Tag: music video

New Video: Monsieur MÂLÂ Releases a Playful Visual for Slinky, Genre-Defying “Koss 5”

French musical collective Monsieur MÂL  — Balthazar Naturel (sax), Robin Antunes (violin/mandolin), Nicholas Vella (keys), Swaéli Mbappé (bass) and Mathieu Edward (drums) —features musicians, who have played with a who’s who list of internationally acclaimed artists including De La Soul, Mayra Andrade, CHASSOL, Ibrahim Maalouf, China Moses and a lengthy list of others. 

Last year, the act released their tropical and summery debut single “Misemo,” a genre-blurring composition centered around a sinuous bass line, soulful horns, twinkling strings and stuttering polyrhythm within an expansive composition. And as the band explained, their debut single encouraged the listener, whoever they may be, that sometimes you just need to dance, and it all go for a little while, at least.

Since then, the act has released a handful singles including “Lunitudine,” “Cor Anglais in E Minor (Op. 3)” that have received attention and airplay from Jazz FM, WorldWide FM, Music is My Sanctuary, Soho Radio, TSF and Le GriGri Radio. Building upon a growing profile, the French collective’s latest single “Koss 5” further establishes their genre blurring sound and approach. Centered around plucked strings, twinkling and arpeggiated keys, skittering drums, the slinky and expansive “Koss 5” features elements of funk, jazz fusion with some Makosa rhythms. As the collective explains the composition is an emotional tribute to Manu Dibango, who some of the band members have played with in the past.

Directed by Stan Amsellem, the recently released video for “Koss 5” features a collection of actors of various age groups playing as the members of the band as kids, as adults and as older adults. In some way, the visual plays to the power of music and creativity, suggesting that as long as one is creative, they’re forever young.

New Video: The Gluts Take Us on a Hedonistic Glimpse of Ancient Rome

Rising Milan-based act The Gluts — Claudia Cesana (bass/vocals), Bruno Bassi (drums) and Nicolò Campana (vocals, synths) and Marco Campana (guitar) — derive their name from a term used to denote unsold goods and symbolically expresses a surplus of energy like the one that drives their work. Since their formation, the rising Italian quartet have established and honed an explosive psychedelic-take on noise through the release of their first three albums, 2014’s Warsaw, 2017’s Estasi and 2019’s Dengue Fever Hypnotic Trip.

The Gluts’ Bob de Wit-produced fourth album Ungrateful Heart is slated for an October 8, 2021 released through Fuzz Club and the album reportedly finds the Italian psych rockers making a decided sonic departure from with the material being rooted in a sound indebted to 70s punk, 80s hardcore and post punk — in particular, Fugazi, Gang of Four, Sex Pistols, Public Image, Ltd. and the Campana brothers’ obsessive with Italian and American hardcore punk. Recorded over a tireless week in which the band and their producer essentially lived and worked side-by-side in the studio around the clock, the Ungrateful Heart sessions were fueled by a forceful intensity and uncompromising fierceness. “Bob’s contribution to this album was essential. He pushed us beyond our limits. It was difficult, we can’t hide it, but it really was worth it,” the members of The Gluts say in press notes.

Ungrateful Heart’s latest single “Love Me Do Again” offers listeners a real taste of what to expect from the album: slashing and angular attack paired with scorching feedback, atmospheric synths, four-on-the-floor that builds up to a frenzied intensity paired with a snarled, old school punk rock vocal delivery and an enormous hook. The new single is a slick and uncanny mesh of Never Mind the Bollocks-era Sex Pistols and Mission of Burma — rooted in unadulterated hedonism. Written by the band’s Bruno Bassi while in lockdown, “Love Me Do Again” was “inspired by the different versions of the myth of Dionysus (the Greek god of wine, pleasure, madness and frenzied ecstasy) and an unexpected excitement caused by imagining how great it would be to be all together again. At the end of the song our fascination for The Sex Pistols can be felt, since Nico screams like Johnny Rotten.”

Directed by Brace Beltempo, the recently released and gorgeously cinematic visual for “Love Me Do Again” is set in ancient Roman times — but while nodding at Caligula and the anachronistic-style of Sofia Coppola, with characters wearing roller skates. Bassi explains ” “In the video Nico plays the role of Dionysus and Claudia a maenad. Dionysus is the God associated with irrationality and the excess(es) of life and that’s what is behind our own name . . . ”

The Milan-based act will be touring to support the new album with stops across mainland Europe throughout October.

