Victoria Shen (A.K.A. Evicshen) / Henrik Munkeby Nørstebø / Audrey Chen
Eroteme comes out of its hibernation period to celebrate Cambodian New Year ចូលឆ្នាំថ្មី with a night of ecstatic noise & food.
Uncompromising & idiosyncratic solo performances from DIY-instrument builder Victoria Shen (a.k.a. Evicshen), dystopian amplified trombone of Henrik Munkeby Nørstebø & the visceral improvised vocalizing of Audrey Chen.
Food and Drinks will be provided by the good folks at The Mekong Cat
Victoria Shen is a sound artist, experimental music performer, and instrument-maker based in San Francisco.
Shen’s sound practice is concerned with the spatiality/physicality of sound and its relationship to the human body. Her music features analog modular synthesizers, vinyl/resin records, and self-built electronics. Eschewing conventions in harmony and rhythm in favor of extreme textures and gestural tones, Shen uses what she calls “chaotic sound” to oppose signal and information, eluding traditionally embedded meaning.
Her personal identity; her body; is the space her work utilizes to restructure sonic meaning. In her live performances, she proposes an exploration between meaning and non-meaning through the physical activation of noise tropes. Her probing into these melodic voids interrogate the ways we perceive value within aural experiences. The appendage-like instruments and objects she makes, exemplify Shen’s ability to embody through sound her interest in the tension created by opposition: control and chaos, the unique and the mass produced, the practical and the absurd.
Henrik Munkeby Nørstebø is a trombonist and sound artist based in Berlin and Trondheim, focusing on live performance as well as a wide range of compositional and cross disciplinary projects. His current solo setup consists of heavily amplified trombone, analogue electronics and occasional field recordings, and undulates between claustrophobic tension and moments of ecstatic release. Breath is at the core of the project, and Nørstebø is utilizing an air compressor-like use of lungs, nuanced microphone technique and gain adjustments in order to unearth the intense physicality of the inherent low volume sound material.
Using the cello, voice and occasional analog electronics, Audrey Chen’s work delves deeply into her own version of narrative and non-linear storytelling. A large component of her music is improvised, is completely un-processed and her approach to this is extremely personal and visceral. Her playing explores the combination and layering of an analog synthesizer, preparations and traditional and extended techniques in both the voice and cello. She works to join these elements into a singular ecstatic personal language.
