground run deep, from his days in GHQ to his collaborations with Black Twig Pickers and Mike Cooper. He's toured and recorded with Michael Chapman, and released two remarkable duo albums with drummer John Truscinski. His solo ventures, emerging over the past decade and culminating most recently the highly-acclaimed Way Out Weather, have been pastoral, evocative affairs. Here he embraces his urban surroundings through a series of songs that fully showcase his extraordinary ability to match hooks to deftly constructed melodies. Gunn is a consummate guitarist, that rare fingerpicker who can harness the enigma of the American Primitive vernacular without lazily regurgitating it. His playing is inventive and full of personality. His instrumental virtuosity calls upon a vast library of technical skills at will, but he's never showy — his riffs and runs are always in the service of the song at hand.

And what a pleasure to have this music presented to the wider public.

This song cycle melds thoughtful inquisitiveness with poetic reflection, fully embracing rhythmic uplift, allowing personal stories and impressions to live their own lives on their own terms. Gunn is more narrator than diarist; he pours real-life moments and real-life people into vibrant and evocative tales. Dreams and encounters spiral out – they form their own dramas and illuminate their own truths. Indeed, Eyes On The Lines works like a book of the finest short stories, its songs interlocking with an urgent necessity, forming an ever-questioning whole. In Gunn's own words: "The music isn't about me. It's about characters, either real or fictional. It's about images."

And what are lines if not one of the foundational aspects of images? Lines on the road draw one's attention to the lines comprising the landscape. Gunn's music runs ahead and twists – like time, like the road itself. Guitar lines are highway lines are lines carved by the view out the window are the lines one waits in to get a quick meal on the way from one destination to another are lines one draws in the van to stay amused. It's good to be out on the road and it's good to be home, and each feeds into the other. This record sees lines run together and leap across one another.

He's honest about the necessity of being comfortable in being lost. His music values the unknown, so it is always born of the present. We lose ourselves to find ourselves. With all of this comes humility. And gratitude. Listen to "Nature Driver," a statement of thankfulness for the generosity of the plethora of kind souls who welcome travelers into their homes.

"Ancient Jules," which opens the record, is a travel fantasy of a different sort. Built around a head-nodding motif, the song bobs and weaves its way through a tale which foregrounds the surprising joy that can come with a break – a deep sigh in the midst of an onrush, punctuated by the finest example of Gunn's electric soloing to emerge yet. A song like "Conditions Wild" also rambles through strange clouds of roving. Interlocking strings, percussion, and vocals join in an irrepressible rush. This record is like that – the songs get lodged in one's head because they're catchy, but their atmosphere sends the mind reeling into memory and mystery.

These are songs you can take in quickly, but spend all the time in the world devouring. The very large and the very small are present in equal measure. The inability to categorize them within the avalanche of impotent diatribes that pass for categorization is a testament to their power.

Stories give us ways to discover meaning. They provide us with signposts – when we recognize our own lives within them, we clarify our existence. "Far from the world is the mystic fool," Gunn sings on the opening track. The fool may be far from the world, but that doesn't matter. The so-called fool is jacked in to the cosmos.

Matt Krefting Holyoke, MA 2016

http://www.steve-gunn.com/