SOUND

When she sings, she doesn’t just sing: Marina Herlop uses her voice as an instrument and as material; she manipulates and modulates it with electronics; she fragments the sounds of her breath, transforms it into a flow of stuttering rhythms, then bridges it with broad vocal arches and the meandering sounds of a prepared piano. The Catalan producer completed her art studies quite classically at the conservatory. Everything that could be learned there she now patches together with the greatest freedom. On her third album Pripyat, she pursues the Carnatic chants of ancient South India, weaving their polyphony into electronic sounds. Boundaries between history and present, between subjectivity and technology, no longer exist.