Laura Veirs appears with Karl Blau at Evanston SPACE. Veirs returns with Temple Songs, her first album in four years and the first she has written, recorded, arranged, produced, and performed entirely on her own. In the time between releases she built a backyard studio, got married, blended a family with four teenagers, deepened a painting practice, and expanded her music teaching, then found fresh momentum once she committed to handling every part of the recording herself.
Created in her compact Temple of Bloom studio with only two microphones and a laptop, the album embraces wabi-sabi by keeping vocals uncorrected and preserving rough edges. Mixed by Philip Weinrobe, the project lets the environment seep in... rain on a skylight, neighbors in conversation, and the chatter of bluejays and passing crows lend an intimate, lived-in character.
Guided by trust in personal taste and influenced by emancipatory ideas from the late 1800s, the 11-song, 30-minute set feels intimate, dreamlike, courageous, and quietly defiant. Intricate nylon-string fingerstyle and vulnerable vocals sit at the center, with bold electric guitar accents. Highlights from this creative chapter include Arc Still Bends, which pairs present-day unease with a hopeful refrain, River’s Song, a tender ode to one of her children, Pulse, which dives into art-experimental terrain with a raucous guitar and sax exchange, No Masters, a spare punk call for collective self-determination, and Sunlight and Doom, which threads in fragments attributed to Sappho.