#Marisa Anderson

[dustedmagazine]

Myriam Gendron — Mayday (Feeding Tube/Thrill Jockey)

Photo by Justine Latour

Quebecois folk singer Myriam Gendron is far from the first artist to turn in some demos expecting them to serve as a rough draft, only to decide that the results stand on their own. Since that debut collection of Dorothy Parker’s poetry set to music (2014’s Not So Deep as a Well), Gendron’s only put out one further record (2021’s justly attention-getting collection Ma Delire: Songs of Love Lost and Found), but she’s been busy with literally life and death. It was only after having kids and then putting together Ma Delire that Gendron really started touring consistently, and then that was sadly halted because of her mother’s sickness and eventual death. That experience informs Mayday, an album of firsts for Gendron; first more traditionally “studio” recording, first time she’s made her music her day job, and first time she’s written most of the songs herself. Despite all those changes, though, Mayday is just as exceptional, intimate, and timeless feeling as anything Gendron’s done before.

On Ma Delire Gendron brought in Bill Nace and Chris Corsano for a song apiece; here she widens and deepens her net (and Nace is back too). A mutual admiration society between her and justly-lauded performers Marisa Anderson and Jim White resulted in the three working together on three songs here, about a third of the total running time. The results are stunning; Anderson and White have worked together to great effect before and Gendron’s richly crestfallen voice fits in perfectly, whether the duo are calm and reflective on “Long Way Home,” foreboding and restless on “Terres Brûlées” (with Nace), or exploratory and elegiac on “Lully Lullay.” The former two also feature Cedric Dind-Lavoie on double bass, and it’s hard not to wish for more from that particular grouping.

That’s not because the rest of Mayday is lacking, though. Gendron eases the listener in with the Fahey-homaging instrumental “There Is No East or West,” and although the title references a gospel song, here it seems to speak more to the feelings of doubt, uncertainty, and grief that course through Gendron’s songs. Whether adapting Parker again on “Dorothy’s Blues,” turning out gemlike instrumentals like “La Luz,” or leaning into the soaring sadness of “Look Down That Lonesome Road,” Gendron continues to be a singular voice (figuratively and literally).

The title of the closing “Berceuse” translates to “Lullaby,” and gentle tone and lyrics match. Until Zoh Amba’s saxophone squeals surge in, playing the track off as Gendron’s electric guitar slowly gets quieter. It’s a striking moment, and after a few listens on that it’s hard to imagine the song and the album without, as if the messiness of life is bursting in to remind us why we need to sing children to sleep in the first place. As always, the beauty of Gendron’s music feels both hard fought and carefully wrought, something worth sharing and protecting.

Ian Mathers

[razorsadness]

Marisa Anderson - “La Llorona”

[radiophd]

marisa anderson -- in dark water

[donospl]

MUZYCZNE REKOMENDACJE: “Across the Horizon Vol.1”

Northern Spy Records, 2024/25 Wytwórnia Northern Spy Records oraz Bob Holmes, muzyk zespołu SUSS zainaugurują we wrześniu unikalny projekt muzyczno-promocyjny. Publikacja wraz z ekskluzywnymi dodatkami dostępna będzie jedynie w formie subskrypcji za pośrednictwem Bandcampa. Wytwórnia Northern Spy Records założona została przez Toma Abbsa i Adama Downeya w 2010 roku w Nowym Jorku. Obaj panowie…

[therarefied]

Marisa Anderson & Tara Jane O’Neil's “For All We Know”

[heywasistdas]

handwritten review of Marisa Anderson - Still Here

handwritten review of Marisa Anderson – Still Here

Still, Here by Marisa Anderson

[tidesofsilence]

Top 5 Female Characters on TV:

Marisa Coulter

Dana Scully

Olivia Benson

Emily Prentiss

Regina Mills

Bonus... Alice Morgan

That’s all!

[texaschainsawmascara]

so the post #MeToo world isn’t going the way it should

[watermelonsandal]

Named Students III (Life is Strange)

This download is for The Sims 2.

Download: [SFS]

Even more faces to names at Blackwell Academy.

Marisa Rogers - Marisa was Chloe Price’s classmate during her time at Blackwell. In “Farewell”, the Prices receive a message from her mother Ann regarding an incident where Chloe turned on a Bunsen burner near Marisa, after Marisa allegedly made fun of Chloe’s old hoodie and called her a scholarship kid.

The rest of the students featured here were involved in the Yearbook Project.

Notes:

Marisa’s earrings and Tyler’s watch require Bon Voyage.

Custom Content Required but not Included:

Marisa: Necklace Jasmin: Necklace Mesh Jenny: Necklace Mesh ⚫ Necklace

Imaged Used:

Karen Arnold

Enjoy!

[white-cat-of-doom]

A round up of photos from the week in US Tour 6 in Des Moines, IA (03-08 January 2023).

Marisa Paull Gorst lounges around backstage as Tantomile.

Gracie Anderson did her best to cover every single of her Cats as a Swing, performing in ten shows between Des Moines and Oklahoma City the weekend prior.

An intermission picture from the second show of the last day, with Sam Buchanan as Plato, Lexy Bittner as Cassandra, and Brendan Moran making his Mistoffelees cover debut.

Luke Bernier covering Rum Tum Tugger and Reagan Davidson as Tantomile, when she was not covering Victoria for multiple shows.

[razorsadness]

Marisa Anderson & Jim White - “Bitterroot Valley Suite III: Wind”

[spilladabalia]

Neutral Milk Hotel - Ghost

[blogdorogerinho]

Críticas — Garra de Ferro (2023), O Lutador (2008), Love Lies Bleeding — O Amor Sangra (2024), Guerreiro (2011)

Da Luta Livre ao UFC Como esporte, o Wrestling (luta corpo a corpo) ou Luta Livre é quase tão antigo quanto o atletismo. Suas origens podem ser rastreadas até 15.000 anos através de desenhos em cavernas na França. No Brasil apenas a Luta Livre americana ficou conhecida, após ser “abrasileirada” no programa de TV do empresário Michel Serdan, “Gigantes do Ringue”, em 1973 na Rede Record. Um dos…

[alltrekvarnews]

Amazon MGM Studios está adaptando el bestseller del New York Times de Marisa Meltzer 'Glossy' para la Televisión.