New Video: Mount Kimbie Releases a Brooding Visual for Previously Unreleased Single “Black Stone”

Currently split between Los Angeles and London, the acclaimed electronic music duo Mount Kimbie — Brighton-born, Los Angeles-based Dom Maker and Cornwall-born, London-based Kai Campos — burst into the international scene with their first three critically applauded full-length albums: 2010’s Crooks & Lovers, 2013’s Cold Spring Fault Less Youth and 2017’s Love What Survives.

Since the release of Love What Survives, the members of Mount Kimbie have been rather busy: they’ve produced tracks by an eclectic array of acclaimed artists including James Blake, Travis Scott, Slowthai, Jay-Z, King Krule and a growing list of others. In the past year, Mount Kimbie have produced and featured on tracks on Slowthai’s #1 album Tryon, and have designed and cerated music for Undercurrent, an immersive, interactive multimedia installation that address the climate crisis, that also features contributions from Grimes, Bon Iver and The 1975. They also provided production work on Dave’s critically acclaimed We’re All Alone In This Together and James Blake’s “Say What You Will.” Additionally, Mount Kimbie’s Dom Maker has contributed to the soundtrack of Oscar-winning short film Two Distant Stangers, co-producing with James Blake, the closing track, which features Travis Scott and Westside Gunn.

The acclaimed duo mark the fourth anniversary of the release of Love What Survives with the release of two previously unreleased and unheard tracks from the Love What Survives sessions — “Black Stone” and “Blue Liquid” as a free download by signing up through email and for pre-order on white label 12 inch vinyl. “Black Stone,” is an instrumental track centered around layers of reverb-drenched, twinkling synth arpeggios and a chugging post punk influenced groove.

Frank Lebon, a longtime Mount Kimbie friend, collaborator and art director recruited up-and-coming artist Peter Eason Daniels to direct, the recently released video for “Black Stone.” Shot in a grainy, security footage-like black and white in London, the video captures people waiting for trains or buses, getting on trains or buses and waiting on a train or bus. “The video is about waiting, moving and stopping. Collective moments of solitude experienced between one place and another,” Daniels says. 

New Video: Fotoform’s Hallucinogenic Visuals for Brooding and Atmospheric “Running”

Deriving their name from a mid-century avant-garde photography movement, Seattle-based post punk outfit Fotoform — longtime collaborators and married couple Kim House (bass, vocals, synths) and Geoffrey Cox (guitar), along with newest member, former Death Cab for Cutie and The Long Winters member Michael Schorr (drums) — can trace their origins back to the formation of a previous project, the dark, goth-adjacent dream pop act C’est la Mort shortly after House and Cox married.

Specializing in what they dubbed “pointy-shoegaze,” C’est la Mort released their full-length debut through their own Dismal Nitch label, as well as various compilation tracks, including a limited split 7 inch with Stars for American Laundromat’s The Smiths’ tribute Please Please Please. After a series of lineup changes, House and Cox re-emerged as Fotoform in late 2016.

ouse and Cox released their Fotoform self-titled debut in 2017. Supported with tours of the West Coast and Europe, the album received airplay and praise both locally and nationally: Album single “I Know You’re Charming” was featured as a KEXP Song of The Day. The self-titled album was voted as one of KEXP Listeners’ Top 90.3 Albums of 2017 and it landed on several year-end lists, including The Big Takeover and Part-Time Punks. Building upon a growing profile, the band followed up with 2018’s Part-Time Punks EP, which was selected as one of The Big Takeover’s EPs of 2018.

Blue,” which was recored for voter outreach and the Christmas-themed “They Say It’s Always Lonely” to benefit local food banks. Both singles found the trio expanding upon their sound with the addition of synths. The trio went into the studio with Evan Foster to record the material for their forthcoming sophomore album Horizons in early 2020. And as a result of pandemic-related quarantines and restrictions, the Horizons sessions resumed a year later with Foster — and with Matt Bayles recording drum parts.

Slated for an October 15, 2021 release, Horizons reportedly finds the band pivoting even further from the towering wall of guitars-based sound of its predecessors towards a much more nuanced sound drawing equally from shoegaze, dream pop and post-punk: Pairing synths with layers of guitars and driving bass, the band’s sound seems indebted to the likes of The Cure, Siouxsie and the Banshees, The Chameleons, Cocteau Twins, Slowdive and others.

