Matmos return to Berlin this June for a special live performance at Arkaoda in Neukölln.
Currently based in Baltimore, Matmos formed in San Francisco in the mid 1990s, and self-released their debut album in 1997. Marrying the conceptual tactics and noisy textures of object-based musique concrete to a rhythmic matrix rooted in electronic pop music, the two quickly became known for their highly unusual sound sources: amplified crayfish nerve tissue, the pages of bibles turning, water hitting copper plates, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, rat cages, tanks of helium, a cow uterus, human skulls, snails, cigarettes, cards shuffling, laser eye surgery, whoopee cushions, balloons, latex fetish clothing, rhinestones, Polish trains, insects, life support systems, inflatable blankets, rock salt, solid gold coins, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal.
Since their debut, Matmos have released over eight albums, including: Quasi-Objects (1998), The West (1998), A Chance to Cut Is A Chance to Cure (2001), The Civil War (2003) and The Rose Has Teeth in the Mouth of A Beast (2006) and Supreme Balloon (2008). In 2001 they were asked to collaborate with the Icelandic singer Bjork on her “Vespertine” album, and subsequently embarked on two world tours as part of her band. In addition to musical collaborations with Antony, So Percussion, David Tibet, the Rachel’s, Lesser, Wobbly, Zeena Parkins, and the Princeton Laptop Orchestra, Matmos have also collaborated with a wide range of artists across disciplines, from the visual artist Daria Martin (on the soundtrack to her film “Minotaur”) to the playwright Young Jean Lee (for her play “The Appeal”) to Berlin-based choreographer Ayman Harper. Most recently, they have been part of the ensemble for the Robert Wilson production “The Life and Death of Marina Abramovic”, featuring Marina Abramovic, Antony and Willem Dafoe.
Max Eilbacher works with sound. That work materializes in a variety of forms: compositions, musical performances, conceptual systems, perceptual choreography, installations, and theoretical sculpture. No matter how the final work may be categorized or materializes, the art typically utilizes speakers and sound waves. A frequent concern throughout the works is an inquiry into the inextricable and complex relationship between sound and experience. With each incident of sound, a phenomenological abyss must be traversed. He is aware that with his compositions, the listener is the agent taking such a leap and therefore centers his compositions (or whatever may be emanating from a speaker) around the practical enactment of such a leap.
Matmos & Max Eilbacher LIVE
Sunday, 12th June 2022 | Starts 19:30 CET
Arkaoda | Karl-Marx Platz 16 | 12043 Berlin-Neukölln