Laura Loriga



Ears&Eyes Records
Release Date
March 18, 2022


1. Mimi
2. Door ajar
3. Balmaha
4. Citizens
5. August bells
6. Black rose
7. You who speaks
8. Passes the flame
9. The sun rises where it rises


Vever was written in Brooklyn, New York, between 2017 and 2019. All the songs were composed while living life in the city day to day, and greatly inspired by the dear people around me and the live performances I was lucky to witness in that period.

My friends have always been great guides for me from the very moment I moved there, helping me to feel at home and to explore continuously, from bookstores to bars, venues, museums, people’s homes, corner shops. I am unable to tell a story about this record that isn’t strongly rooted in this daily dance (and struggle), and most importantly in the human relationships that are to me half of my life. Then, from the exceptional music community that surrounded me, I have tried to learn to be light, humble, to embrace what beauty means to me and enjoy the ride while writing and playing to the fullest, wherever that might take me.

I met Ran, Josh, Ofir, Ben, Aaron, Anni and Frank all at shows, seeing them perform, or because they came by my work place in Greenpoint at the time. Jaye was introduced to me by a friend (Dylan Angell), and the three of us ended up touring Italy and Europe together with different projects (Jaye’s own music and Silver Ocean Sings) before I asked him to play a song on the album. Otto was recommended to me, and the moment I saw him play (with Erin Durant), I realized he would work magic, which he did. Other important people have been Janis Brenner, who I was honored to take voice lessons from and who taught me to have fun with my voice (and who also sang on the record), Misja Van Den Burg, who was a fundamental support as a sound engineer from the first demos on (and in the studio, along with Steve Silverstein), and of course Mimes of Wine, who from Bologna never failed to encourage me and ended up (Stefano, Luca and Matteo) contributing to the album at a later stage.

Last but not least, my friend Brett, who on one night out, next to a whiskey put on the table a copy of Zbigniew Herbert’s collected works, saying “You have to read this”. I have carried that book ever since and I have attempted in the album to give music to one of those poems (Black Rose).

The name Vever comes from another book, “Divine Horsemen: The Living Gods of Haiti”, by Maya Deren. The word, in Haitian tradition, describes specific drawings that are made during rituals, symbolic representations of different divinities that serve as a “beacon” for the “loa” (spirit) that is being called. These drawings are always symmetrical, because they presuppose an exchange between the living and the divinity that take place as if in a mirror, and this is also related to the fact that those spirits are in fact the living’s real ancestors, and were therefore men and women as well at some point in the past.

I found this deeply interesting, like communication in all its forms, and it made me think of the superimposition of different spaces, times, people, family, and how important all this is in the ever-changing present. Maybe this album is a small trace of a Vever as well, symbolized by Ripley’s spooky house on the cover, a home of many dimensions that exists with its foundations and that we all build with our experience through different moments and locations.
— Laura Loriga