Carla’s latest album “Quieter” features collaborations with: Marc Ribot, Sarah Lipstate (Noveller), Freddy Ruppert, JHNO (John Eichenseer), Shahzad Ismaily & more.
Available on Constellation Records
Audiophile 180 gram pressing in midnight ultra-black vinyl from Optimal (Germany) and comes in a 350 gsm jacket with artworked inner sleeve and 12″x24″ poster, all printed on uncoated papers and board, with a 320kbps MP3 download card.
“Quieter” is the result of this ceaselessly nomadic and defiantly DIY iconoclast having settled back in Los Angeles for a spell, recovering from tour-inflicted ear damage, sifting through unreleased/unfinished material, and finding herself drawn to working on the quieter stuff (relatively speaking) in her abundant archives. Ranging from the searching, searing opener “Let It Roll” – “the most honest work I’ve ever done” says Carla – to the chiming, deconstructed lullabies of “Glass House” (composed by Freddy Ruppert) and “Sha Sha” (from her mid-2000s project The Night Porter) and the album’s sultry closing track “End Of The World” (a duet with Marc Ribot, who penned the song), “Quieter” is a brilliant addition to Bozulich’s impressively diverse, adventurous and unwaveringly authentic body of work.
Exclaim!:
“Bozulich’s voice throughout this album won’t just command your attention, it will infect you. This is an unforgettable, virtuoso performance.”
Bearded:
“Quieter will go down as one of my favorite records of the year. It’s durable. It’s lasting. It’s timeless.”
Quieter was also a Bandcamp “Album of The Day“:
“Hopefully, this gorgeous album will get her one step further to the center of the conversation when it comes to lifetime achievement in the Experimental world.”
This recent period has found Bozulich reflecting on 25+ years of life on the road, the labour and hustle of DIY touring, with its ecstasies, agonies, succour and sacrifice: as Carla writes in the liner notes to “Quieter,” this album pays homage:
“The cover of the album is a cool pic, sure as hell. But to me, it just looks like tour. Tour is just another job where if you do it long enough you get hurt here and there. In 2014 I lost my hearing completely (temporarily) in 1 ear. I kept playing, as always with injury on tour. After all, it is the law of averages. We all know it. Play more than 100 concerts a year doing 90% of the work alone, injuries are occasional. Well, it was a loud tour-a loud set every nite. It was strange for the volume to be cut in half. I cannot play with ear plugs, I was swirling sound every nite like falling but still refusing to behave-sit still-or even cancel. And boy, it was freaky QUIETER. This photo is from one Otolaryngologist I saw in Austria right before the concert in Graz. His treatment was to put me in a 50s Soviet style scalding hot head-heat-box for 20 minutes. After a while I got bored and took some selfies. They came out exactly like this. Thus the cover. It was a Quieter time for me, like-in the van Mats Gustafsson sounded like cherry ice cream. Finally quiet in the fucking van. I couldn’t understand what was happening unless I turned my head. I completely stopped listening to people talk. Strange concerts. Le Guess Who was a highlite-very like thrashing through the air, as the numerous monitors seemed to be alive and spinning. Eventually I cleared it but not after several promoters kindly took me to crackpot doctors who did silly things. This is a nice deaf pic for the “Quieter” album. To me it just looks pretty like tour: still a fantastic job to have.”
