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New VDSQ LP releases from Arian Shafiee and Wendy Eisenberg

VDSQ presents two incredible new journeys into 21st Century Guitar. Black Editions sister label is proud to offer these latest releases to our catalog for pre-sale. We hope you consider adding these very special records to your collection.

Awash in color and texture, Arian Shafiee blooms on his solo guitar debut for VDSQ. Best known for his work in the iconic East Coast dance/punk group Guerilla Toss, Shafiee has spent years warping the idea of what a guitar can sound like. In a group setting, Shafiee does what’s best for the composition, often blending seamlessly into the electronics and rhythmic grooves of his peers. A Scarlet Fail gives him his rightful solo spotlight in a series of new electric and acoustic compositions. Inspired by visual elements of Western mysticism, Arian’s playing glows like light through stained glass.

With a deluxe die cut sleeve designed by Robert Beatty, Arian Shafiee’s solo debut is a gem of a 21st Century guitar record, one based not on the precepts of American Primitive but rather on a more fully realized world view of contemporary guitar. By using unconventional tunings and techniques atypical to the acoustic guitar, the music on this album finds itself in constant flux. While Arian’s style is hard to pin down, each piece exists in its own expansive harmonic world, unfurling and ever moving. Equally dynamic in terms of technical skill and emotive resonance, tracks such as “Oxy Blonde” and “Muted Heather” glisten, with an every-note-in-the-right-place perfection. The melodies linger, sometimes hauntingly in the spaces between notes, resulting in a solo guitar album you remember long after the needle stops.

Wendy Eisenberg is an exploratory guitar player, whose music has taken her from conservatory to DIY space to concert hall, from performing improvised music and punk-metal to writing the quietest songs, and, here, back to what makes a guitar the guitar. Traveling these genres as she does, the improvisations she weaves on this record have as much to do with those histories and languages of the guitar that she leaves out as they do with the language she invents.