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This even was made possible, in part, by The Bloomington Arts Commission – 2025 Arts Project Grant. The Bloody Lady Widely considered one of Slovak animation’s crown jewels, The Bloody Lady is an improbable and bewitching fusion of gothic horror and classic children’s animation, retelling of the infamous Cachtická castle and Báthory folk tale which is often cited as the inspiration for Bram Stoker’s Dracula. Recently treated to haunting live score by celebrated indie musician claire rousay, this underseen gem is a new cult classic in the making. The Bloody Lady is the centerpiece of Viktor Kubal: Father of Slovak Animation, a retrospective of the landmark Eastern Bloc animator’s pioneering work in much-loved children’s shorts as well as subversive – though no less groundbreaking – feature films. LIVE SCORE BY CLAIRE ROUSAY clairerousay.com/ claire rousay is a Canadian-American musician, composer, and artist currently living in Los Angeles. rousay’s work operates in genre-spanning fashion; she is primarily known for composing highly emotive whisper-quiet musical works that heavily forefront music concrete and sound design elements like haptic sound and field recordings. These avant garde elements are often paired with strings, piano, and electronic melodies and textures. Her albums in this vein – on celebrated labels like Thrill Jockey and Shelter Press – gained her notoriety in the international ambient and experimental community. rousay remains stylistically mercurial and incorporates generic elements from rock, electronic, hyperpop, noise, folk, free jazz, and more into her compositions. In some ways rousay is always busy making music about music, and too, music about everyday life, about the ordinary. A delicate and deeply timbrel quality is helixed into the musical components of rousay’s work. Quotidian sounds and spoken word elements are woven into melodies that have been temporally manipulated; time is compressed and expanded, chords are frozen in place, instances take eternities, and occurrences flash by with immediacy. Her work investigates styles, forms, times, and experiences. In this way, rousay is a formalist – interested in the material of music and sound, in technique – and yet her work is profoundly emotive and incredibly impressionistic. rousay has performed at esteemed festivals and venues internationally; notably Unsound (Krakow), Big Ears (Knoxville), Rewire (The Hague), and Le Guess Who (Utrech). She’s installed or exhibited her work at ICA (London) and Art Gallery of NSW (Sydney). She’s done artist residencies at Ina GRM (Paris), The Momentary (Crystal Bridges Museum of American Art), and WORM Sound Studios (Rotterdam). She’s also given artist talks and workshops at renowned institutions worldwide regarding her practice as an artist, composer, and listener. Opening the night is Technicolor Band – a revolving-cast, cross-genre improv unit based in Bloomington, IN. The group, initially instigated by multi-instrumentalists David Brown and Caleb Hickman as a regular gathering to explore improvisation behind closed doors, eventually made its way into public via a residency at a 50 cap bar called Orbit Room. Over the next two years a core lineup formed around the quintet of Brown (keys, percussion, tape manipulation), Hickman (alto sax, electronics), Chuck Roldan (drums, percussion), Brendan Keller-Tuberg (double bass), and Aja Essex (baritone sax). The band’s debut, Technicolor Band Opens The Green Door, featured early recordings from longform improvisations at Brown’s home studio. Those free-form explorations were then edited, deconstructed, and rearranged by Brown into a song cycle. The live shows, meanwhile, were pushing toward something more organic, with the increasingly well-acquainted players constructing and deconstructing musical moments on the spot. The longform performances began to have an album-like ebb and flow, some moments somber and meditative, others boisterous and disordered. Luckily, those moments were almost always recorded. Whether in multi-track by WFHB radio volunteers or on sketchy handheld field recorders, the well of documentation of Technicolor Band’s 2024 activity is deep. Technicolor Band Walks The Blue Circle, forthcoming on Torn Light Records, is the result of that year of live shows. The album draws from three performances in very different spaces—a storefront info shop, a county history museum, a basement bar in an alley—arranged to capture the breadth and scope of the group’s output. E-tickets and Will-call All tickets purchased online will be sent as e-tickets to the email address associated with your account. The e-tickets will be listed within your confirmation email. If you would like your tickets to be in will-call please call or visit the box office during regular business hours. We can sell you a printed ticket over the phone and in person. If you completed your purchase and received an e-ticket but need a physical ticket please contact the box office before the day of the event and we can print them and have them ready. You can reach us at (812) 323-3020 ext 1.