Horizons’ latest single, the brooding “Running” serves as a taste of what listeners should expect from the new album: atmospheric synths, swirling layers of guitars, driving bass lines, thunderous drumming and soaring hooks paired with House’s ethereal vocals. Essentially, the new single sees the band pairing patient, painterly textures with forceful motorik pulse in a way that makes the song feel — and sound — like a slick mesh of Garlands-era Cocteau Twins and Souvlaki-era Slowdive.

“‘Running’ was the first song we wrote with the new lineup (myself, Geoff, Michael), almost a statement of purpose as we rethought how we approached our sound and writing,” Fotoform’s Kim house recalls in press notes. “With one less guitar we had more space to play with and fill- or intentionally not fill. It was inspiring, and in some ways freeing, to reconstruct and re-envision everything. I’d just started playing around with a drum machine and 16-track at home, and this one was a result of really stripping back everything to the bass and vocals and then building it up from there. 

“At its core ‘Running’ is about peeling back the layers to connect with your innermost self. Summoning the courage, patience and stillness to distill it down and uncover what truly matters, to listen to our hearts and tap into the subconscious,” House says. “It’s about facing fears and insecurities and having the courage to go after what will truly make you happy (or “make your heart happy” as my dad would say), which oftentimes might be in the opposite direction of what we’re running toward, whether in relationships, life paths and choices, etc. The hardest thing sometimes is to look deep within and listen to ourselves, to follow our instincts and face what we may know is true but are too afraid to admit for fear of change, risk, loss, disappointment, or failure.”

House adds, “On a personal level, ‘Running’ was written in the midst of a period of significant change and reflection. I had just left my role as Footwear Design Director at Nordstrom. It was a whirlwind of a job I held for many years – one which required lots of travel in the US and Europe, intense long hours, and barely enough room for other passions or pursuits. It was rewarding, but almost all encompassing.”

The recently released video for “Running” manages to emphasize the brooding and trippy late night vibes of its accompanying song — all while being gorgeously shot and slickly edited.

Besides the new album, the trio — much like the rest of us — is looking forward to getting back to live shows and touring. They’ve also been writing and working on new material, including a split 7 inch with Savage Republic.

New Video: KUNZITE’S Hallucinogenic and Playful Visual for Euphoric “LEMON SWAYZE”

KUNZITE — RATATTAT‘s Mike Stroud and Abuela’s Agustin White — can trace their origins to each of the project’s individual members occasionally crossing each others paths while admiring each other’s work: When Stroud was busy touring with RATATAT, White went on a spiritual journey that found him exploring yoga, meditation and psychedelics. Throughout their friendship, the duo had been looking to do something together — and KUNZITE allowed the duo the ability to merge their mind and missions with a sound that blends psychedelia with beat-heavy electronic production and live, organic instrumentation. 

The duo’s debut effort, 2018’s Birds Don’t Fly was written and recorded mostly through email. But their forthcoming sophomore album VISUALS, which will be released through Lowly/Wilder Records on August 20, 2021 sees the duo writing and recording material together — in the same space and at the same time. Interestingly, during the album’s recording project, the duo realized that they sounded best when they harmonized.

Earlier this year, I wrote about album single “FROSTY,” a song that found the duo changing things up quite a bit with Stroud taking up lead vocal duties. But at its core, the song is a summery, beach friendly jam centered around a cosmic groove, easy going bass line and Stroud’s laid-back vocals. VISUALS‘ fourth and latest single “LEMON SWAYZE” was recorded between Stroud’s upstate New York barn-based studio and White’s Oregon-based domed shaped studio. Sonically, the track is a decidedly dance floor friendly jam, centered around rapid-fire, four-on-the-floor, buzzing guitars, a sinuous, motorik groove and a rousingly anthemic, euphoria-inducing hook — with a playful nod at Cyndi Lauper. As the story goes while recording the song Agustin stood in the middle of his Oregon-based domed studio and felt a channel of energy through the line that came through the studio, and began singing the first thing that came out of his mouth — which are heard on the final track.

