Musée d'art contemporain de Montréal (MAC) 04/06/2016
WHO: Formerly Paris-based, now living in Spain, composer and musician Cécile Schott
STYLE: Emotionally textured instrumental compositions, ambient melodies laced with percussion and techno rhythms, modern electro chamber folk music to move to
LATEST: Captain of None (2015)
LABELS: Thrill Jockey, The Leaf Label
MORE: an online skateboarding video made "Geometría del Universo" her most popular track
MUTEKs: Montréal: 2007
Colleen’s experimental compositions fall into an undefined category between electronic, classical “new music” and folk – she layers and loops acoustic instruments, her voice and samples, through processors and effects, holding her own on drums, music boxes, clarinet, melodica, guitar and her electro-acoustic viola da gamba. That baroque instrument is at the heart of her new Captain of None album, its resonant notes looped and altered, built into a chorus alongside drums and vocals.
Recording as Colleen since 2003, Schott began with sample-based music and progressed to an acoustic compositional approach with electronic processing. Influenced by experimental classical and electronic artists and by pop music, jazz, gamelan and dub reggae, Schott has yet to collaborate, working alone on her intricately rhythmic compositions. After releasing three critically hailed albums and a EP, she encountered a period of musical blankness. Six years went by before she finished writing and recording the beautifully contemplative songs on The Weighing of the Heart, using her own voice for the first time and delving deeper into percussion.
After living in Paris for much of her adult life, Schott moved away from its constant distractions in 2010 to San Sebastián on the Spanish coast. Like Colleen’s newest music, her Basque country life melds urban urgency with serenity and poetic acumen. Nine years after her celebrated Canadian debut opening for Hauschka at MUTEK, Colleen returns with innovative instrumentation and new ways of playing live.
Ex-Centris 31/05/2007[CANADIAN DEBUT]Over the course of three albums, one Mort aux Vaches radio session, and one EP, French ambient artist Colleen (aka Cecile Schott) has steadily moved away from sampling classical compositions to playing the antiquated instruments once popular with 19th-century Parisian concertgoers herself. Whether it's the viola da gamba (a 7-string ancestor of the cello), the spinet (a variation of the harpsichord), the clarinet, crystal glasses, the guitar, or simply a sample, Colleen's creations have always used the lush, mesmeric qualities of a bygone era to evoke the atmospheric gloom of the ethereal music she makes today. From her career-highlight 2005 album The Golden Morning Breaks to her latest offering, the just-released Les ondes silencieuses, Colleen's eerie temperament (not without its Gothic touches) and multi-instrumentalist's range have garnered her dreamlike music an international reputation. Her recordings are highly regarded for their delicacy and their emotional texture. Likewise her live shows, featuring instrumentation over a century old, are heralded for their eclecticism, curiousity and above all for their beauty.