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Juniper Fuse - Matt Choboter

Juniper Fuse

Juniper fuse is inspired by pre-historic cave wall imagery found in the Dordogne valley of Southwestern France. A vital connection point into early human imagination and creativity, caves embody and symbolize psychic wombs that reach back in time and explore the archetypal subconscious. Regarding planet-wide human mental health, poet, Clayton Eshleman reminds us of the need for our “deep mind” or subconscious mind. “For it is in the deep mind that wilderness and the unconsciousness become one, and in some half- understood but very profound way, our relation to the outer ecologies seems conditioned by our inner ecologies.”

Lotte Anker | soprano saxophone
Simon Toldam | microtonal prepared piano
Matt Choboter | microtonal prepared piano
Matias Seibæk | microtonal vibraphone, gran casa, oil can, taiko drums
Peter Bruun | percussion

Juniper Fuse

Juniper fuse is inspired by pre-historic cave wall imagery found in the Dordogne valley of Southwestern France. A vital connection point into early human imagination and creativity, caves embody and symbolize psychic wombs that reach back in time and explore the archetypal subconscious. Regarding planet-wide human mental health, poet, Clayton Eshleman reminds us of the need for our “deep mind” or subconscious mind. “For it is in the deep mind that wilderness and the unconsciousness become one, and in some half- understood but very profound way, our relation to the outer ecologies seems conditioned by our inner ecologies.”

Lotte Anker | soprano saxophone
Simon Toldam | microtonal prepared piano
Matt Choboter | microtonal prepared piano
Matias Seibæk | microtonal vibraphone, gran casa, oil can, taiko drums
Peter Bruun | percussion

In the spirit of cave-art, Juniper fuse explores a labyrinth of percussion that includes microtonal vibraphone and my creation, the microtonal prepared piano. Juniper Fuse collaborates with my grandfather and painter, Don Choboter. His work is projected into the performance space – onto the walls and floors – to evoke cave-like environments.

From a broader perspective the project stems from my curiosity to move beyond the fixed pitches of western tuning and into unbounded soundscapes. I ask questions like: why should western ears continue to be so accustomed to only one tuning system? In contrast, can “pure sounds” meet ethnically diverse microtonal tuning constellations? Can magnets and metallic preparations placed inside the piano evoke timbral affects from Balinese Gamelan or Indian classical? And how can this instrument merge with spatialization to create embodied experiences for audiences?

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