BEGIN:VCALENDAR VERSION:2.0 PRODID:-//360exp//Events//ES METHOD:PUBLISH BEGIN:VTIMEZONE TZID:America/Chicago TZURL:http://tzurl.org/zoneinfo-outlook/America/Chicago X-LIC-LOCATION:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:19700308T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:19701101T020000 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD END:VTIMEZONE TIMEZONE-ID:America/Chicago X-WR-TIMEZONE:America/Chicago BEGIN:VEVENT UID:63b5364a-9143-44d4-9cf3-df0f0e79648c@360exp.net SEQUENCE:0 DTSTAMP:20260911T023253 DTSTART;TZID=America/Chicago:20261016T003000 DTEND;TZID=America/Chicago:20261016T003000 SUMMARY:Laura Veirs w. Karl Blau LOCATION:SPACE DESCRIPTION:Laura Veirs returns with Temple Songs\, her first album in fou r yearsand the first she has written\, recorded\, arranged\, produced\, an d performed entirely on her own. I didnt know if I would write songs again \, says Veirs\, who spent the intervening years building a backyard studio \, getting married\, blending a family with four teenagers\, deepening her visual art practice (painting)\, and expanding her music teaching. Turns out that period was a gathering phase. When I made the commitment to recor ding the album myself\, the muse caught me again and it came together very quickly.Written and recorded in three months in the fall of 2025 in Veirs backyard Temple of Bloom studio\, Temple Songs marks a new level of artis tic independence. While 2022s Found Light (co-produced by Veirs and Shahza d Ismaily) was a declaration of autonomy\, Temple Songs goes further: ever y creative decisionwhat to record\, how to record it\, and how it should s oundwas Veirs alone. Made with just two mics and a laptop in a 10 x 14 roo m\, the album feels unmistakably Veirs-ian\, yet strikingly new.Veirs embr aced the Japanese concept of wabi-sabi throughout the process\, choosing n ot to pitch-correct vocals or edit out rough edges. I wanted to make somet hing that sounds as organic and human as possible\, she says. Mixing by Ph ilip Weinrobe (Adrienne Lenker) adds sympathetic finishing touches to Veir s 14th solo album.Because the Temple of Bloom wasnt built for recording\, the studio itself became a collaborator. Veirs paused takes for rain on th e skylightor let it stay. She waited out neighbors conversations\, raced t o finish a sensitive vocal before a stump grinder roared to life\, and inc luded the presence of resident bluejays\, passing crows\, and other neighb orhood sounds. These ambient intrusions lend the album an intimate\, lived -in authenticity.Influences range from Mac DeMarcos commitment to trusting his personal taste to the anarchists and feminists of the late 1800s and their rallying cry\, no gods\, no masters. It was hard to get the white ma n off my shoulder\, Veirs says. I wrestled with a lot of doubt. But there were many happy accidents and eventually I found a flowseeing the studio a gain\, for the first time since my 20s\, as a private place for exploratio n.Clocking in at a concise 30 minutes\, Temple Songs 11 tracks capture a s ongwriter in peak form. The album is intimate\, dreamy\, brave and quietly defiant\, built around Veirs intricate fingerstyle nylon-string guitar\, vulnerable vocals\, and bold electric guitar embellishments. Arc Still Ben ds reflects feelings of contemporary futility\, offset by a hopeful chorus . Rivers Song\, an ode to one of Veirs children\, showcases her gift for s implicity and emotional precision. Pulse veers into art-experimental terri tory\, culminating in a cacophonous duet between electric guitar and sax. No Masters is a sparse\, punk rock call for collective self-determination\ , while Sunlight and Doom incorporates elemental fragments from the ancien t Greek lyricist Sappho.\n\nBoletos: https://www.ticketweb.com/event/laura -veirs-w-karl-blau-space-tickets/14921843 URL;VALUE=URI:https://360exp.net/events/63b5364a-9143-44d4-9cf3-df0f0e7964 8c END:VEVENT END:VCALENDAR