.... this is our place
in here we will abide
with grace we call it our own and
take the honor in stride
they won't follow us
nor into heaven nor in hell
but ah, so close we were...
My favorite being all of them 10 pieces, I have to admit that I haven't
seen such a complete album since a long time combining lyrics,
performance, music, video. Creativity and talent meet their muse. A real
talent worth noticing and placing among favorites.
"Classically trained the young violinist from Antwerp, Liesa Van der Aa lays the foundation for a revolutionary pop-rock world with her first album Troops directed by Boris Wilsdorf (historical director of the legendary Einstürzende Neubauten ).
The recording of the album TROOPS almost exclusively based on violin registered Liesa Van der Aa at the crossroads in between of Bjork, Laurie Anderson, Patti Smith and Annie Lennox. She combined the sounds of her violin, voice and a range of pedal effects to
create her own unique universe, an experimental soundscape.
A unique project, a new approach: Liesa asked 10 contemporary artists of the avant-garde to image each of the 10 tracks on the album". Among them the well known photographer Marc Lagrange (Louisa's Bolero) and Geert Mul (Low man's Land) to go along artists that are involved in visual and graphic arts, theater and video. They all create a universe so different and fragmented yet so attractive.
10 both visual and audible pieces of jewelry to be played continuously to anyone who wants to be a part of her universe with all its different parts until the end of the album. A full length album from an unpretentiously experimental artist and a brilliant mind.
In an exclusive work created for the KlaraFestival, Belgium (September 1, 2013), she continues to
experiment with sounds, this time focusing on the combination of baroque
and pop. Composed to commemorate the 450th anniversary of British
composer John Dowland, the most influential musician of the Elizabethan
period, Liesa Van der Aa’s new work weaves together her own compositions
with his: her songs suddenly switch to ones by Dowland and snippets of
Dowland’s melancholic music blend into her soundscapes.