Fake Electronics's lush minimalism and handmade circuitry pairs with Line Katcho's prismatic electroacoustic compositions to deliver a glitchy technoid palette awash in house melodies, tempered distortion and underlying layers of drone and crackling electricity.
Born of Morrison’s unadulterated love for analog and the tinkerings and textures of modular synths and other customized electronics, Fake Electronics deals in delicate rhythms and abstracted melody and atmosphere. Morrison has become something of a fixture in Montréal's underground electronic scene, also performing as his long running funked out techno project ana+one and as one half of the stompy, quirky tech house duo Yes Ma’am with fellow Hushlamb collective artist Alicia Hush. He recently contributed a 12-minute deep techno odyssey to a compilation on German techno label Klangscheiben and regularly joins modular system showcases at festivals and events in Montréal, Berlin and worldwide. Line Katcho's artistry spans minimalist acousmatic compositions, audiovisual creations (including mind-altering visuals under her VJ moniker La Hyèna) and film music, often approaching sound as kinetic matter. Her forceful sonics in motion whop a punch while feeding back synergistically into kaleidoscopic visuals. Katcho was the artistic director of Soundwich concerts, bringing together emerging electroacoustic artists in Montréal, and recently completed a degree in electroacoustic composition at the Conservatoire de musique de Montréal. She's presented her work internationally at festivals such as Sonorities and Elektramusic, and earned first prize in the 2014 electroacoustic contest Jeux de Temps/Times Play.
In their modular synthesis and audiovisual performance at MUTEK, Morrison and Katcho mine the possibilities and limitations of the live music environment, from musical and visual improvisation to audience receptiveness, and tap into the surrounding emotional and kinetic energy of the city.