Limpe Fuchs studied classical piano and violin in Munich and percussion with Hans Holzl, citing avant-garde composers such as Murray Schaefer and John Cage as her early musical influences. She prefers to call herself a percussionist in the tradition of sound-scape artists yet it is also clear that the visual aspect of her work has always been given the same attention as the acoustic. Over her forty-year career she has continued experimenting with “no formalism” improvisational sound and visual performance using handmade instruments and sound sculptures. Her engaging performances are meant to be carefully listened to, requiring attention from the audience as she moves freely in space evoking her natural sound-scapes while playing her viola woodhorn, pendulumstring, a four-meter- steel constructed lithophone, sheet metal, pieces of wood and singing in her unique ephemeral bird-like style.
Limpe Fuchs has been accredited as a seminal influence on the “Krautrock” scene of the late ‘60s and ‘70s and later became an inspiration for the experimental psychedelic underground of the late ‘70s and early ‘80s (HNAS, Nurse with Wound, etc.) and for generations after. Limpe started her career in the late sixties with Anima Musica along with her then partner, the sculptor Paul Fuchs, and in 1971 they recorded their first album called Stuermischer Himmel. The next release was an unofficial release of the three-day Ossiach Festival recorded live including performances by Weather Report and Tangerine Dream among others. It was here that they met with the organizer, the famed pianist Friedrich Gulda, who soon joined Limpe and Paul to create Anima. Subsequently the albums entitled Anima and Musik Fur Alle were both released in 1972. From 1969 till 1989 the duo continued performing, recording, touring (most notoriously on a tractor travelling at 30km/h which pulled the stage) often adding new members including their son, Zoro. She then started on her solo career and continues to perform live, also collaborating with many musicians and she has even ventured into theater performance. Most recent collaborators include flamingo Creatures, the organ player Matthias Ank, Christoph Reiserer, Julia Scholzel, Christoph Heemann, Timo van Luijk.
Pak Yan Lau (BE/HK) is part of the Brussels underground crowd. Her music spans different horizons with improvisation and sound as main focus.
Taking the extraordinary out of the ordinary and creating little sound mosaics in a minimal, poetic way, while exploring the vast spectrum of sonar possibilities is the best way to describe her path.
She is active in different projects from grooving (‘Going’) till abstract structuring (‘Lauroshilau’, ‘Duo pour 454 Chordes’) made music for dance theater, shadow theater, photographs and documentary.
Toured Europe and Japan, and shared stages with musicians such as Paolo Angeli, Lynn Cassiers, João Lobo, Nico Roig, Eric Thielemans, Chris Corsano, Yuko Oshima, Andrea Parkins, Mathieu Calleja, Lazara Rosell Albear, Mathieu Ha, Tatsuhisa Yamamoto, Norberto Lobo, Susana Santos Silva, Daysuke Takaoka, Lionel Malric, Gregoire Tirtiaux, Audrey Lauro, Mori-Shige, Giovanni Di Domenico, Manja Ristic, Peter Jacquemyn, Akira Sakata, Mette Rasmussen, Tetuzi Akiyama, Toshimaru Nakamura, Rie Nakajima and many more…
in collaboration with Q-02