W Horn’s sound poetry is made of crackle, soft fire, and dense smoke. An antithesis to the hyper-speed of an age that seems long removed from itself. This anthropological, sonic, and almost metaphysical search leads her to other unusual realities, deposited in the subsoil of the visible. Member of the collective Sthlm Drone Society and participant in a handful of festivals throughout Europe, the Swedish artist stands out as one of the most insular creators of the moment. The raw telluric force, entangled with electric cables and shards of an abandoned construction site, freely illustrated the electo-acoustic narrative Kontrapoetik. A piece that swallowed occultism, folk mythology and classical composition, generating an old new world.
Epistasis appeared months later and was a step into the light. The color of the piano and the roughness of the strings were elements used for an orchestral approach in constant flux by processed field recordings, echoes of lost melodies and suspended metallic shadows. In the same year of 2019 Horn also composed the piece around the Greek tragedy Fedra/Hippolytus, presented at the Royal Dramatic Theatre in Stockholm; and also marked her presence at the Madeira Dig festival alongside Keiji Haino, Nivek or Kali Malone.
Absolute guarantee of catharsis and minimalist emersion are part of the scenario to expect on this visit to Lisbon. NA