2011: Katt Hernandez

2011: Katt Hernandez

2011: Katt Hernandez

Publicerad: tors, 2011-12-15 13:37

Stockholm has been most fantastically kind to me since my arrival here, most especially in the realm of sonic wonderments. My year has felt like the span of far more time, so much new and magnificent music has passed my ears!

I have been very exited to co-create and work with The Schematics - Daniel Karlsson, Ludvig Elblaus, Erik Calälv and me. To be able to work on such finely detailed music in a focused place like EMS is fantastic. Here is a group of folks so subtle that the smallest decisions about things like where to place a microphone bring forth fundamental changes, new musical forms and ideas for concerts, recordings and adventures. We have already made several concerts and records in the space of a year. Its been fantastic to work in such a focused project so soon after moving to a new country.

Daniel Karlsson and I also have an intense duo project, and most recently played together in Göteborg as well. We played at Fylkingen and Kafe Klavier this year as well, and hope to travel back to my home to play this coming year, too! I feel there's a million new universes to discover in that collaboration, and look forward to more of it.

Daniel was joined by Jonathan Lilidahl and Mattias Petersson in a very excellent spontaneous concert in a Gazebo at the end of the summer. They asked no permission, but just showed up with eight tiny speakers, which they placed in a surrounding array on each of the Gazebo's pillars. There amongst the park and its birds and trees, each of them created a miniature sonic dollhouse for the little crowd of us to look out the windows of. Gorgeous - a lovely afternoon of secret space reclamation!

I have also been working with David Stackenäs, whose beautiful guitar music I feel a deep sisterhood to. We played a duo on FRIM's series, and are beginning projects with other musicians in town. I have also a duo with Alexander Zethsson. We play in churches, where he can ply his most fantastic sonic enchantments upon the Organ! We recently were joined in concert by Saratsvati Shrestha at Allhelgonakyrkan.

I had the opportunity to work with three friends form the United States here this year also, and bring them together with Swedish musicians. I hope to do more of that sort of thing, since there are so many wonderful players in both these strange homes of mine. Pianist Jonathan Vincent and I performed on the FRIM series at Cafe Klavier. Shadow puppeteer and screen print artist Erik Ruin came and played at Fylkingen with a whole host of folks - Henrik Olsen, Daniel Karlsson, Lise-Lotte Norelius, Christer Bothén, Johannes Bergmark and Tippi Tillvind. And most recently id m theftable came to Fylkingen, where a voice-focused mini-festival commenced.

I got to play a solo in Mimer at Norberg Festival this summer for the Fylkingen showcase. Before playing the nice sound technician described all sorts of things to me about how the gigantic room had been set up with speakers designed to enhance its every faucet. It was great fun to throw different sounds to different corners and hear how they arrived back, based on what he had showed me - with the added "edge" of standing on a 1x1 meter platform with no railings, quite high in the air. This was followed by a trio with Erika Angell (voice and electronics) and Wolfgang Lehman (film). Wolfgang's film is a rich 16mm double projected work - it depicts, in some sense, the wife of Genji (of the japanese epic) who becomes more and more an idealised figment of Genji's remembrance as his adventures take him many years hence form her. The piece was 40 minutes long - another experience of being able to really delve deeply and fully into something with musicians and artists here. Erika also did a solo, intense and beautiful.

I also played a solo concert at Västerås Nya Perspektiv festival/series last March. I worked a great deal on new techniques for that concert involving trills, ornaments and birdsong, and have been happy to find that work continues to inform my daily life with my violin.

I was exited to play with LIsa Ullén and Joe WIlliamson this year. Our trio is called Fens, after the marshes of central Boston - misty, murky and full of oddments as they are. Lisa put on a fantastic record release show that I played on at Fylkingen called More is More, which brought folks from many corners of the new and improvised music communities together. I have also been working in a duo with Lise-Lotte Norelius, who was one of the first people I played with here. Like playing in a riot grrl band but with infinitely more musical landscapes to visit! Marvelous. I've worked some with Ann Rosén as well, who is putting on very cool house shows lately. And I went on a small tour with bassist Joel Grip, for our duo Das Dingbat through France and Germany, visiting Atiliers, Institutes, a most intriguing conceptual/political Gallery and giant protests against Sarcozy's noxious plans for France.

