Musical night owls can have a great time with two late night-concerts packed into one ‘double bill’!
For her piece Decay, British composer Claudia Molitor is working with local per formers everywhere she plays, for a year. The work gradually unbinds and meta morphoses until, one year on, Decay will have become something completely different. In Leuven, her local sparring partner will be sound wizard Gerrit Valckenaers. For the second part of this double bill, the Colombian-Berlin electronics icon Lucrecia Dalt will play a solo set that will totally get you into that ‘wee-hours’ groove.
Claudia Molitor: Decay / Lucrecia Dalt
Copresentation Huddersfield Contemporary Music Festival, November Music
Claudia Molitor is a composer, artist and improvising pianist, whose work draws on traditions of music and sound art but also extends to video, performance and fine art practices. Exploring the relationships between listening and other senses as well as embracing collaboration as compositional practice is central to her work. Recent work includes Sonorama, which received a British Composer award in 2016 and Walking with Partch for Ensemble Musikfabrik.
Lucrecia Dalt is a Columbian experimental composer and vocalist who has developed her typical unearthly style over the course of six albums and a great number of exquisite EPs. As a qualified geologist, she combines acoustic and electronics with sampling and conventional songwriting to compose the sound of geological phenomena. Her latest release Anticlines is an alienating journey through spoken word, vocal manipulation, eerie ambient and Latin American rhythms.
Tullis Rennie is a composer, improvising trombonist, electronic musician and field recordist. His work encompasses sound installation, community-engaged participative projects, multi-channel concert works, video, mixed media and live/improvised performances. He is co-founder of Walls On Walls, founding member of audio-visual collective Insectotròpics and his work has been presented at concerts and festivals in 15 countries.
Gerrit Valckenaers goes beyond the sounds of traditional instrumentation. He roams the streets, looks and listens with an ever-captivated ear to all that’s happening around him: he picks up on street noises, voices, footsteps, the sound of a demolition. Alongside piano, clarinet, saxophone, percussion, electric organ, harmonium, sampler, electronics and much more, he makes use of the sounds of tuned mirror shards, coat racks, bicycle wheels, bed bunks, bowls, rocks, rubbish and streight up garbage: a great deal of options to lead Decay further into everyday reality.