“‘LEMON SWAYZE’ was created with the mission of bringing listeners to their feet, dancing in exaltation while on a crazy joyride,” the members of KUNZITE explain. “The track’s title was inspired by a vision Agustin had of lemons as spaceships, induced by the consumption of a favorite cannabis strain, Lemon Cake.”

Directed by Felix Heyes, the recently released video for “LEMON SWAYZE” follows a day-in-the-life of an effortlessly cool older dude, who is a mix of Captain Lou Albano, Hulk Hogan, Colonel Sanders and The Sopranos’ Paulie Walnuts as he wears a green Adidas track suit and drives around town in a lemon yellow convertible, full of lemons in the back seat. And as he zooms around town, he’s rocking out and having the best life anyone could have, which includes some absolutely hallucinogenic sequences that remind me a bit of segments of 1,2,3 Contact and Sesame Street. “The video’s lead actor, Michael ‘Keysey’ Keyes, is a Colonel Sanders-esque character who also has Hulk Hogan’s mustache, and he asked me if I knew what ‘proanoia’ was,” Felix Heyes says of the video for “LEMON SWAYZE.” “He said, ‘Well, you know how paranoia is the feeling that unknown things are conspiring against you? Proanoia is the feeling that unknown things are conspiring to help you.’ And then he drove off in a 1971 Mustang full of lemons. Being ‘proanoid’ pretty much sums up my experience with KUNZITE and the team behind this music video!”

New Video: Amyl and the Sniffers Release an Explosive yet Vulnerable Ripper

Acclaimed Melbourne-based punk act Amyl and The Sniffers — Amy Taylor (vocals), Gus Romer (bass), Bryce Wilson (drums) and Declan Martens (guitar) — formed back in 2016 and shortly after their formation, they wrote and self-recorded their debut EP Giddy Up. The following year, saw the release of the Big Attractions EP, which was packed as a double 12 inch EP with Giddy Up released through Homeless Records in Australia and Damaged Goods in the UK.

The band exploded into the international scene with a set at The Great Escape Festival, a series of sold out London area shows and a Stateside tour opening for JOVM mainstays King Gizzard and the Lizard Wizard. They added to a busy year with a headlining tours across both the UK and US before signing to King Gizzard and the Lizard Wizard’s Flightless Records for distribution across Australia and New Zealand and Rough Trade for the rest of the world. The year was capped off with a Q Awards nomination for Best New Act and won the $30,000 Levis Prize.

storm, and then promptly released their self-tiled, full-length debut to critical applause globally while further cementing a feral and anarchic take on ’77 era punk. Adding to a breakthrough year, Amyl and the Sniffers won an ARIA Award for Best Rock Album. 

too, Mötorhead and Wendy O. Williams, Warthog, Power Trip, Coloured Balls and Cosmic Psychos. Taylor’s delivery and lyrics were inspired by her love of hip-hop and garage rock.

se with sick green walls. It sucked but it was also nice. We spent heaps of time in the backyard listening to music, thrashing around in shorts, eating hot chips. The boys had a hard time being away from the pub and their mates, but it meant we had a lot of time to work on this record. Most of the songs were really intuitive. Main thing, we just wanted it to be us. In the small windows we had in between lockdowns, we went to our rehearsal space, which is a storage locker down the road at National Storage Northcote. We punched all the songs into shape at Nasho and for the first time ever we wrote more songs than we needed. We had the luxury of cutting out the songs that were shit and focusing on the ones we loved.

ur for two years, you get really good at playing. We were a better band and we had heaps of songs, so we were just different. The nihilistic, live in the moment, positivity and panel beater rock-meets-shed show punk was still there, but it was better. The whole thing was less spontaneous and more darkly considered. The lyrics I wrote for the album are better too, I think. The amount of time and thought I put into the lyrics for this album is completely different from the EPs, and even the first record. Half of the lyrics were written during the Australian Bushfire season, when we were already wearing masks to protect ourselves from the smoke in the air. And then when the pandemic hit, our options were the same as everyone: go find a day job and work in intense conditions or sit at home and drown in introspection. I fell into the latter category. I had all this energy inside of me and nowhere to put it, because I couldn’t perform, and it had a hectic effect on my brain.

