Camille Norment Trio



4 de Juny | 20.00 h. | Centre del Carme | Sala Dormitori 
Comissariat per Edu Comelles

 Camille Norment Trio 

Camille Norment és una de les artistes sonores més destacades del panorama europeu. L'any passat va ser l'encarregada de dissenyar el pavelló noruec de la Biennal de Venècia amb una instal·lació sonora i visual que va fer la volta al món. En ella, Norment diluïa les fronteres entre espai expositiu, auditori, instal·lació i performance, una obra complexa, poètica y d'una bellesa inusitada que va captivar a la crítica internacional.
Amb aquesta carta de presentació, Norment portarà el seu trio d'improvisació lliure a partir de guitarres elèctriques (Håvard Skaset), violí (Vegar Vårdal) i l'instrument més singular de tot el festival: la glass-harmònica un instrument de vidre inventat al Segle XVI i que Norment reinterpreta en clau contemporània. Sens dubte una singularitat única en el panorama europeu i un magnífic colofó a la secció d'Art Sonor i Músiques Experimentals d'aquest any a Ensems.


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Camille Norment Trio

Music is a force that takes great hold on the body. It is a language that preceded spoken language, and sits so deeply within the mind and the body that throughout the course of human history, many have sought to control its creation and consumption as a means of social control.
The Camille Norment Trio is comprised of the Vegar Vårdal on the Norwegian Hardanger fiddle (hardingfele), Håvard Skaset on electric guitar, and Camille Norment herself playing the rare glass armonica. Simultaneous to being celebrated, each of these instruments was once banned in fear of the psychological, social, or sexual power their sound was thought to have over the body, and the challenge they represented to social control. The visceral atmospheres the ensemble produces resonate through a tantalizing union of the instruments’ voices and their paradoxical cultural histories.
This unique trio of voices investigates the visceral qualities of resonance, noise, and overtone, creating music that enacts and deconstructs cultural and historical positions relevant to each of the instruments. Their performance is an organic movement between the composed and the improvised, creating a dynamic soundscape that defies a fixed genre reference. Their mysterious sonic environoments hover at the meeting points of folk, rock, classical, experimental music, and more.
The trio’s music levels beauty with noise, and the consonant with the dissonant, as it embraces scratches, squeels, feedback, and taunting microtones as equals to the purest of tones. It becomes like a slipstream of warping time and abrasive textures, often forming earworms and wooing songs. Simple melodic phrases reference one another forming of a memory that is at once psychological and somatic. It cycles the listener through lulling and abrasive textures inspired in part by the instruments’ relationships to ideas of magic and the uncanny, hypnosis and trance, and noise as a psychological atmosphere.
The sonic worlds they create resonate through a tantalizing union of the instrument's voices and their often paradoxical cultural histories.
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