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Micromecenatge solidari amb Uganda des de l Alt Empordà
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Optimisme en els allotjaments turístics pels bons indicadors de reserves
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Carmen Villain s excellent Perlita feels effortless, natural, and inevitable, says Bernie Brooks
This morning, at around 5:00 AM, I took the dog outside. Unbeknownst to me, it had been snowing – it still was. A blanket of the fresh, downy stuff lay on the compacted strata of old snowfall from the past couple of weeks. Big, graceful flakes drifted down in the bright night. I stood there in the quiet stillness for a while. Then, I brought the dog inside and went back to sleep. Later, as I made coffee, I put on Carmen Villain s latest cassette,
Perlita, and thought about the snow.
Andrew Khedoori remembers when he first fell under the spell of a longform composition. As a volunteer at a Sydney-based community radio station in the late 1990s, he came across a three-CD set of Eliane Radigue’s
Trilogie de la Mort in a pile of discs to be discarded. Intrigued by the cover, he took it home and found himself engrossed in its shape-shifting dronescapes, each one roughly an hour long. “I was aware that I needed to give myself over to it,” he recalls. “That’s what Longform Editions is about giving yourself that space and time to absorb something and get out of it what you can.”
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Perhaps Carmen Villain was always an ambient musician disguised as a singer-songwriter. There were clues: On her debut album, 2013âs
Sleeper, the Mexican and Norwegian artist wrapped skeletal songs for guitar, drums, and voice in billowing layers of echo, like early Cat Power gone shoegaze. She leaned into her mood-setting instincts on 2017âs
Infinite Avenue, drawing out resonant tendrils of guitar like wisps of candle smoke. Then, on her third album, 2019âs
Both Lines Will Be Blue, she abandoned vocals in favor of purely instrumental excursionsâdialing up the reverb, digging into dub rhythms, using church bells and thunderclaps to add overcast drama. Villainâs new mini-album for Atlanta label Geographic Northâs
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