eudaimon, reviews, three:four records, videos

Listen and purchase Eudaimon on Three:four Bandcamp

piano, vocals, field recordings — Delphine Dora
Composed, Recorded & Mixed  —  Delphine Dora between June 2016 and September 2017
Words — Kathleen Raine
Selection & Tracklist — Maxime Guitton
Mastering — Julien Grandjean
Artwork — Dovile Simonyte

Eudaimon liner notes by Phil Legard (english) and Valérie Leclercq (french)

Live@Ausland, Berlin (24.03.2018) free download


Review full page on The Wire, April 2018


« This is a sparse beauty. Eudaimon explores the magic and mysticism of Kathleen Raine‘s poetry in multi-tracked voice and unadorned piano. Delphine Dora‘s borrowed words melt in a melancholic sweetness, floating out on a mandolin of needled ivory. 
The Nico comparisons are hard to avoid, but Dora’s muse is less frost-damaged, eking a warm and inviting glow, like Finland’s Lau Nau or kuupu. A voice imbued with a magic that fireflies, flutters with forgotten faces, burns with an untutored uniqueness.
In the lullaby quality of “Honesty” or the hypnotising vivisection of “Who Are We”, the weave is a simplistic one, honest. Notes seem to trickle like light-caught brooks, crystal clear, the perfume of camomile furnishing the mind as “Lament”‘s waltzing fingers meander through that ohhh(ing) voile.
A gentle lilt that conjures quite a spell, finds passage in the duet of “On A Deserted Shore”, for example, its multiple personalities falling into an unembellished bleed of lonely harmonics that spirals you intimately in, magnetically affixes. The folklore embering of “Fire”, “The Invisible Kingdom”‘s gothic folds, the tattered Teutonics of “No-Where” caged in a minimalistic tonal patter of repetition (the comforting crease of repetition that milks the vast expanse); yeah, there’s plenty to love here.
Every song has its own hue, tonally paints, plucks at Raine’s symbolism; the blossoming, the decay, the austere mirage that is “The Unloved”, a bat-like swoop of overlaid words to diminutive stabs of note. One of those wild-wooden-cabins of a record, a campfire to keep the wolves at bay.
Michael Rodham Heaps, Freq 

MOJO by Andrew Male, ****


Booking a show :

Videos by Amy Cutler

Eudaimon (2017) :
The first film made for the French composer Delphine Dora’s bewitching piano settings of the poems of Kathleen Raine, from the esoteric label three:four records. The figure of the eudaimon spirit recurs in Raine’s mystic nature poems, although this good demon to which we are bound is somehow lighter, and free to part way with us in dark waters.


The Invisible Kingdom (2017) :
One of the films made for the French pianist Delphine Dora’s Eudaimon cycle of Kathleen Raine settings. This is one of Raine’s nature spells, which describes the woven patterns and harmonies in the world which we are attuned to without knowing, with threads ‘slender as light’. The visuals build jewel-like kaleidoscopes from leaves, dew on stalks, and bracket fungi.


Lily-of-the-valley (2017) :
A tiny film inspired by the double-meaning of Kathleen Raine’s phrase ‘out of time moves not a leaf’, suggesting both a frozen moment of evergreen eternity, but also and in opposition, the certainty of leaf-fall. Fairy-gold, Raine has written, ‘is made of a few dead leaves’, hence her poems about ash trees and mirages in winter bark; but in others of her visions, trees do allow a magical space for love and faith against time. Thanks to the delicacy of Dora’s setting, the amulet in the cobwebbed, rotting tree can be read either way.


On a Deserted Shore (2017) :
This miniature film accompanies the French composer Delphine Dora’s setting of Kathleen Raine’s 1973 sequence of loss and mourning, ‘On A Deserted Shore’. Following the death of nature writer Gavin Maxwell, this sequence tracks the movements of the soul in the rings of bright water, flowers, and stars he leaves behind. The film takes on Raine’s attention to specific, pearl-like moments of nature to which memory attaches, and follows the sound of Dora’s piano keys to try and present a landscape glimmering and blurring at the same time.







Delphine Dora « Eudaimon »

En passant

Show @Le Guess Who (Utrecht) curated by Julia Holter

My next show will be in UTRECHT (Netherlands) on saturday 12th november @ LE GUESS WHO FESTIVAL.



