Florence Cats
Ys
Boomkat Product Review:
Exquisite, poetic experiments with post-classical forms by Belgian pianist, painter and sound artist Florence Cats, who quietly mesmerises with her transitions from solo keys to field recordings and duets with nature-bathed sounds. RIYL Debussy, Charles Ives, Anne Guthrie, Francis Poulenc
A subtly engaging maiden work by the Brussels-based multi-hyphenate, ‘Ys’ is Florence’s interpretation of Debussy’s ‘La Cathédrale Engloutie’ (or ‘The Sunken Cathedral’), that incorporates sounds from near her home, where the city meets the Sonian Forest, and acts as an ideal introduction to her inner world. Her rendition of ’Sunken Cathedral’ is purposefully slower and rawer than one might hear it played in a concert hall, and imbued with a character that seeps out across its nearly doubled length.
The label compare the intimacy and discreet execution of Florence’s performance with the quality of Charles Ives’ fabled home recordings on aluminium phonograph discs known as Speak-O-hone, and while nobody could quite confirm that, it certainly shares an evocatively atmospheric quality with Ives’ lowkey breathtaking proto-ambient piece ‘Central Park in the Dark’ (1906), for example, with her canny use of pedal to shape the spare notes and the inherent feel of her room recording recalling the almost fly-on-wall feel to Dominique Lawalreé works.
Florence’s B-side works locates enigma via a whole other strategy of field recording and electro-acoustic composition. ‘Fall Call’ was captured during her residency at QO2 in Brussels and features her theremin softly, then more powerfully, rippling across the sound stage against backdrop of a storm dying out. With the instruments control pushed high, it reacts to her feintest proximal gestures, resembling the subsonic rumble of distant cars of even NWW’s ‘Soliloquy for Lilith’ at times, before Drop Ot’ step out of the box into the Sonian Forest, and were privy to her almost subvocalised thoughts singing with the birds in disarmingly beautiful, simple but effective manner that dogs the sense like Anne Guthrie recordings
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Boomkat Product Review:
Exquisite, poetic experiments with post-classical forms by Belgian pianist, painter and sound artist Florence Cats, who quietly mesmerises with her transitions from solo keys to field recordings and duets with nature-bathed sounds. RIYL Debussy, Charles Ives, Anne Guthrie, Francis Poulenc
A subtly engaging maiden work by the Brussels-based multi-hyphenate, ‘Ys’ is Florence’s interpretation of Debussy’s ‘La Cathédrale Engloutie’ (or ‘The Sunken Cathedral’), that incorporates sounds from near her home, where the city meets the Sonian Forest, and acts as an ideal introduction to her inner world. Her rendition of ’Sunken Cathedral’ is purposefully slower and rawer than one might hear it played in a concert hall, and imbued with a character that seeps out across its nearly doubled length.
The label compare the intimacy and discreet execution of Florence’s performance with the quality of Charles Ives’ fabled home recordings on aluminium phonograph discs known as Speak-O-hone, and while nobody could quite confirm that, it certainly shares an evocatively atmospheric quality with Ives’ lowkey breathtaking proto-ambient piece ‘Central Park in the Dark’ (1906), for example, with her canny use of pedal to shape the spare notes and the inherent feel of her room recording recalling the almost fly-on-wall feel to Dominique Lawalreé works.
