Experimental violin virtuoso, Vanessa Bedoret, offers a glimpse into her new album “Eyes,” out now on Scenic Route Records. Her latest composition, “Transition,” crafts an immersive auditory landscape, marked by a melancholic blend of droning violins and a persistent, throbbing drum rhythm, punctuated by piercing industrial sounds. This piece instils a sense of unease and heartbreak, capturing the essence of being caught in a transitional phase. “Transition” unfolds with a solitary, entrancing rhythm that pulsates relentlessly, the violins slowly emerging, inviting listeners into its ever-intensifying sonic sway, before reverting to the solitary drum, now contorted with electronic distortions. Positioned as the fourth piece on “Eyes,” it serves as a gateway, a halfway pause without respite, compelling the listener to remain alert and anticipating.
Bedoret’s approach to songwriting is intuitive, channelling her intimate life moments into raw emotional expression. “Eyes” doesn’t adhere to a narrative but rather takes listeners on a reflective voyage, enkindled by Bedoret’s mesmerizing compositions. The album provokes introspection, stimulating the listener’s emotional receptors. With tracks like “Ballad,” a tender yet indistinct note to a dear one, Bedoret’s quiet, sorrowful voice melds into the background of striking, atonal strings. In the album’s namesake piece, “Eyes,” she shifts the perspective, using her isolated violin to evoke empathy and share her solitude.
From her early start in classical music training at six years old, to her foray into punk rock guitar as a teenager, Bedoret’s musical odyssey is distinctive. Her eclectic influences range from black metal to opera, Eurodance to IDM, all underpinned by a continuous affection for classical music. These diverse tastes inform her unique soundscapes, reflecting an acute musical acumen.
Having released music on independent labels such as Laura Lies In and Archaic Vaults, Bedoret has become a sought-after live performer, participating in collaborations and solo gigs alike. Her performances have varied from playing violin with the New York avant-garde ensemble Standing On The Corner at The Serpentine, to joining the MOKI project led by Kahil El’Zabar at the ICA, and even collaborating with the multi-disciplinary artist Linder Sterling and others for “Another Music in a Different Arcadia” at the Design Museum.
As a solo artist, Bedoret has graced the stage alongside avant-garde entities like Standing on the Corner and artists such as Ekaterina Bazhenova-Yamasaki, Philomène Pirecki, John T. Gast, and Nexcyia. Her partnership with Severin Black manifested in the joint EP, “First Passage / Excommunicated,” spotlighting their harmonious synergy.
Bedoret’s music is a window into her lived experiences, unafraid to delve into the depths of emotion and emerge with cinematic soundscapes. The interweaving of field recordings adds both grounding and ethereal dimensions. Through her lyrics, she offers a rare glance into her private world, inviting listeners to briefly connect with her perspective.
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Eyes is out now: https://tr.ee/250zJDHLyZ