y brain evolved and warped and my way of thinking about the world completely changed. Having to deal with a lot of authority during 2020 and realising my lack of power made me feel both more self destructive and more self disciplined, more nihilistic and more depressed and more resentful, which ultimately fuelled me with a kind of relentless motivation. I became a temporary monster. I partied more, but I also exercised heaps, read books and ate veggies. I was like an egg going into boiling water when this started, gooey and weak but with a hard surface. I came out even harder. I’m still soft on the inside, but in a different way. All of this time, I was working on the lyrics. I pushed myself heaps and heaps, because there were things that I needed to say. The lyrics draw a lot from rap phrasing, because that’s what I’m into. I just wanted to be a weird bitch and celebrate how weird life and humans are.

ounding like a dumb cunt. So anyway, that’s where this album comes from. People will use other bands as a sonic reference to make it more digestible and journalists will make it seem more pretentious and considered than it really is, but in the end this album is just us — raw self expression, defiant energy, unapologetic vulnerability. It was written by four self-taught musicians who are all just trying to get by and have a good time. 

is an Australian car show and the Nanny cares about social issues and she’s read a couple of books, and Mr Sheffield is drinking beer in the sun. It’s a Mitsubishi Lancer going slightly over the speed limit in a school zone. It’s realising how good it is to wear track pants in bed. It’s having someone who wants to cook you dinner when you’re really shattered. It’s me shadow-boxing on stage, covered in sweat, instead of sitting quietly in the corner.”

Earlier this month, I wrote about Comfort To Me’s first single, “Guided by Angels,” a riotous, mosh pit friendly ripper centered around Taylor’s frenetic energy and punchily delivered vocals, buzzing power chords and a pub friendly, shout along with a raised beer in your hand hook. But underneath all of that, “Guided by Angels” is fueled by a defiant and unapologetic vulnerability and a rare, unshakeable faith in possibility and overall goodness; that there actually are good angels right over your shoulder to guide you and sustain you when you need them the most. Comfort To Me’s second and latest single “Security” is a Highway to Hell-era AC/DC-like anthem full of swaggering braggadocio, boozy power chords, thunderous drumming, shout along worthy hooks and Taylor’s feral delivery. Interestingly, much like its immediate predecessor, the song is fueled by a rare and infectious earnestness and vulnerability for most punk rock with the song’s narrator boldly and unapologetically declaring that they need and are looking for love — right now!

nuing the band’s ongoing collaboration with John Angus Stewart, the cinematically shot visual for “Security” follows Amy Taylor in a cemetery at dusk in a blue bubble coat and jeans dancing and bopping through the entire video’s run. Much like the video for “Guided by Angels,” we’re reminded that Taylor is an atomic bomb of furious and frenetic energy, exploding across the screen.

New Video: Rising Artist Alewya Releases a Club Friendly Banger

Dubbed “this decade’s triple threat” by Love Magazine, Alewya is a rapidly rising London-based singer/songwriter, producer and visual artist. Born in Saudi Arabia to an Egyptian-Sudanese father and an Ethiopian mother, Alewya has spent her life surrounded and nurtured by diaspora immigrant communities: she grew up in West London and after spending several years in New York. she returned to London. Upon returning home, the rising British artist developed and honed her ear for music through the sounds of the Ethiopian and Arabic music of her parents and the ambient alternative rock albums pop her brother.

lation of the Saudi-born, Ethiopian-Sudanese, British-based artist’s name from Arabic to English into “most high” or “the highest,” and interestingly enough, her work generally is thematically concerned with transcendence. She sees her music as an accessible space for her and her listeners to connect on a deeply spiritual level — with her work challenge the listener to remember the last time that they felt truly connected to themselves and their emotions. “I want to move people to themselves. I want them to feel the same way that I felt when I had a taste of a higher power and felt there was a presence over me,” Alewya says. “I want people to feel that.” 

nking Timbaland-like mesh of trap, reggae and electro pop. Since, the release of “Sweating,” the rising British artist has been busy releasing a handful of equally self-assured singles, including her latest single “Spirit_X.” Featuring around skittering, tweeter and woofer rattling beats, arpeggiated synths paired with Alewya’s punchy delivery in which she alternates between fiery bars and sultry crooning. The new single sonically is indebted to the relentless energy of classic drum ‘n’ bass music, and manages to evoke the sensation of getting lost in thumping beats and strobe light.

“I know that the rave can be utilized as ritual and ceremony to transform, uplift and energize a person,” Alewya explains. “I love giving visceral experiences. I love drum and bass for that specific reason. ‘Spirit_X’ encompasses all of the above in my way.”