I’ll play @Theater Kikker in 21.15 – 22., sat. 12th november, opening for LUCRECIA DALT

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« L’au-delà » (Fort Evil Fruit)


 WAS IST DAS :  « listening to this album, you feel aware of great forces at work. It feels like a metaphysical peep behind the curtains, exposing the mechanisms of life. These sounds are pure poetry. Whatever next, Delphine ? »

ROTATIONAL REVIEW : « the dreaming put-to-life mastery of the one, in full expert control. a multitude of piano climbing/trickling and voices and singing surround the ears in a recollective acid-lullaby. start at the inner-most fragment and even the passing-too-fast imagery at the bottom of the mind gets its abstracted musical representation put to chaotic sing-song, folding and unfolding on a stacked-layer whispering of devil/angel gone-blues.

Tape/digital edition available by FORT EVIL FRUIT :


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KIT MIX #102


From atonal strings sandwiching heartfelt pub rock, to the ornate bonkersness of Frisk Frugt then gem after gem of lo-fi folk, distorted lounge, voyeuristic rehearsals and weather strange systems. This is a very special mix indeed from Delphine Dora. More words from Delphine below.

Francis Plagne – Yesterday Sponge (Tenth Volume of Naps, Lost & Lonesome, 2011)

Frisk Frugt – Fugens Flugt (Den Europæiske Spejlbue, Tambourhinoceros, 2015)

Weyes Blood – Maybe Love (Cardemon Times, Mexican Summer, 2015)

Graham Lambkin – Attersaye (Abersayne / Attersaye, KYE, 2013)

Che-Shizu – Mariam Matrem (A Journey, PSF, 1994)

Jacques Thollot – Mahagony Extraits (Quand le Son Devient Aigu, Jeter la Girafe à la Mer, Futura, 1971)

Emmanuelle Parrenin, Phil Fromont, Claude LeFebvre – Berceuse Pour Rosemary (Château dans les Nuages, Cezame, 1976)

Nara Leao – Vou Por Ai (Dez Anos Depois, Polydor, 1971)

Takahashi Mizutani – L’aube (Mizutani ’70, Rivista, 1991)

Kara-Lis Coverdale – Circles, Apparitions (Tryptich I, self-released, 2012)

Johannes Ockheghem – Offertorium (Requiem, Harmonia Mundi, 2007)

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German Shows with Julia Holter

Very honoured to open JULIA HOLTER shows in Germany
for the beginning of her european tour…


28th October @ MUNICH (Germany), Münchner Kammerspiele

29th October @ FRANKFURT (Germany), Brotfabrik

30th October @ HAMBURG (Germany), Uebel & Gefährlich

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Delphine Dora and Sophie Cooper « Distance Future » (Was Ist Das? – 2015)


This is edited together from the highlights of a very creative session that Sophie Cooper and Delphine Dora had in the perfect setting of Todmorden Unitarian Church. This is their first collaboration, although Delphine put out Sophie’s stunning solo album “Our Aquarius” last year on her own excellent Wild Silence label. They also both appeared separately on Richard Moult’s album “Last Night I Dreamt of Hibrihteselle”. Put all these previous works out of you mind, though, as this is something very different. Different to most things.

Sophie and Delphine are caught here carrying out primal improvisations utilising the profound acoustics of this historic chapel. If you caught any of the unplugged sets at Tor Ist Das! Festival that just used the building’s acoustics then you will know what the building is capable of but with just two people in there, it sounds even more spacious, more infinite. Their tools are a trombone, percussion, electronics, organ and their wordless voices.

Review on THE QUIETUS by Tristan Bath :
« One of these months I’m not going to feature a tape from the Was Ist Das label, I swear! They’re not making it easy though. This latest release is insanely beguiling, and features a collaborative session between West Yorkshire based musician Sophie Cooper and French improviser Delphine Dora. Recorded in the atmospheric confines of Todmorden Unitarian Church, Cooper reaches for her trombone alongside electronics throughout the tape’s 13 deftly chosen snippets from the performance, while Dora swaps her usual piano for organ and percussion, with both utilising their haunting wordless vocals throughout. The possible comparisons are few, yet brutally raw in nature: Keiji Haino’s Nijiumu albums, the sound of an Alfred Schnittke choral work reflected by an infinite number of ancient stone wall corners, small snippets of La Monte Young & Marian Zazeela epic vocal drones. Every moment in the unitarian church feels imbued with some truly ancient sounding ritualism. Cooper’s excellent trombone playing adds a rarely heard colour to proceedings, and Dora’s off-kilter percussion contributions (as on ‘Interlude 2’) yank the carpet out from beneath us just as we settle into the strangely alluring darkness summoned by the pair as they drone, sing and otherwise concoct strange sounds before our very ears. Distance Future is pure sonic magic, and the strangest part is, we’re never quite sure if we’re heading into, or escaping from the darkness. »

