VIDEOBAR #3 : Delphine Dora & James Blackshaw invités par les Hand Clapping Girls

His playing clearly shows an affinity for contemplation in the most peaceful moments, but also a pronounced attraction for long gradations (Spiralling Skeleton Memorial) and very cinematic phases (on the repetitive passages of Transient Life in Twilight): an orientation that tends to bring him closer to Jack Rose, even if his less complex structures focus above all on direct legibility and instant emotions. Sometimes catchy, sometimes hypnotic, his simple and tireless motives are carried by a great limpidity in the evolutions he undertakes and are really enlivened by a clear production, probably the best he has had so far.
James Blackshaw, whether it’s his luminous guitar style or the appropriateness of his instrumental combinations. A guitarist to be discovered urgently…

Diva of the piano improvisation, Delphine Dora reveals her grain of madness through pieces often short and sometimes without end, but always inhabited by ghostly characters, gracious gestures and schizophrenic and hysterical voices which can leave nobody indifferent. In the manner of a Jandek or a feminine Daniel Johnston, she distills sound and graphic works closer to performance than to composition, capturing in the moment the fragility and unease of self-discovery.