F.W. Murnau’s infamously unauthorized adaptation of Bram Stoker’s Dracula stars an unforgettable Max Schreck as Count Orlok, a ghoulish vampire who lures his victims to his shadowy Transylvanian castle. Authorized or not, Murnau’s spooky masterpiece remains the definitive Dracula over a hundred years (and at least as many versions) later.
A Chicago based musician, composer, and multidisciplinary artist, Haley Fohr’s work defies easy categorisation. It has encompassed critically acclaimed albums, experimental folk, free-form improvisation, painting, audio visual installations, and large ensemble compositions.
Fohr’s voice is a powerful, seemingly supernatural instrument — a four-octave span that can span gentle melodic hooks, animalistic bleats, and elemental wails. Fohr makes use of its full range in maximalist compositions that swerve fearlessly between genres and styles. She has performed in an anechoic chamber (a room with no echo), written for a 50-piece children’s choir, and plunged from a rooftop (under the supervision of a stunt-coordinator). She began releasing music as Circuit des Yeux in 2007 on labels like Thrill Jockey, Matador and Drag City.
Circuit Des Yeux played the 2019 edition of VIDEODROOM with the silent movie Salomé. It’s an honor to have her back again with another classic piece of silent horror cinema.
For the Nosferatu live score she’s bringing along Alan Sparhawk, ex-frontman of slow core indie legends Low.
