New Sounds (New York Public Radio) presents Electric Nights with
vōx, TICKETS AVAILABLE AT THE DOOR
215 Chrystie Street
New York, NY, 10002
Doors 7:00 PM / Show 8:00 PM (event ends at 11:00 PM)
This event is 21 and over
Icelandic composer and producer Valgeir Sigurðsson is an inspired, industrious maker of a spectacular northern music, a fiendish, visceral folk music, and in this solo electronic set will be premiering new music fresh on the heels of last year's success Dissonance. Sigurðsson's music brings together post-minimalism with an experimental post-punk sensibility, demonstrates a fascination with glitch and improvisation, a deep appreciation for acoustic classical music and for the sonic potential of electronics, and an unabashed love for the beauty and brains of weird pop.
As the editorial and curatorial edge of the Bedroom Community label he founded in 2006, his work with the likes of Nico Muhly, Ben Frost, Paul Corley, Sam Amidon and Daníel Bjarnason features a constantly evolving appreciation of the diversity of music in the world. His three solo works, Ekvílibríum (2007) Draumalandið (2010) and Architecture of Loss (2013) were followed by the intensely reflective album Dissonance in 2017.
Elsewhere, with an enterprising understanding of where forward looking, genre liquefying modern music is moving, his collaborations have included Björk, Bonnie ‘Prince’ Billy, Feist, Damon Albarn, CocoRosie, Sigur Rós, Jóhann Jóhannsson, Brian Eno, Tim Hecker, Anohni, Oneohtrix Point Never and Alarm Will Sound. This series of prolific personal and professional connections with others has helped him conceive an intelligent, private modern way of producing music that elegantly compresses centuries of patient technique and refinement plus decades of innovative electronic experimentation and post-pop progress into one place.
As adept at working in electronic and studio settings, and generating evocative soundtracks for film or composing orchestral and chamber pieces, his work for theatre, dance and installations demonstrates how Sigurðsson thinks like a painter and sculptor as much as sound artist and musician.