ATP Presents: Esmerine + Eric Chenaux

ESMERINE

Esmerine was co-founded ten years ago by percussionist Bruce Cawdron (Godspeed You! Black Emperor) and cellist Rebecca Foon (Thee Silver Mt. Zion, Mile-End Ladies’ String Auxiliary) soon after the two met while recording the first Set Fire To Flames record Signs Reign Rebuilder (2001) at the old brothel at 10 Rue Ontario Est in Montreal. Esmerine released two critically-acclaimed albums of modern chamber music, If Only a Sweet Surrender to the Nights to Come Be True (2003) and Aurora (2005) that have one foot in the new music/experimental terrain of contemporaries like Rachel’s or Town And Country and the other in the more visceral and lyrical landscape populated by the likes of Dirty Three (and GY!BE themselves).

While Beckie’s activity with Thee Silver Mt. Zion increased through the middle of the decade and Bruce deepened his study and practice as an acupuncturist, the duo continued stoking the fires of Esmerine, with occasional live performances and special events in Montreal over the past few years, often including invitations to guest musicians to collaborate with the group on one show or another. With an expanded line-up, Esmerine have recorded a new album, La Lechuza, with musical guests including Sarah Neufeld (Arcade Fire), Colin Stetson, Mishka Stein and Robbie Kuster.

ERIC CHENAUX

Chenaux is one of Canada's most respected and long-standing experimental guitar players and songwriters, starting with legendary Toronto punk band Phleg Camp in the early 90s and tirelessly expanding his musical vocabulary and reach in countless improv, avant-folk, damaged jazz and contemporary music ensembles throughout the 2000s. Since 2006, Constellation has been home to Chenaux's more overtly song-based work, his clear voice and erudite lyricism guided by an utterly unique guitar technique and a deep immersion in pop and folk traditions from medieval to post-modern.

With this fourth album for the label, simply and aptly titled Guitar & Voice, Chenaux has made what in a literal sense can be called his first solo album, in that the recording features only his playing and singing; no guest or supporting musicians, minimal overdubs, and a rigorous structure that alternates back and forth between longform lyrical vocal-based songs and shorter, cacophonously harmonious bowed-guitar instrumentals.