Selenotropism is plant growth in response to moonlight, and it felt like the perfect way to name this collection of songs that has been developing slowly and quietly over the course of the past 5 years. You may recall the band formerly known as Red Moon? Well, I’ve FINALLY finished an album of all those songs called Selenoptropic. In some ways, I tried to let go of thinking of myself as a ‘harpist’ and the feeling of being chased by this story of what the harp is supposed to be and my rebellion to that. With this new music, I tried to let that go of that and embrace ‘beautiful’ in ways that still felt authentic and honest. Our first record, HUE, felt like a bit of a teenage rebellion against the ‘harp’ archetype – I did my best to avoid anything that could be considered ethereal or classically beautiful. With sentiment in mind, this album uses influence from rock, pop and indie music in combination with my background in avant-garde and free improv with the intention of creating music that challenges the listener in a way that makes them barely aware they are being taken outside of their boundaries. I find this quote from literary critic Mark Abley quite poignant in expressing how I feel about the relationship between tradition and innovation in the arts: “ we have focused so hard on the desire to make our work perpetually new we have become so suspicious of stale rhetoric and we have wanted so much to disconnect ourselves from the styles and tropes of the past, that we’ve ended up isolating ourselves from the public” (Prairie Fire, vol. It f eatures James Meger on bass, Justin Devries on drums and guest vocalist Laura Swankey (Toronto).įlowers for Your Heart tackles two artistic objectives: firstly, how to create music that is both abstract and accessible and secondly, how to lead a band with harp in a way does not compromise sensitivity with it’s boldness, or aesthetic beauty with it’s curiosity.įlowers for Your Heart by Elisa Thorn’s HUE My project HUE released our sophomore album, Flowers For Your Heart on May 31st. It will not be available on streaming platforms, but eventually will be released on cassette by Toronto label Dark Matter. Elisa will be there to introduce the piece, offer suggestions for listening, and also afterwards for an artist talk-back following each showing. There will be online screenings daily from March 5th (the anniversary of its only performance- Elisa’s last concert) until March 11th (the anniversary of the pandemic). She hopes you LAY DOWN CLOSE YOUR EYES USE HEADPHONES TURN IT UP and come with. It is meant to be listened to continuously in one sitting. Endless thanks to Chris Gestrin for his mixing wizardry and final tweaks. Sometimes you can hear the creak of her chair but remarkably, none of the construction noise from outside her studio space. It was Elisa’s last concert of the Before Times.Įlisa recorded, edited and produced this project herself with her Camac DHC and Lyon & Healy style 85 harps, a Boss RC-300 looping pedal, and GarageBand. It has been performed only once, at the Women From Space festival in Toronto on March 5th, 2020. Her relationship with her mother by developing a relationship with the mother and child inside herself. She seeks to REPAIR REFRAME REIMAGINE RESHAPE RECAST She plays with her belief that all the versions of oneself exist within us at any given moment – and that it is possible to travel across time to visit our past and future selves. The Years in Between is a sound composed, performed, and produced by harpist & vocalist Elisa Thorn.įlowing through different scenes and spaces, the 26-minute piece is a of Elisa’s relationship with her child self.
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