Riga, Latvia’s Skaņu Mežs festival for experimental music will happen on October 3-4 at Hanzas Perons (16A Hanzas Street). Violinist Laura Ortman, noise music duo HARPY, and composer Ernests Vilsons have joined the line-up of the event. Tickets can currently be purchased at www.ticketservice.lv for 55 EUR.
Laura Ortman
Laura Ortman (White Mountain Apache) is a soloist musician, composer, and collaborator known for her albums, performances, and filmic and artistic soundtracks. An exquisite violinist, she also plays Apache violin, piano, electric guitar, and keyboards. Ortman has performed globally at prestigious venues like The Whitney, The Guggenheim, and Centre Pompidou. She founded the all-Native American Coast Orchestra in 2008. Ortman is a recipient of numerous fellowships and grants, including the 2025 Pioneer Works Music Residency.
https://thedustdiveflash.bandcamp.com/album/smoke-rings-shimmers-endless-blur
HARPY
HARPY is the collaboration of cult musical/performance artists Gyna Bootleg (Tinsel Teeth, Sire, Vomitatrix) and Pippi Zornoza (RECTRIX, Bonedust, Vvltvre), who have been pushing at the boundaries of the extreme music underground for a quarter of a century.
Known for their live performances, which incorporate movement and hand-built instruments, HARPY uses sound and ritual theatre as an exorcism. Using primarily sample-based compositions and voice, Harpy lends their atmospheric sonic musings and manic vocals to a multi-layered aggression that is both deeply haunted and utterly relentless.
https://harpyprovidence.bandcamp.com/album/a-sacrifice
Ernests Vilsons – “all else erased” (premiere)
Ernests Vilsons is a Latvian composer living in Rīga. He writes music for acoustic instruments and electronic means, creates sound installations and performances, and collects field recordings. He is interested in harmony, time, silence, chance, representation, and transcription.
The solo double bass piece “all else erased” consists of several sections without a fixed order. Although the internal structure of each individual section follows principles derived from research into the form of the nightingale’s song, the work’s sound world is not imitative but is closely tied to the instrument’s construction and acoustics. By focusing on the nuanced interplay of pitch, timbre, and sound-colour, the piece creates a unified field of harmonic resonance, with each section revealing a different facet of it.
The piece will be premiered by Laine Luīze Freidenberga, a new-generation double bassist specialising in classical and experimental music.
Komentarai