Huun-Huur-Tu, a group of acclaimed overtone- and throat-singers from Tuva, make an appearance at the Novosibirsk Philharmonic. The ensemble dedicates itself to researching and re-imagining traditional folklore and tunes from the Tuvan steppes and mountains.
Joining on the programme is Morphine label head and CTM 2016 co-curator Rabih Beaini (formerly known as Morphosis) in his new collaboration with percussionist Daniele De Santis. Kathy Alberici and Federico Nitti also return with a second performance of their audiovisual project “Bocca al Lupo,” which finds Kathy at the helm of an entirely analogue set-up while also playing violin, manipulating, recycling, and deconstructing sound to reveal its many faces. Alongside her, visual artist Nitti manipulates code, electronics, and live video streams to produce a synaesthetic universe of colour and motion.
Federico Nitti works at the intersection between sound and image. Part hacker, part maverick, he fuses digital and analogue approaches, code and electronics, to explore the interactive relation of sound and image. His approach always embraces the beauty of the moment, magnifying synaesthetic response through exploiting the human connection amidst the technology.
If you were to journey to the geographical center of Asia you would reach Tuva, an autonomous republic on the Russian-Mongolian border. This is the home of Huun-Huur-Tu, a group of fascinating overtone- and throat singers whose language can be traced from Turkish and whose culture reflects many similarities to that of Mongolia. Tuvan throat singers produce up to three notes simultaneously by selectively amplifying harmonics naturally present in their voices.
Daniele De Santis is a Berlin-based percussionist, drummer, and electronic music producer from Bari, Italy. Grounded in a wide range of studies concerning jazz drums, Mediterranean and Middle Eastern percussion, electronic music, and sound engineering, his work takes shape as a varied series of musical experiences driven by spontaneous multi-instrumentalism and an eclectic attitude.
A Lebanese-born producer best known for his grainy, imaginative techno as Morphosis, Rabih Beaini’s genuine musical ability and a range of influences from krautrock to new wave to folk music seep into his inventive, dark, and emotional productions. Increasingly steering clear of the techno realm in order to explore improvisation and new configurations such as with his Upperground Orchestra, Beaini retains an ongoing fascination with sound synthesis.
Kathy Alberici (Small but Hard, Drum Eyes) inhabits a tingling space between noise, soundscapes, and drone. Working with strings and analogue synth, sound is manipulated, recycled, and deconstructed to reveal its many faces. From nothing comes something, the imperfections, the Dreck becoming its own musical element in a complex weave of reflexive feedback.