The XKTdra experience is unique in several ways, and what catches your attention even before hearing the music is the arrangement of the musicians and the listeners.
The two harps are placed in the center rather than facing the audience; there is not necessarily a stage, and the audience can surround them. The listener is immersed in the works rather than a spectator of their execution.
Among these two harps, one is acoustic, while the other is electronic and expresses itself through speakers distributed around. Thus, wherever one sits to listen, the music emanates from all sides, mobile, surprising, or complicit.
Unfortunately, this experience cannot be reproduced when listening online, so the available excerpts here are remixed in stereo.
XKTdra explores the idea of what the great composers of the past would have created if they had access to modern instruments, and were influenced by our contemporary culture.
XKTdra humbly attempts to answer these intriguing questions, guided by the inspiration and infinite wonder it evokes.
However, we stray away from the neoclassical style or classical adaptations on a synthesizer.
XKTdra charts its own path and ventures into vast unexplored musical spaces.
All compositions are the work of Vincent Michel.
Working with wood and working with sound share many similarities. Both require in-depth theoretical knowledge, precise observation, skill, experience, as well as appropriate and well-sharpened tools.
Just as one can work with wood to create furniture, gadgets, works of art, and even musical instruments, sound can also be manipulated to enhance the ergonomics or accessibility of a system, to enrich a relaxation space, a garden, a game, or even to fully integrate it with the music.
For example, an organ builder who harmonizes a set of pipes engages in sound design.
Similarly, just as a cabinetmaker takes great care to leave no protruding splinters and meticulously polishes their joints, XKTdra equalizes and masters their pieces before presenting them to the public.