Photo by Laura Gianetti.
I wrote a profile of minimalist composer, philosopher and blues musician Catherine Christer Hennix for The Wire last year to coincide with the release of her masterwork from the 1970s, The Electric Harpsichord. Hennix lives in Berlin these days, and has a band called The Chora(s)san Time-Court Mirage which played a series of shows this summer at the Grimmuseum. The band features the amazing Amelia Cuni, to my mind the foremost practitioner of Hindustani classical vocal music outside of the south Asian diaspora, and a master of the most austere of classical vocal styles, dhrupad. You can hear a twenty minute recording of Hennix et al on Soundcloud — the first time that anyone not living in Berlin has had a chance to hear these guys. The most obvious comparison of course is the Theater of Eternal Music, especially in later days when La Monte Young and Marian Zazeela were using sine waves, and were joined by folks like Jon Hassell. But Cuni doesn’t “just” sustain a drone tone, she moves between notes in the style of an alap singer. And there’s something about the way the sound pulsates, in a way that’s almost monstrous, that’s peculiar to Hennix. At times you can’t tell whether the sound is happening externally or actually inside your skull. The sound seems to surge, but the surge is, well, mathematical, not in the sense of something cold or formal, but in the sense of an iteration that extends to infinity … you can somehow feel or maybe hear the matrix of tones beyond what’s actually audible.
