Katt Hernandez
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Katt Hernandez moved to Stockholm in 2010, where she rapidly began performing and recording with many local and visiting artists including Daniel Karlsson, David Stackenis, Sten Sandell, Joe Williamson, Arne ForsÌ©n, Lisa-Lotte Norelius, Joel Grip, Bure HolmbÌ_ck, Lisa UllÌ©n and several others. She co-founded the electro-acoustic group The Schematics, plays in Fredrick Ljungkvists Yun Kan 10, has been recording and composing at Stockholm's Electronic Music Studio and can regulalrly be found playing at Fylkingen, Glen Miller Cafe, Hemma Hus Kai and other venues through the F.R.I.M. organization and others. She will begin a Masters program at the Swedish Roya Academy of Music in electroacoustic composition in Fall of 2012, and works as an assistant producer at the legendary experimental arts venue Fylkingen.
Focused primarily on freely improvised music, Katt draws a firey array of electronic-like sounds and keening melodies from her unaltered, acoustic violin. She also works extensively with microtonality, drawn from a study of a mixture of sources, including traditional folk and sacred musics of the Middle East, Turkey, and Eastern Europe, variated odd-ball old Americana, and the Maneri/Sims 72 pitch system. Playing with as wide and unexpected a variety of other performers as possible is tantamount to her sonic and spiritual pursuits.
Before leaving the U.S., Katt was a 13 year veteran of the new, improvised and experimental music scenes in Boston, Philadelphia, Baltimore, and New York, both as a performer and an organizer. She has performed and recorded with a vast array of musicians, dancers, visual artists, puppeteers, film makers and performance artists such as Joe Maneri, Joe Morris, Jonathan Vincent, Alyssa Cardone, Gordon Beeferman, Joel Grip, Evan Lipson, Walter Wright, Saul Levine, John Berndt, Matt Samolis, Daniel BLacksberg, Gene Coleman, Audrey Chen, Zack Fuller, Erik Ruin, Andrew Neumann and many others in venues ranging from underground urban art spaces to festivals and series dedicated to new music to ivy league concert halls to the streets.
Focused primarily on freely improvised music, Katt draws a firey array of electronic-like sounds and keening melodies from her unaltered, acoustic violin. She also works extensively with microtonality, drawn from a study of a mixture of sources, including traditional folk and sacred musics of the Middle East, Turkey, and Eastern Europe, variated odd-ball old Americana, and the Maneri/Sims 72 pitch system. Playing with as wide and unexpected a variety of other performers as possible is tantamount to her sonic and spiritual pursuits.
Before leaving the U.S., Katt was a 13 year veteran of the new, improvised and experimental music scenes in Boston, Philadelphia, Baltimore, and New York, both as a performer and an organizer. She has performed and recorded with a vast array of musicians, dancers, visual artists, puppeteers, film makers and performance artists such as Joe Maneri, Joe Morris, Jonathan Vincent, Alyssa Cardone, Gordon Beeferman, Joel Grip, Evan Lipson, Walter Wright, Saul Levine, John Berndt, Matt Samolis, Daniel BLacksberg, Gene Coleman, Audrey Chen, Zack Fuller, Erik Ruin, Andrew Neumann and many others in venues ranging from underground urban art spaces to festivals and series dedicated to new music to ivy league concert halls to the streets.
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