Una serata Red Noise Reggio Emilia
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MARISA ANDERSON [Folk-Primitive guitar, USA] è nata a Portland e dopo aver respirato per diciannove anni la fertile scena musicale cittadina, ha lasciato gli studi per mettersi a viaggiare in lungo e in largo gli Stati Uniti. Per più di dieci anni è tutto quello che ha fatto. Imparando dalla strada il significato delle parole blues e folk. Il suo primo disco è del 2009, “The Golden Hour”, cui sono seguiti “Traditional And Public Domain Songs”, “Mercury”, "Tashi Dorji/Marisa Anderson" e "Into the Light".
Negli ultimi anni Marisa Anderson si è fatta conoscere anche grazie ai lunghi tour in compagnia dei riformati Godspeed You! Black Emperor, The Devil Makes 3 e Sharon Van Etten, che l’hanno voluta per aprire i loro concerti.
La sua chitarra viaggia tra la strada, i sogni, il viaggio e l'aldilà con una abilità cinematica davvero fuori dal comune.
"Into the Light" is the kind of record that requires rapt attention, best enjoyed in still solitude. But even as Anderson’s instrument simmers, it still reaches for the great beyond, and she makes you ache to reach along with it." [7,9 / PITCHFORK]
DISCOGRAFIA PRINCIPALE (solo)
2016 Into the Light (Chaos Kitchen)
2015 Tashi Dorji/Marisa Anderson (Footfalls)
2013 Traditional and Public Domain Songs (Grapefruit Records)
2013 Mercury (Mississippi)
2013 Elizabeth Cotten/Marisa Anderson 7″ split (KBOO)
2011 The Golden Hour (Mississippi)
2011 Goddam I Hate the Blues 7″compilation (Kraak)
2010 Music for Saharan Cellphones compilation (Sahel Sounds)
2006 Holiday Motel (16 Records)
"On 2013’s Traditional & Public Domain Songs, guitarist Marisa Anderson took tunes from the American songbook—“The Battle Hymn of the Republic,” “Will the Circle Be Unbroken,” “Pretty Polly”—and warped them to her own liking. The results dropped relics from the past into sometimes harsh, but always interesting, new environments. On her new album Into the Light, she bends American guitar traditions for a completely different, but no less captivating, conceit: They soundtrack a theoretical sci-fi Western of Anderson’s own invention, where it’s up to the listener to fill in the cinematic details.
Anderson's sensitive touch brushes Into the Light with a far-reaching haze that firmly evokes the open, wild West. Her songs often make you feel as though you’re squinting toward the horizon, straining to make out the edges of a mirage. Her faint picking encourages you to lean in and listen closer to soak in the details: She experiments with a more classical Spanish-style guitar on “He Is Without His Guns” and then immediately reprises these beguiling impressionistic strokes on the appropriately airy “Chimes.”
Anderson’s playing throughout the record is understated and exquisite—but then, she’s never veered toward shreddy, explosive showboating. Her guitar grumbles and murmurs, with low-end notes providing subtle muscle behind reverberating riffs and halos of twang. She achieves all of this right off the bat with the album’s opening title track, where she lifts a low, plodding roll with light, inquisitive curls. It’s easy to imagine the song behind the opening scene where we meet the tough and gritty hero/heroine, weary from desert wandering.
The only moments that feel dissonant arrive in “Resurrection” as a few unwieldy notes poke through, sounding like faraway car horns. But these off-kilter moments act as foils to Anderson’s fluid playing, again highlighting the baritone notes that anchor the song. Most often, Into the Light is breathtakingly beautiful: Anderson's licks ripple upward on “The Golden West,” sounding like a sinking stone in reverse. Its patient thrumming is soothing, and Anderson slides Into the Light toward a cinematic-sounding close as she drifts “The Golden West” into the sleepy, soft “End of the Night.”
"Into the Light" is the kind of record that requires rapt attention, best enjoyed in still solitude. But even as Anderson’s instrument simmers, it still reaches for the great beyond, and she makes you ache to reach along with it.
in collaborazione con Vertigo Concerti
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