Helaas is deze show met Maan en Ignatz gecancelled.
Holly Herndon speelt wél de avond ervoor met Maan en Ignatz in OT301.
Gratis voor Subbacultcha! leden
Bij Holly Herndon vervaagt de grens tussen mens en machine. Op haar 2012 debuut, Beweging, manipuleert ze haar eigen kristallijne stem met de precisie van een ijsbeeldhouwe. Ze breekt en vervormt haar stem geluiden, om het vervolgens weer te vermengen in een compositie van van elektronische soundscapes.
// ENGLISH //
Free for Subbacultcha! members
Holly Herndon is all about blurring the boundaries between man and machine. The Tennessee native and lifelong choir singer lived in Berlin for years, where she was immersed in that city’s bustling club culture but also made an aborted attempt to master a ‘real instrument’ (the contrabass) in order to be taken more seriously as a composer. She returned to the US to study Electronic Music & Recording Media at Mill’s College, and being surrounded by students treating laptops as legitimate instruments inspired her to forgo ‘real instruments’ for good. On her 2012 debut, Movement, she manipulates her own crystalline voice with the precision of an ice sculptor, breaking it into chunks or crushing it into bits before carefully arranging it amidst chilly electronic soundscapes.
Maan en Ignatz
California-based composer Holly Herndon uses her crystalline voice as a chief input for her laptop, breaking it into chunks or crushing it into bits before carefully arranging it amidst chilly electronic soundscapes. Her debut LP Movement is a disorientating combination of academic computer experiments and dancefloor sensuality, searching for the point where bodies and machines operate as one on the floor, and where planning and instinct find a perfect ratio in the studio.
Ignatz was the name of a mouse from the celebrated prewar cartoon strip Krazy Kat by George Herman, but also the solo monniker of Brussels-based artist and musician Bram Devens. His recordings contain various plucked instruments (electric and acoustic guitar, lap steel, banjo), strange keyboard gurgles and drones, a crusty drum machine, incoherent vocal mutterings and yodels, all recorded on a cheap mixer that sounds like it was dug up in a time capsule constructed from a burlap sack.
Last year the youngster duo MAAN suddenly appeared from the voids of the Belgian experimental underground, with a cassette release on the Smeltkop label in Ghent. Even more thrilling were the minimalistic and repetitive live performances that followed, which took a different approach on each occasion. MAAN also write 'real' songs that remind at times of the Shadow Ring or Belgian cold wave history.