new release by Bear Bones, Lay Low recorded at les ateliers claus
New tape release
Why The Eye!?
There are some musicians whose skillful playing seems to come so easily, it can appear supernatural. Guitarist Marisa Anderson is one such sorcerer of song. The Portland-based virtuoso has issued several records' worth of instrumental numbers that delight and bewilder with cascades of fingerpicked notes. On her new LP, Cloud Corner, Anderson demonstrates yet again that she's one of this era's most powerful players, one whose sleight of hand is some serious business, indeed.
Anderson's other recent full-length projects have generally adhered to some sort of specific idea. Anderson presented her 2016 record, Into the Light, as a fictional soundtrack for a make-believe sci-fi Western film, while 2013's Traditional and Public Domain Songs, which she reissued with a pair of additional songs last year, is self-explanatory. Cloud Corner has no such concrete restriction, and it benefits from Anderson's effortless modulation between styles. Her playing has takes heavy cues from American traditional music and the blues, with free jazzy shocks occasionally thrown in for good measure, but she also nods to the Tuareg traditions of northwest Africa with spiky licks on "Slow Ascent."
One of Anderson's greatest tricks has always been the structure of her compositions, which often make you feel as though she's dropped you into the middle of the action. There's no wind-up or pretense to get to a point; these songs just seem to appear, fully formed. "Cloud Corner" bubbles upward with a lightly sunny disposition, while "Sant Feliu de Guíxols" tumbles through warm, gentle bliss.
Anderson closes Cloud Corner with "Lift," where reverberating low notes buoy a light, repetitive lick on the requinto jarocho (a four-string, guitar-adjacent instrument from Mexico) before it all gradually melts away. The track doesn't offer the same sort of lift as, say, a gospel number or a high-octane pop hit, but it feels like a spiritual balm nonetheless. The song's patient, winding pace makes for a gravity-free finish, leaving you adrift like one of Anderson's titular clouds.
16th June 2018 at les ateliers claus
we failed heroically and miserably to have our claustrum pavilion ready in time for the parc de Forest. we’ll continue to do more tests and construct our pavilion until we have the best possible result for the Meakusma festival. thanks to all who helped these last couple of months and weeks.
correspondances sur la mer de chine (b) in residency at les ateliers claus
we're building a musical structure with plastic bottles. to make sure it's safe we need to invest in sustainable rings.
please help us in making this dome-dream a reality.
from May 7th until 13th Oona Libens is working on a new project which will premier in the fall of 2018
Oona Libens (1987) is a Belgian-Swedish artist. Her work revolves around media-archaeology and the history of the (moving) image. She develops a distinct universe by creating a dialogue between historic and recent media phenomena — from shadow theatre as the most primitive form of the moving image, by way of the magic lantern, the computer or TV screen, to today’s entertainment society and Google. With her performances Oona Libens tries to broaden our experience of the image and the screen, to create an analogue virtual reality and to make an entertainment machine that is slow, hesitates, falters and fails. Since her graduation from KASK Gent in 2012 she has been working on a series of poetic-scientific lectures dealing with topics such as the universe, the sea, time and the human body.