Marielle Jakobsons Archive


Evon review: “Monster movie soundtrack”, “floating and dancing” and “like chamber pop meeting some jazz performers at the symphony for the screening of a film noir.” Agreed.

agnes-profile-web1Read this great review of The Bees Are Coming from KFJC 89.7 FM in Los Altos Hills, CA:

Released in September, 2010, this album by Evon, “The Bees are Coming,” features a number of SF Bay Area artists and is led by composer and artist Agnes Szelag. Agnes composed, performed, recorded and produced this and shows her chops on a dizzying number of instruments (cello, bass, guzheng, harp, guitar, harpsichord, vibraphone, singing bowls, glockenspiel, piano, electronics, etc etc!).

The overall effect is at times heavy, with the album starting up with deep bass sounds that lumber into a monster-movie soundtrack and then twist into beauty with pretty Eastern-flavored plucking, along with warm percussion, marimba, vibraphone and woodblock. Agnes’ vocals then come in, providing a slightly jazzy accent. It can also be atmospheric, with prominent strings and vocals that are at times fuzzy accents, floating and dancing with the music. It’s kind of like chamber pop meeting some jazz performers at the symphony for the screening of a film noir, with the loveliest sounds resulting from that marriage.



Barn Owl Taps Marielle Jakobsons and The Norman Conquest for their new record “Ancestral Star”

From Pop Matters blog post:

On their new release for Thrill Jockey, Ancestral Star, they continue to explore the Morricone tinged Western soundtrack side of the genre—first pioneered by the heavyweights Earth—that they have done so thoroughly and competently on their previous albums. For this album, Caminiti and Porras took their time in the studio and expanded the instrumentation on the songs by experimenting with bowed guitar, and by inviting Marielle Jakobsons to play violin, the Norman Conquest to contribute eerie chanting vocals, and Portraits to add some nuanced percussion.

Read the whole article here.

These artists have appeared on the following Aphonia Recordings releases:


Textura on Evon: “suggestive of moody goth-rock”

In issue #73, Textura reviews Agnes Szelag’s new project “Evon: The Bees Are Coming.” Describing Szelag’s work as a “one-person, mini-orchestra” is not an understatement.

If you haven’t heard the new album we welcome you to have a listen over here. Indeed, as the review points out, it is perhaps important that Szelag chose a different moniker other than her birth name, as there are lot of contributions by other artists on the record.

The Norman Conquest provided recording help as well as voice, guitar and percussion. Fellow Aphonia artist Marielle Jakobsons, who also works with Szelag in their duo Myrmyr, provides vocals as well.

Although this is clearly Szelag’s vision, the wide array and cast of characters makes it an ensemble piece, larger than life, not a hobbyist or stripped down side project that merely spotlights the ego of it’s principle creator. No, Evon’s “The Bees Are Coming” is an immense work, encompassing many sonic backcountries and thoroughfares alike and again revealing another layer to the near geologic depth that Szelag’s work encompasses. Enjoy!.

Click to listen!


Date Palms are Marielle Jakobsons & Gregg Kowalsky

Marielle Jakobsons and Gregg Kowalsky are Date Palms. Of course we know Marielle from Darwinsbitch and as a member of myrmyr with Agnes Szelag. Now the blog “Raven Sings the Blues” has reviewed Date Palms release Of Psalms. Rachel Swan from the East Bay Express has a lot more to say about their new release as well but I suggest looking into these Oakland based artists and get that LP while you can! Highly recommended!


Agnes Szelag’s “No Summer or Winter” Reviewed!

This article appeared in Cyclic Defrost Magazine. You can read the original posting here.

Agnes Szelag - No Summer Or Winter

Agnes Szelag, one half of Oakland’s Myrmyr with Marielle Jakobsons, presents a short release of just four songs on No Summer or Winter. Her work as a solo artist focuses on the relationship between sound and visual media, and the whirling yet crunching undercurrent to the first track “Lato” sets the tone for the piece. At just under twenty five minutes the compositions on No Summer or Winter are allowed enough space to grow and fortunately don’t outstay their welcome.

One of the difficulties of appraising Szelag’s work is deciding where (or even if) there are boundaries between the performance space and the home listening experience. “Man Made Weather” in particular seems built for the former environment “ a movement that lapses into languid cello after being prefaced by swathes of noise and processing. Though No Summer or Winter wasn’t written specifically for such a purpose, it somehow seems intrinsically linked to a place outside of where her audience listens from. “Inside and Out” does tries to bring the sensation back though, all hazy synths and soft textures. There is some delicate cello work throughout the EP, but nowhere near as fluid and organic as it appears on her work with Myrmyr.

As No Summer or Winter unfolds over repeated listens, the progression is made clearer. It becomes almost a dialogue between the summer and winter seasons Szelag composed it in, uncovering fragments of processed vocals that act as clues to the shifting world outside. There are some exquisite moments here even if it does feel sometimes as if the confines of the art installation are closing in.

© Alexandra Savvides 2008