This is a limited edition of 50 copies on pink tapes, home dubbed. Mastered by Andie Brown. Cover art by Lucy Atherton. The tape available here :

You can listen/download the album here on « pay-what-you-want » here :

Side A
Les Différences S’unissent
L’avenir Le Dira
Remote Position
The Former Residents
A Moment of Speaking
Interlude #1

Side B
The Cold Train
Saturation Melody
Interlude #2
Length of Space
Mary’s in the Doorway
Esprit Universel


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collaborations, Releases

Eloïse Decazes/ Delphine Dora « Folk Songs Cycle » (Okraïna – 2015)

Éloïse Decazes et Delphine Dora jouent et chantent Luciano Berio

‘Folk Songs’ (1964) est un cycle de chansons traditionnelles (ou d’inspiration traditionnelle) collectées en différents pays, rassemblées et arrangées (ou composées) par le compositeur italien Luciano Berio pour sa femme, la chanteuse Cathy Berberian.

Presque cinquante ans plus tard, Éloïse Decazes et Delphine Dora ont pris la liberté de les ré-enregistrer à leur manière.

released 15 June 2015

Éloïse Decazes
chant (A1-A2-A3-A4-A5 / B3-B4), harmonies vocales (A6 / B2), piano (B3)

Delphine Dora
piano (A1-A2-A4-A5-A6 / B1-B2-B4-B5), harmonium (A3), field recordings (A4-A5 / B2), chant (A6 / B1-B2-B5), harmonies vocales (A2-A4 / B3)

guitare (A4-A5 / B1)

Enregistrement :
Éloïse Decazes, Delphine Dora
Valuejols (Auvergne – France), juillet 2013

Mix :
Éloïse Decazes, Mocke
Bruxelles, janvier 2014

Harris Newman
Grey Market Mastering – Montréal, décembre 2014

Gwénola Carrère
Bruxelles, janvier 2015

Chronique par Fabien Pondard (Liability webzine) :

Il y a de cela une cinquantaine d’années le compositeur italien Luciano Berio s’était mis en tête, à la suite d’une commande par le Mills College (Californie) quand même, de rassembler des chansons traditionnelles ou considérées comme telles pour sa femme la cantatrice Cathy Berberian qui était chargée de les interpréter avec deux instrumentistes qui changeaient d’instruments en fonction des morceaux (flûte, piccolo, Clarinette, harpe, alto, violoncelle, percussion). Berio les adaptera par la suite, en 1973, pour un grand orchestre. Le répertoire est assez disparate, puisant des chansons chez John Jacob Niles, des traditionnels arméniens, français, de Sardaigne ou sicilien, et des compostions de Berio lui même. Un demi siècle plus tard Eloïse Decazes et Delphine Dora adaptent ces folk songs à leur manière, toujours dans un esprit acoustique et presque minimaliste. Autour de voix diaphanes et d’une orchestration intimiste et sensible, ces versions ont quelque chose d’irréel, comme hors du temps et débarrassées des tracas de ce monde. On pourrait intellectualiser ou avancer des références à n’en plus finir pour qualifier la performance des deux femmes mais ce qui est le plus intéressant ici c’est bien de savoir comment on peut la ressentir. Pour ce faire, il faudrait presque oublier les versions originales pour éviter les comparaisons. Bien que l’on sache que ce sont des réinterprétations, le duo fonctionne comme si elles jouaient quelque chose de neuf mais qui n’aurait rien de moderne et qui, même, ne se raccrocherait à aucune époque. Eloïse Decazes et Delphine Dora ne cherche pas à impressionner mais juste à retranscrire une beauté brute et céleste de chansons qui ont traversé les âges. Les deux femmes nous les présente avec simplicité, sans artifices et avec une harmonie lumineuse. A l’instar des musiques de chambre ces folk songs ne sont pas forcément faite pour les grands espaces mais elle parviennent à nous transporter dans un imaginaire onirique offrant des paysages bien plus variés qu’il n’y paraît. L’aspect presque ascétique du disque ne doit pas rebuter. Bien au contraire, c’est sans doute là sa plus grande force. Même si elle nous paraît fragile, elle est bien de ces forces immortelles qui ravissent le cœur avec trois fois rien.

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