Sans nom ni forme (Pilgrim Talk, 2020)

Sans nom ni forme
Pilgrim Talk, 2020

Composed and performed by Clara de Asís (guitar and percussion)

Recorded by Samuel Dunscombe in Berlin, May 2019
Mixed by Clara de Asís
Artwork and design by Nick Hoffman

On Pilgrim Talk

Reviews and words

Cassette Gods, March 28 2020.

Review by Marc Masters, Bandcamp Daily, The Best Experimental Music on Bandcamp: February 2020.

Some words by Brian Olewnick, Feb. 2020.

Ficción de la razón, Jan. 2020.


Sans nom ni forme featured in Luka Zagoričnik’s program at Radio Študent (Ljubljana, Slovenia), May 21 2020.

Sans nom ni forme featured in Ludwig Bergers’s episode at Raheem, Milano, March 2020.

Sans nom ni forme featured in Evan’s Miller program The Outside, 91.3 WYSO National Public Radio, 10 Feb. 2020.

Sans nom ni forme included in Steve Smith’s weekly playlist On the record in National Sawdust, Jan 2020.

Marc Masters, Bandcamp Daily, The Best Experimental Music on Bandcamp, Feb. 2020

The Spanish-born, France-based artist Clara de Asís uses guitar and percussion on her new album Sans Nom Ni Forme to create enticing pieces keenly attuned to low volume sounds. A biography on her website suggests that her work highlights “active listening as means of music-making,” and as one focuses on her quiet sounds, it can feel participatory, as if you’re coaxing it forward from the shadows. At times very distinct audio events do pop up—take the intermittent chimes in the meditative “Directement I”—but those help clarify how much of Sans Nom Ni Forme is masterfully restrained, with sounds emerging and vanishing like a spectre haunting a dark room. Just because Sans Nom Ni Forme is quiet doesn’t mean it’s empty, though. The patience and precision with which Asis guides this album leaves a vivid impression.

Brian Olewnick, Feb. 2020

« Serene and thoughtful, subtle long, almost-pure tones arrayed alongside liquid picked ones. Really fine music. »

Cassette Gods, March 2020

Spanish artist Clara De Asís is a proponent of active listening, which manifests itself on Sans Nom Ni Forme as partaking in a carefully plotted menagerie of guitar tones. For me, who’s all about that guitar tone, doesn’t matter if it’s Slash and Yngwie, I was ready for action. I’m all about active listening, and also air guitar playing! Then, De Asís threw me the curveball that you smart readers could all see coming from a mile (or sixty feet, six inches) away, and I realized I was thinking of something completely different.

Clara De Asís is incredibly deliberate in her composition. Notes are struck, but one at a time, the sound allowed to reverberate into the environment and take on ambient properties of the room. Feedback is teased and dared to become sentient. Humming drones form sonic equivalents of quiet lakes across which dinghies are rowed as storm clouds gather. No matter how much the outside world works to distract from these delicate pieces, you must never let it in – active listening demands that you devote your full attention to the Sans Nom Ni Forme. And even if it somehow does get in, how does Sans Nom Ni Forme interact with it?

That’s the curiosity. But trust me, it works better if you’re fully invested, fully focused on De Asís’s playing. It’s hypnotic in the end. Not like Dave Mustaine at all.

Ficción de la razón, Jan. 2020

En tiempos de revuelta aparece lo informe, lo que el poder no ha podido nominar y por tanto sustancializar. en Ficción de la razón presentamos el disco de Clara de Asís Sans Nom Ni Forme. Escúchenlo con calma, atendiendo a los ínfimos sonidos entrecruzados. Y recuerden que aunque un sonido parezca lineal, está compuesto de una multiplicidad que hay que aprender a escuchar.