Mary Ocher was born on November 10, 1986 in Moscow, Russia. Fate brought her to Tel Aviv at the tender age of 4 and to Berlin at age 20. She has been playing with various media, be it words, sound, color or movement since mastering the craft of songwriting at the age of 11.
Disillusioned by the mainstream music industry, she set her mind on accomplishing everything DIY. With her first band, Mary and The Baby Cheeses, that notion led to releasing 5 limited edition independent releases.
httpv://https://youtu.be/Pw9LZIZjwsc
The band toured all over Europe, in the underground circles, but that wasn’t enough for young Ocher, she wanted to see blood! “War Songs” was the first label release, it came out on the Berlin based label Haute Areal on March 11th 2011, then followed a 7” EP.
Other than being a musician, Mary Ocher creates film, visual art, documentaries, music videos, art installations and poetry. She has become an integral part of the upcoming international Berlin cream and has recently joined the international art collective Autodiktat.
httpv://https://youtu.be/Q16QkD3Qwmg
In 2011, she was discovered by King Khan at a karaoke Bar in Berlin. He immediately invited her to record at his legendary Moon Studios. It took over a year to finish the album, but it was finally released on Hamburg’s Buback Records in 2013.
Mary Ocher continues to bewilder audiences with her performances and out-of-this-world voice. She currently resides in Berlin and has no plans at all …
httpv://https://youtu.be/g6uocemOBVc
Today, we seem to have two branches in the school of experimental pop. One branch privileges object-hood, richness of surface, and mass-hallucinatory quotation. The other (much less celebrated) branch seeks to recapture authenticity in the form of a highly personal hallucination of music history.
Lucrecia Dalt follows the latter branch as far as it seems to go. She leaps into a surrealist landscape with stunning abandon, eschewing the comparatively safe tropes and song structures of her previous work. And she charts a surprisingly inventive and rewarding territory in the process.
httpv://https://youtu.be/mXUuAf1tFgw
Much as it is with her newfound contemporaries at Human Ear Music Berlin, for Dalt, solitude and assemblage (of sound, genre, musicology, technique) is an exploratory zone steered toward the inner universe. To follow the music, one must be prepared to make this trip as real as sound itself.
Themes of agitation and disturbance, cumulative, impending and scalable, propel Commotus, and create a framework for understanding its emotional spectra. The music lives in the contradiction between having time to reflect on the inevitable, and the irrevocability of its outcome.
httpv://https://youtu.be/yklUvxLAtsc
The majority of sounds exist in a nether-world between evocation and pure abstraction. This is rife terrain for self-expression, and dramatic tension, with a result made all the more poignant because she’s playing alone.
In Commotus, you can hear every sound event becoming the curled-up dimensions of a richly personal experience.
Mary Ocher & Lucrecia Dalt
Saturday, 27th September 2014 | 21:00 CET
Roter Salon in der Volksbühne | Rosa-Luxemburg-Platz | 10178 Berlin/Mitte
maryocher.com | lucreciadalt.tumblr.com | volksbuehne-berlin.de
