KEITH FULLERTON WHITMAN + BÉRANGÈRE MAXIMIN
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Few musicians are able to so fully occupy electronic music's collective conscious as much as Keith Fullerton Whitman.
Whitman's extensive knowledge of historical and contemporary avant-praxis is only topped by his uncanny knack of making what has gone before him truly his own by executing both simple and complex ideas with ambition, precision and fearless adventure from the early breakcore under the Hrvatski moniker to the guitar/computer constructs of his 'playthroughs' system to his unrivalled command of the various hybrid analog/digital modular synth topologies that make up his 'live electronic music' setup.
KEITH FULLERTON WHITMAN
Keith Fullerton Whitman is a musician currently based in Cambridge, MA. Starting in the mid-1990's while working on a "Music Synthesis" Degree at Boston's Berklee College of Music, Keith began exploring electronic music's many facets, eventually yielding dozens of full length albums, singles, remixes, and compilation appearances for influential labels such as Kranky, Editions Mego, PAN, Planet µ, Carpark, Room40, Amethyst Sunset, Amish, NNA Tapes, No Fun Productions, Agents of Chaos, Arbor, Digitalis Limited, Ekhein, Heavy Tapes, Rare Youth, Root Strata, and many more.
These days his creative energies are largely put into the continued development of a truly "Live Electronic Music," incorporating an ever-changing hardware-based modular system that allows for a complexity of sound & vision that had previously only been available via software-solutions. While this work has recently manifested itself as a pair of albums for Editions Mego entitled "Generators" & "Occlusions," it's largely intended for the stage.
Bérangère Maximin’s music engages the listener in considerations of space and textures. Working out of her personal studio in Paris, she has gradually developed a hyperpersonal style, creating sensual, hypnotic, sultry pieces with immediate impact. The electroacoustic composer's repertoire is marked by encounters that have inspired her writing in various degrees. She studied under the musique concrète composer Denis Dufour (a member of the famous GRM and a pupil of Pierre Schaeffer) and then came to the attention of John Zorn who released her debut album, Tant Que Les Heures Passent on Tzadik (2008). Taking inspiration from the New York improv scene and her European tour in solo and in duo with the likes of Fred Frith, Fennesz or Rhys Chatham, her work then developed towards live practice, her playing with laptops and midi controllers delivering what she likes to call her digital chimeras. This work led her to compose No One Is An Island (Sub Rosa, 2012), the second and only collaborative album so far, and the confirmation of the respect Bérangère had started to get from established artists. The minimal series Infinitesimal (Sub Rosa, 2013) describes a slow transformation, a deep introspection far removed from the convention of the genre, very special imaginary areas where only matters the physicality of the moment. Dangerous Orbits out since May 2015 is her first album for Crammed Discs' Made To Measure series.
“A menacing silvery growl runs through this record, where dysfunctional spaceships meet the memories of Solaris... a muffled dubby pulse ungrounds and untethers... Maximin's cinematic soundworks are discomforting reminders that the universe does not at all belong to us” – The WIRE, May 2015.