Florence’s B-side works locates enigma via a whole other strategy of field recording and electro-acoustic composition. ‘Fall Call’ was captured during her residency at QO2 in Brussels and features her theremin softly, then more powerfully, rippling across the sound stage against backdrop of a storm dying out. With the instruments control pushed high, it reacts to her feintest proximal gestures, resembling the subsonic rumble of distant cars of even NWW’s ‘Soliloquy for Lilith’ at times, before Drop Ot’ step out of the box into the Sonian Forest, and were privy to her almost subvocalised thoughts singing with the birds in disarmingly beautiful, simple but effective manner that dogs the sense like Anne Guthrie recordings
Boomkat Product Review:
Exquisite, poetic experiments with post-classical forms by Belgian pianist, painter and sound artist Florence Cats, who quietly mesmerises with her transitions from solo keys to field recordings and duets with nature-bathed sounds. RIYL Debussy, Charles Ives, Anne Guthrie, Francis Poulenc
A subtly engaging maiden work by the Brussels-based multi-hyphenate, ‘Ys’ is Florence’s interpretation of Debussy’s ‘La Cathédrale Engloutie’ (or ‘The Sunken Cathedral’), that incorporates sounds from near her home, where the city meets the Sonian Forest, and acts as an ideal introduction to her inner world. Her rendition of ’Sunken Cathedral’ is purposefully slower and rawer than one might hear it played in a concert hall, and imbued with a character that seeps out across its nearly doubled length.
The label compare the intimacy and discreet execution of Florence’s performance with the quality of Charles Ives’ fabled home recordings on aluminium phonograph discs known as Speak-O-hone, and while nobody could quite confirm that, it certainly shares an evocatively atmospheric quality with Ives’ lowkey breathtaking proto-ambient piece ‘Central Park in the Dark’ (1906), for example, with her canny use of pedal to shape the spare notes and the inherent feel of her room recording recalling the almost fly-on-wall feel to Dominique Lawalreé works.
Florence’s B-side works locates enigma via a whole other strategy of field recording and electro-acoustic composition. ‘Fall Call’ was captured during her residency at QO2 in Brussels and features her theremin softly, then more powerfully, rippling across the sound stage against backdrop of a storm dying out. With the instruments control pushed high, it reacts to her feintest proximal gestures, resembling the subsonic rumble of distant cars of even NWW’s ‘Soliloquy for Lilith’ at times, before Drop Ot’ step out of the box into the Sonian Forest, and were privy to her almost subvocalised thoughts singing with the birds in disarmingly beautiful, simple but effective manner that dogs the sense like Anne Guthrie recordings
Boomkat Product Review:
Exquisite, poetic experiments with post-classical forms by Belgian pianist, painter and sound artist Florence Cats, who quietly mesmerises with her transitions from solo keys to field recordings and duets with nature-bathed sounds. RIYL Debussy, Charles Ives, Anne Guthrie, Francis Poulenc
A subtly engaging maiden work by the Brussels-based multi-hyphenate, ‘Ys’ is Florence’s interpretation of Debussy’s ‘La Cathédrale Engloutie’ (or ‘The Sunken Cathedral’), that incorporates sounds from near her home, where the city meets the Sonian Forest, and acts as an ideal introduction to her inner world. Her rendition of ’Sunken Cathedral’ is purposefully slower and rawer than one might hear it played in a concert hall, and imbued with a character that seeps out across its nearly doubled length.
The label compare the intimacy and discreet execution of Florence’s performance with the quality of Charles Ives’ fabled home recordings on aluminium phonograph discs known as Speak-O-hone, and while nobody could quite confirm that, it certainly shares an evocatively atmospheric quality with Ives’ lowkey breathtaking proto-ambient piece ‘Central Park in the Dark’ (1906), for example, with her canny use of pedal to shape the spare notes and the inherent feel of her room recording recalling the almost fly-on-wall feel to Dominique Lawalreé works.
Florence’s B-side works locates enigma via a whole other strategy of field recording and electro-acoustic composition. ‘Fall Call’ was captured during her residency at QO2 in Brussels and features her theremin softly, then more powerfully, rippling across the sound stage against backdrop of a storm dying out. With the instruments control pushed high, it reacts to her feintest proximal gestures, resembling the subsonic rumble of distant cars of even NWW’s ‘Soliloquy for Lilith’ at times, before Drop Ot’ step out of the box into the Sonian Forest, and were privy to her almost subvocalised thoughts singing with the birds in disarmingly beautiful, simple but effective manner that dogs the sense like Anne Guthrie recordings
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