Stage director Aïda Gabriels invites Ictus ensemble, one dancer and composer-organist Maria W Horn for a long performance in which the audience is immersed in a flow of sound, visual art, light, and movement. The slowness, the ritualization of the concert, and the gradual invasion of the entire sound space by an atypical quintet (string trio, trombone and analog synthesizers) create what Maria W Horn calls “aural monoliths”. In a similar way, to Aïda Gabriels music only reveals its deepest impact when it is considered as an art in space rather than an art in time. From that point on, anything can happen. Slowness does not mean beatitude. The exploration of the grain of sound is not the harmony of the spheres. Danger lurks. The soundscape gradually reveals its cracks, its crumbling, its layered structure, and its seminally seismic nature: once we pass certain thresholds, we enter a zone of high turbulence.

Aïda Gabriels:
"... a performance that draws the audience into a continuous flow of sound, light, movement, and spatial tension. Here, sound behaves like matter under pressure, seismic, shifting, alive."

Klaas Coulembier, "De Toonbank" for Concertgebouw Brugge
“SEISMIC shifts the way we look at the world. It lets go of the traditions and rituals of the concert format, searching for a new way of engaging with music. This is not a concert, but a total environment where scenography, choreography, and music form a unified whole. As a spectator, you leave the safe anonymity of the concert hall seat behind. You become part of the space and decide where and how to connect with the soundscape, which is constantly in motion.”