I was present for most of the Sound of Stockholm festival. I had the good fortune to hear a great deal of good music there. There were two concerts that stayed with me. One was Francis-Marie Uitti's exquisite solo recital. Her relation to each piece she played was so very personal - many were written for her. It was like watching the unfolding of some secret, beautiful arcana. The other concert that stays with me was Trevor Wishart's "Encounters in the Republic of Heaven". This transformative, epic work (which was intense and archetypal to hear played in the beautiful Audiorama space) was so Alive. Words near fail me - I see many concerts, and few have affected me so. I felt like I was looking at some temple relief, set up for all the ages to see, but at the same time like I sat in the living room and bar and grocery line with the most real, gritty every day folks. Wishart's art of transformation is awe-inspiring.

Sten Sandell's music has been another amazing addition to my life since coming to Sweden, and I am most exited to have begun playing with him a bit. I have never heard anything like the musical universes he creates, anytime, anywhere. His "Music inside the Language" set with Sofia Jernberg at Fylkingen was definitely one of teh highlights of my listening experience this year.

I was very glad to get to hear a good chunk of work from Mats Lindström this year also. The Schematics played at Geiger festival this year, and Mats had three performances the same weekend. Al his sets involved work with physical objects - one with fluorescent lights, one with a typewriter and one made from military aircraft engines, played along a most disturbing advertisement for the same airplanes. I also saw him play the typewriter in Mimer. There it was accompanied by Hanna Hartman playing gigantic amplified tubs of water, two wind players (whose names escape me at present) doing almost endless-seeming circular breathing to play taut, thin sounds and the thunderous Tommy-gun-like din (thank you Christian Bock for that descriptor) of the typewriter itself, set up against a video many meters high of a giant steam shovel wrecking a great old industrial building.

The Schematics created compositions for the Geiger festival, which was a great experience. Each of us chose four separate techniques on our instruments to focus on for each of the pieces, and we performed them in the order they were recorded on our CD. Its good to work so neatly - a good new experience.

I also attended Hagenfesten, where I played with butoh dancer Kai En in a great old boathouse in Dala Floda. It was all wood, like playing inside another violin, and Kai En worked with images of mold, mushrooms and trees, clothed in deep yellow with her hair done up in black and white streaks and beehives. Hagenfesten had much amazing music to offer, as always. It was a fantastic pleasure to get to see Jöelle Léandre play a solo in the church of that village, which has a near magical acoustic presence. Raymond Strid and Roland Keijser played a fantastic duo set, and Peeping Tom with Axel Dörner was amazing. There was wonderful traditional fiddling as well, from Sweden, Norway and Poland. Its an amazing thing to see a small group of dedicated people build impossible things like amazing home-grown music festivals that grow and evolve each year. Its no suprise to me that I fell in love in such a place.

And speaking of that group of folks - Jes Suis! made a really Great record this year. I have seen them every time they have played in town this year, and would gladly see them some more. Wow- gritty and full of good humanity, that music!

My partner, Bure Holmbäck and I attended Nicolas Collin's workshop at the beginning of the year as well. Many long-time Fylkingen and EMS folks were there, soldering together toys and contact microphones. I also got to perform in a piece Collins had created using feedback loops, together with Johan Arrias - walking round and about the room playing the tones back to the speakers in order to change them - like swimming in a sound ocean. . . . . .and it was great to continue to learn more about electro-acoustic methods of sound creation, and contemplate these odd intersections between institutional and d.i.y. ethics and aesthetics. And of course to solder things together and listen to them shriek, twitter and whiz in newly re-melted toy voices.

Now, at the years' end, I will be joining Fredrick Ljungkvists Yun Kan 10 project at Fasching, as well as traveling to Amsterdam to work with my longtime friend and collegue Audrey Chen alongside new folks.

Well, I am sure there is more - Stockholm has been full of activities and lovlinesses. Taking a blind leap of faith to move here and join the man I fell in love with has yielded good graces! But I've written a great deal already. I've more projects and collaborations in the works, and am exited about the next year, at all events!

Love and Rockets

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