Directed by the artist and Simon Lane, the recently released video for “Spirit_X” follows Alewya as she wanders a subterranean maze of abandoned tunnels before encountering an underground and extremely communal rave from a dystopian future that seems very familiar — and defiantly pro-Black. Visually, the video references The Prodigy’s “Firestarter.”

New Video: Combo Chimbita Release a Gorgeous Visual for Meditative “Todos Santos”

Acclaimed Latinx group Combo Chimbita — — Carolina Oliveros (vocals), Prince of Queens (synths, bass), Niño Lento (guitar) and Dilemastronauta — features members of New York-based Colombian folk collective Bulla en el Barrio and is a sort of related side project. Interestingly, the members of Combo Chimbita can trace the origins of their genre-mashing sound, which feature elements of cumbia, electro pop and Afro-futurism, to their experiments with different traditional music styles during their late night residencies at Park Slope, Brooklyn-based club Barbes. Most of that experimentation included explorations between visual identity and improvisational long-form trips that would eventually lead to their self-recorded, 2016 full-length debut El Corridor del Jaguar.

Unsurprisingly, the members of Combo Chimbita have cited Sun Ra’s Afro-futurism as a deep influence on their work and overall aesthetic — with the New York-based Latinx group crafting their own take, one, which they’ve dubbed Tropical Futurism. “The idea that the future doesn’t necessarily have to be this super white Western high-tech Star Wars stuff; that the indigenous ideas and culture of people of color, people of Latin America, can also represent a magical and substantial future,” Combo Chimbita explain. “It’s a vision that maybe a lot of people don’t necessarily think about often. The old and deep knowledge that indigenous people have of the land has been neglected for many years as part of capitalism and colonization.”

2016’s Lily Wen-produced sophomore album Abya Yala found the band further establishing their Afro-futurism-inspired take on cumbia and other traditional Colombian folk styles. Shortly after the release of Abya Yala, the members of Combo Chimbita began to receive attention locally and elsewhere for their live show, led by Oliveros’ powerhouse vocals and commanding stage presence. Eventually, the acclaimed Latinx group caught the attention of ANTI- Records, who signed the band to the label and released their third album 2019’s Ahomale.

Much like countless others, the pandemic wound up putting the act’s plans on an indefinite pause — but they used the time to write a batch of singles, including their latest, the slow-burning “Todos Santos.” Featuring atmospheric synths, skittering beats, a sinuous bass line, hypnotic four-on-the-floor-like drumming, expressive guitars, Afro-Colombian percussion and Oliveros’ yearning vocals, “Todos Santos” finds the act continuing to effortlessly and seamlessly mesh the ancient with the hyper contemporary.

e Mother of all Orishas in Yoruban tradition — and guardian of the ocean, representing home, creation and love. “Todos Santos gave us an opportunity to situate our instruments in such a special place, out in the open near the ocean, with no people around, just listening to the wind and watching the birds,” the band’s Prince of Queens recalls. ““It generated a peaceful & tranquil energy, which reflects our capacity to heal and to forgive, something we often lose sight of through the hustle of day-to-day life.” Dilemastronauta adds “The track’s hypnotic drumming was done in collaboration with Grammy-nominated percussionist Philbert Armenteros, a Cuban-born Babalawo and dear friend to Combo Chimbita who helped us perform this special homage to Yemaya.”

Directed by Iván Vernaza, the recently released video for “Todos Santos,” is the second of a series of visuals accompanying news Combo Chimbita material that follows the journey of Colombian sisters in a non-linear storyline that began with
“Mujer Jaguar” The videos were filmed and produced in Cali, Colombia at the beginning of a national uprising that has seen the government respond with violent repression against its citizens. “Mujer Jaguar” followed a young woman, whose fiery presence was connected to the current resistance across Abya Yala. “Todos Santos” is a gorgeously shot, nostalgia-fueled fever dream centered around an interconnected community of women, who guide and love the video’s roaring and passionate protagonist.

e surrounding mountains, we knew this song would be healing, purifying, and hopeful. Those maternal characteristics are something we wanted to evoke through the single and its video, recognizing that the young girl who roared in ‘Mujer Jaguar,’ had a process of learning and unlearning, of guidance and autonomy, which she uses to confront life,” Carolina Oliveros explains in press notes.