The name of the concert references the American Primitive Music - a genre name accidentally started by John Fahey sometime in the 1960s, and currently having quite a following in some circles.

Gwenifer Raymond began playing guitar at the age of eight shortly after having been first exposed to punk and grunge. After years of playing around the Welsh valleys in various punk outfits she began listening more to pre-war blues musicians as well as Appalachian folk players, eventually leading into the guitar players of the American Primitive genre.

She released her sophomore LP ‘Strange Lights Over garth Mountain’ at the end of 2020 to rapturous response. Her debut ‘You Never Were Much Of A Dancer’ emerged on Tompkins Square to the same response in 2018. She has found herself equally embraced by fans of old-west and equally, by left field/experimental audiences. Appearances throughout the UK and the EU as well as the US marks her out as one to watch.

"Just about anybody with an interest in the new school of American primitive will tell you that Welsh guitarist Gwenifer Raymond is one of its most promising proponents. I’ve been blown away by Gwenifer Raymond,” says Jeff Conklin. Josh Rosenthal agrees: “She’s just a fascinating person — a great example of somebody taking the raw elements [of the style] and making them more personal.” - BandCamp Daily

"Its intricate folk melody is Welsh and Celtic in style but American Old West in practice. The rhythmic patterns mimic the swift dynamics of a fiddle with a country twang. Western music was originally influenced by traditional folk music Guitar playing should never be mere gymnastics – “shredding” for shredding’s sake – but Raymond combines awe-inducing technique with grace, depth and emotion. from England, Wales, Scotland, and Ireland; Raymond’s seamless crossover grows from these historically intersecting roots." - Stereogum

Edgars Rubenis is a Latvian guitarist, currently living in The Hague. Having dedicated a decade to experimental rock-music Rubenis moved to the Netherlands in 2012 to study sonology and composition at the Royal Conservatoire in The Hague. While there, he pursued a musical practice based in extended duration and minimal change – initially electronic and sonically intense his means eventually became acoustic and increasingly minimal, reaching a barely audible state in works for baroque era pipe-organs.

At the Studio LOOS concert on December 2nd he will perform his blues and ragtime influenced music for acoustic guitar. Being engaged in writing and playing this music over the previous two years, this will be it’s first public performance.