LAURA LÉON – Song For Ewe


“SONG FOR EWE” is the feature where artists & music people beloved by VELVET SHEEP choose an obscure song they’ve been listening to that day. Today’s guest is a Vigo born, Barcelona based filmmaker and musician who is releasing twelve scores for her 2018 film “Un Percepcion de un Silencio” on 23rd November via Phantom Limb. Each piece offers an individual iteration of the film and features musicians from across the Med, Middle East, Spanish-speaking Latin America and South East Asia. With the film itself constructed from Lomographic shots (the Lomo a long exposure camera designed for the Russian secret services which I was first introduced to by videographer Thomas Q Napper), and the music constructed to make an “album of wilfully non-standard construction” to call this project a curio is to undersell it’s inherent poise and beauty. Bringing her delightful dozen expansive of sonic architecture to VS, plus her own intriguing song choice, I’m delighted to introduce the mellifluous magnificence of Laura León.

Check out a “megamix” from the album featuring musicians James Vella, Sebastián Arroyave and Parahelio here…

With each composition giving a completely new way of scoring (and therefore watching) the same 1’30” footage, this is art installation in epsiodic and multi-faceted installments, some wistful, some intense, some abstract – all lovingly curated by León who has written of the project: “The principles of human perception act in an individualistic way, sustained both under our own experiences and under the emotions subordinate to image. The differentiation between the perceptions does not respond only to the experiences lived and to the individuality of the collaborator, but to the environment and culture of the place where they have lived.”

Those who’ve interpreted León’s film include Casablanca’s Arthur Zerktouni who uses synthetic vocal tics and whirring waveforms that remind me of Mouse on Mar’s Jan St. Werner’s solo records; Verónica Daniela Cerrotta from Argentina who uses spoken word and field recording; Filipino “hardware hacker and experimental musician” Erick Calilan uses dark Robin Rimbaud-esque brush-strokes while Phantom Limb label hocho James Vella sires a fun naiive melody via a digital emulator of the “Buchla Easel” (synthesiser of choice for some of electronic music’s most respected including Suzanne Ciani, Kaitlyn Aurelia Smith, Alessandro Cortini). That one piece of film can be interpreted so widely and dissonantly says much of how art is in the eye of the beholder, and how nuanced it can be in a world that’s increasingly pushing towards the monochromatic. Things are not always as simple as they seem…

…which is why it was impossible to second guess Laura’s “song for ewe”…here it is without further ado…

“Wait the Ships Come Back by Migala (Así duele un verano, 1998)

Migala was an experimental Spanish band, they were active since the mid-90’s until 2005. They used to built cinematic sound designs as they played conventional instruments and sang. I find very attractive this connection that can be seen in the full discography of the band, they use continuous references to cinema and literature.

Curiously and being Spanish like me I discovered the band thanks to an interview I read a long ago where they talk about their connection with Explosions in the Sky. Now their members have developed successful solo careers in the Spanish indie scene, but the band is still one of the hidden promises of experimental music in Spain.”


The album “Doce Percepiones De Un Silencio” is available for pre-order now…

Author: Nick Hutchings

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