ELIZABETE BALČUS [LV]
avant-garde pop / neo-psychedelia / electro-acoustic / flute loops / audio-visual performance art
Elizabete Balčus is a Latvian musician and actress who creates neo-psychedelic dream pop from surprising, collaged, genre juxtapositions that is simultaneously melodic and experimental. She works with a strong visual aesthetic that draws upon modern surrealism, contemporary fashion and geometric imagery.
Her new album “Conarium” is like a eulogy for the subconsciousness; it searches into the deepest depths. The spirit of the album is weirdly theatrical, welding together free-jazz flute improvisations, unearthly voice, electronic beats, ancient sounds, elements of chamber music and magical secret glitches. One of the instruments she plays is a synthesizer which enables her to play fruit and vegetables as instruments. Live performances engage the audience with a psychedelic and theatrical situation that is as befuddling as it is mesmerizing.
“Cocteau Twins meets Bjork. Great arrangement and gorgeous vocals (song “The Hanging Garden”)” Vehlinggo.com
art pop/experimental pop/electro-acoustic/
“Waterflower” is artist Sabine Moore’s audiovisual Art Pop project. The stage image is inspired by turn of the 19th century Art Nouveau illustrations (e.g. Mucha and Beardsley). Musically, Waterflower draws upon genres like Electronica, Experimental Pop. Her multilayered compositions are created from sampled sounds like toy beeps, running water, glass beads, gardening tools, and are then mixed with sharp and bass-heavy electronic beats, violin, ghostly piano melodies and her sublime vocals. On stage, a live potted plant is transformed into a touchsensitive synthesizer using capacitative sensor technology., also this allows the plant to also act as a real-time midi controller for the artist’s visuals. The video animations display themes such as nature, science and the interaction of the two. One could say that “Waterflower” is like a sci-fi journey to a world outside of our timeline.
“Moore assembles a multitude of sounds into unpredictable collages, and it’s not unusual to hear a piano warbling at the center of a pulsating whorl of processed rattle and thrum. Following a Popol Vuh-styled opening salvo (“Tree’s Hands”), vocals surface in “Sniegoti” to immediately alter one’s take on the Waterflower project. Moore multiplies her voice until it becomes a babbling brook of vocalese and in so doing amplifies the trippy quality of her musical world.”