Step into a night of voices, drones and living folk memory with two French projects reshaping traditional sound from the inside out. From the abundant, moving Occitan orchestra of Nuées to Elizabeth Vogler’s intimate ritual of interwoven voices, shruti box, glitches and electroacoustic fragments.


Date: 18.09.29
Doors: 20:00
Show: 20:30
Price: 130 dkr + fee
Venue: LiteraturHaus, Møllegade 7, 2200 København


Nuées
Nuées is the 2026 creation from Collectif La Crue, bringing together seven musicians in a large, shifting ensemble of strings, voices, flute, bagpipes, double bass and live sound processing. Built around tailor-made pieces by female composers, the project grows out of Occitan traditional music, but moves away from preservation and into something more unstable, contemporary and emotionally charged.

The ensemble works with the material of village dances, popular song, drones and oral tradition, transforming it into a wide, living triptych. Across pieces such as “Mieux que Dames”, “Lo monde com’un pan” and “La Solença”, Nuées moves between rigodon-inspired dance forms, vocal and electronic textures, storytelling in French and Occitan, and the dense collective sound of an extended string orchestra.

At the centre of the music is a tension between collapse and beauty, despair and faith. The musicians draw on the traces of a world that seems to be vanishing, while insisting on the power of shared sound, bodies, voices and communal memory. On stage, Nuées becomes both orchestra and gathering: rooted, free, powerful and full of motion.


Elizabeth Vogler
Elizabeth Vogler creates electroacoustic music centered around voice and drones. Her pieces combine voice, choir-like layers, drones, electronic movements, field recordings and patchworks of sound into a textured, organic whole, somewhere between imagined traditional song and unstable electronic ritual.

Her live performances are shaped by improvisation, using electronics, voice and the deep drone of the shruti box to move away from fixed composition and into something more immediate. Sounds are collected, transformed, decomposed and rebuilt; the voice becomes a way of carrying fragments of memory, sensation and place.

Having studied musicology, electroacoustic composition and polyphonic singing, Vogler draws from Bulgarian vocal techniques, Occitan traditions from Béarn, and an ethereal pop sensibility. Her music does not treat tradition as a closed language, but as a source of texture, breath and feeling. The result is delicate and stormy at once: interwoven voices, throbbing glitches, acoustic resonance and a trance of echoes.