Sunday 27 February 2022, 2pm
Please note, this show has been rescheduled from the original date of 11 February.
Hailing from distant Shiretoko in Hokkaido, Hatis Noit now resides in London. The Japanese vocal performer’s accomplished range is astonishingly self-taught, inspired by Gagaku and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop. From a young age she’s been aware of the visceral power of the human voice; a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.
The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side; the past, a memory, our subconscious.
Her arresting first EP Illogical Dance is out on Erased Tapes, creating unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature’s own ambience.
Graduate in Electroacoustic Composition, violinist Agathe Max, besides her collaborations with KURO, Mésange, Papivores… works on different projects including music and sound design for documentaries, animated movies, short movies, theater, contemporary dance and art exhibitions/sound installations. After training in classical music for 1O years, she graduated at the Bourgoin-Jallieu School of Music, France, in 1995. Later on, she was exposed to improvised music and to the experimental scene. Inspired by a world both enchanting and draped in darkness, she has developed a wide range of sound textures, unique and melodious, creating unconventional and magnetic musical pieces reflecting a personality in constant search of rareness in music.
“Agathe Max delivers a drone to keep the earth turning on its axis, with a keen and romantic sense of swing. Everything you need to have a good time” – Jonathan Kane.
