CIRCUIT DES YEUX

w/ MARISA ANDERSON and TISPER


Haley Fohr’s music strikes a unique balance between the personal and universal. As Circuit Des Yeux she creates music that embodies the complexity of human emotions, juxtaposing tenderness and grief, ecstasy and horror, using sounds as representations of the emotional spectrum that we all experience. Fohr’s striking voice, an impassioned baritone, is the music’s centerpiece and guiding force. On In Plain Speech, Fohr is joined by some of the most progressive musicians in the Chicago music community; Cooper Crain (Cave, Bitchin Bajas), Whitney Johnson (Verma), Rob Frye (Bitchin Bajas), Adam Luksetich (Little Scream), and Kathleen Baird (Spires That In The Sunset Rise). Fohr cements her reputation as a fearless songwriter and inventive arranger with this stirring collection of songs that are both gorgeous and emotionally potent.
In Plain Speech represents the start of a new, more collaborative chapter for Circuit des Yeux. While previous works were solo affairs, not only in performance, but emotionally tied to a sense of confinement and place, these new songs were composed after a move to a collective living space, giving Fohr an opportunity to break free of the isolation that informed her previous albums. Fohr brought her community, literally, to the recording. In Plain Speech continues her collaboration with Crain, but it is her first recording with a full band, who are all leaders in Chicago’s new wave of creative musicians. Her songs, while always potent when delivered solo, shine in this new band context. Companionship and solidarity are themes woven throughout the album. “Do The Dishes” is a meditation on sisterhood, and a message to other women to take risks, follow their passions deeply and to love themselves. “Fantasize the Scene” explores the idea of eternal friendship.
Extensive touring after Circuit des Yeux’s acclaimed 2013 album Overdue influenced the making of the album in several ways. On that tour, which stretched for months throughout Europe and the US, Fohr toured solo, no band, no tour manager, no driver, and in that solitude learned to commune with the audience in a way that she hadn’t ever before. That connection sparked in her mind a conversation with the audience, and many of the lyrics on In Plain Speech are directed at “you,” the listener. She also became acutely aware of disquiet, a pervasive anxiety, which permeated society in almost every city she visited. “I felt an uneasiness that superseded phonetic communication,” she writes. “Something dim is in the air, and it is looming large.” This anxiety creeped into songs like “A Story Of This World,” which is a call for change of priorities and values among the world’s leadership.
Fohr will tour with the musicians who play on In Plain Speech throughout 2015. If the band’s debut show is any indication, these shows will be lush and captivating, the band enhancing her already compelling performances. Fohr self-released her 2013 album Overdue, which was praised by NPR, Pitchfork, Tiny Mix Tapes, and more – an impressive display of support for an artist working on her own. 2015 will certainly bring many more exciting chapters in Fohr’s ongoing story.


Channeling the history of the guitar and stretching the boundaries of traditional genres, Portland based guitarist, composer and improviser Marisa Anderson possesses a unique and distinctive musical voice. Her playing is fluid, emotional, dexterous and original. Anderson’s second solo record, The Golden Hour (Mississippi Records 2011), features twelve improvisations inspired by Delta blues, West African guitar, vintage country and western, gospel, noise, rhythms, cycles, mortality, and praise.

Her upcoming record “Mercury”, out on June 5 on Mississippi Records, mines new veins of hidden gems as Anderson shifts her focus from the Delta swamps to the high lonesome sounds of the Appalachian region before heading west to follow the trail from Nashville to Bakersfield and beyond. Songs like ‘Mojave’ and ‘Embudo’ are steeped in the sounds of the American West, while ‘Galax’ and ‘Deep Gap’ are tributes to the rural mountain music of the South. “Mercury” picks up where “The Golden Hour” leaves off, featuring sixteen compositions for solo guitar and lap steel, recorded live in single takes, with no overdubs,looping or electronic layering.

Anderson’s current and past projects include the Evolutionary Jass Band,the Dolly Ranchers, and the One Railroad Circus. She has toured throughout Europe and the US and has opened for Sharon Van Etten, Mt Eerie, The Devil Makes 3, and Thao & Mirah. Anderson has collaborated with musicians including Beth Ditto, Mirah, Tara Jane O’Neil, Sarah Dougher, Lori Goldston, Rachel Blumberg, and many others.

Anderson’s music has been featured on soundtracks including ‘Smokin’ Fish’, ‘For the Love of Dolly’, ‘Girls Rock’, and ‘Gift To Winter’. Recent festival appearances include Le Guess Who, Creative Music Guild Improvisation Summit, Portland Experimental Film Festival, Sound & Music Festival, NOFest, Electrogals, Festival of Endless Gratitude, Pickathon, and PICA’s TBA Festival. Her writings on music and activism have appeared in Bitch Magazine, Leaf Litter, and in Rock ‘n’ Roll Camp for Girls, the book. In 2012 Anderson was one of six artists selected for Signal Fire’s Afloat Residency. Anderson’s debut solo recording ‘Holiday Motel’ was a 2006 Outmusic nominee for Best Female Debut Recording.

Anderson spent 2003-2011 working at the Rock’n’Roll Camp for Girls. Before arriving in Portland in 1999, Marisa walked across the US, toured with Circo De Manos through southern Mexico, was a founding member of the Chaos Collective and helped create the One Railroad Circus in Santa Fe, New Mexico.


Chamber Folk, Fantasy.



CIRCUIT

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