Colin Stetson has developed an utterly unique voice as a soloist, principally on saxophones and clarinets, his intense technical prowess matched by his exhilarating and emotionally gripping skills as a songwriter.
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Colin Stetson was born and raised in Ann Arbor, spent a decade in San Francisco and Brooklyn honing his formidable talents as a horn player, eventually settling in Montreal in 2007. Over the years he has worked extensively, live and in studio, with a wide range of bands and musicians including Tom Waits, Arcade Fire, Bon Iver, TV On The Radio, Feist, Laurie Anderson, Lou Reed, Bill Laswell, Evan Parker, The Chemical Brothers, Animal Collective, Hamid Drake, LCD Soundsystem, The National, Angelique Kidjo, Fink, and David Gilmore.
Meanwhile he has developed an utterly unique voice as a soloist, principally on saxophones and clarinets, his intense technical prowess matched by his exhilarating and emotionally gripping skills as a songwriter. Stetson’s astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. Stemming from that approach and aesthetic, he has been contributing regularly to the world of film, TV, and game scoring over the past decade with such titles as Hereditary, The First, Red Dead Redemption 2, and Color Out of Space.
Elori Saxl is an American experimental electronic composer. Her debut album The Blue of Distance (released 2021 on Western Vinyl) received critical acclaim for its elegant combination of digitally-processed recordings of wind and water with the rich sounds of analog synthesizers and chamber orchestra. Half-written in the verdant Adirondack mountains of northern New York in a hot summer filled with love, ecstasy, and a feeling of promise, and half-written in the frozen Apostle Islands in Lake Superior in the dead of winter looking back at videos from the summer, The Blue of Distance effortlessly captures the gentle sorrows of nostalgia in an age of perpetual digital memory.
Saxl has composed music for classical ensembles, Burton, Patagonia, Google, Poler, Dove, the New Yorker, This American Life, Public Radio International, SFMOMA, and more. She's directed films for the New Yorker and Slate. Her music has been featured by Pitchfork, The New Yorker, WNYC New Sounds, BBC 3 Radio, Popmatters, Dusted, A Closer Listen, and more. Her film work has been nominated for two Emmys and been featured by the New Yorker, Vimeo Staff Picks, and festivals around the world.