Voetvolk
Bring It To Our Senses

42,00

only 2 left

about the record

Bring It to Our Senses contains all music scores originally written by Maarten Van Cauwenberghe for a trilogy of dance performances by Lisbeth Gruwez: It’s going to get worse and worse and worse, my friend (2012), AH/HA (2014) and We’re pretty fuckin’ far from okay (2016). All three performances and their corresponding sound designs focus on the concrete bodily effects and galvanising nature of social phenomena.

The ecstatic and trance-like body that Lisbeth Gruwez has examined both as a dancer and as choreographer is in an eternal in-between state: it hovers between subject and object, between total loss and complete control. This fluid in-between state is also the foundation and driving force of Maarten Van Cauwenberghe’s soundscapes, delicately creating recognition as well as alienation, suspense as well as restfulness - not uncommonly at the very same time.

  1. 1 - Miss Speech 13:44
  2. 2 - Despair 7:38
  3. 3 - Grünewald 3:13
  4. 4 - The Dictator 8:22
  5. 5 - Panic Love 4:21
  6. 6 - Lay Down The Puddle 4:36
  7. 7 - Chairs 18:36
  8. 8 - Laughterwave 3:56
  9. 9 - Pressure 7:58
  10. 10 - Come to My Senses 10:33
  11. 11 - Barking Scene 1:29

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Voetvolk
Bring It To Our Senses

42,00

only 2 left

  1. 1 - Miss Speech 13:44
  2. 2 - Despair 7:38
  3. 3 - Grünewald 3:13
  4. 4 - The Dictator 8:22
  5. 5 - Panic Love 4:21
  6. 6 - Lay Down The Puddle 4:36
  7. 7 - Chairs 18:36
  8. 8 - Laughterwave 3:56
  9. 9 - Pressure 7:58
  10. 10 - Come to My Senses 10:33
  11. 11 - Barking Scene 1:29

Embed

Copy and paste this code to your site to embed.

about the record

Bring It to Our Senses contains all music scores originally written by Maarten Van Cauwenberghe for a trilogy of dance performances by Lisbeth Gruwez: It’s going to get worse and worse and worse, my friend (2012), AH/HA (2014) and We’re pretty fuckin’ far from okay (2016). All three performances and their corresponding sound designs focus on the concrete bodily effects and galvanising nature of social phenomena.

The ecstatic and trance-like body that Lisbeth Gruwez has examined both as a dancer and as choreographer is in an eternal in-between state: it hovers between subject and object, between total loss and complete control. This fluid in-between state is also the foundation and driving force of Maarten Van Cauwenberghe’s soundscapes, delicately creating recognition as well as alienation, suspense as well as restfulness - not uncommonly at the very same time.

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