Thanks to a constant drip feeding of the tracks that will constitute next year’s album, Spurious Forms, we are beginning to pick up a vivid picture of Elea Calvet and her music. And, if you were to generalize, try to sum things up in one short, sharp observation, you would have to say that the main thing that sets her apart from most of the music being made today is that it is impossible to fit her music into an ordered musical landscape. No genre label or tag is adequate, references and comparisons are hard, but not impossible, to find, and her output seems to run at tangents to fads and fashions and zeitgeist. I know most artists say that about their music, but it has never been truer than here.
You could go as far as to say that her music is deeply unfashionable, but only in the way that Waits, Cave and Cohen, that unholy trinity, are unfashionable – artists who seem to have skipped the notion of being merely popular and instead headed straight for the rarified air of being important, unique, iconic, legendary even.
“Done Days and Souveniers” looks at the path that destiny sets before us all, muses on the “what if“s” of our pasts, and shows how one small encounter, or lack of it, can, as the classic Butterfly Effect tells us, result in a very different place in the present.
The requisite pathos for considering such opportunities missed is set up sonically through spacious atmospheres and distant sonic washes, hushed vocal tones, and sweeping strings, creating a backdrop that is part jazz club chantress, part apocalyptic balladeer. Atmosphere is the name of the game; with all of Elea’s music, her songs are based less on melody and conventional structures and more woven from mood and heartache, regret, and contemplation.
Music that makes you feel and makes you think, how great is that?
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