{"id":7319,"date":"2017-09-08T17:23:45","date_gmt":"2017-09-08T15:23:45","guid":{"rendered":"https:\/\/mathis-nitschke.com\/?p=7319"},"modified":"2021-01-18T11:01:32","modified_gmt":"2021-01-18T10:01:32","slug":"what-will-maya-actually-sound-like","status":"publish","type":"post","link":"https:\/\/mathis-nitschke.com\/en\/what-will-maya-actually-sound-like\/","title":{"rendered":"What will MAYA actually sound like?"},"content":{"rendered":"

I call MAYA<\/a> an opera because it was born from the spirit of opera. Escaping into a parallel art world, the overpowering strategies in the music, the longing for redemption: in this I see parallels to the techno movement of the early 1990’s. In the ruins of the combined heat and power plant Munich-Aubing some of the first raves took place, long before commercialisation destroyed the original spirit of Tekkno.<\/p>\n

As such, MAYA is a reflection on techno and opera. This idea is condensed to its essence in the work of London pianist\u00a0Leon Michener aka Klavikon<\/a>. He plays techno on the prepared piano – without sequencers, without synthesizers, without samplers – and transforms himself into the machine that drives the beat forward. In this video, he gives an insight into how he does it:<\/p>\n