The last time Matthew Herbert performed in Tokyo, among his instruments were a bag of Big Macs, a pair of Gap jeans and a television set.
For each piece, Herbert took one of these symbols of consumer capitalism and demolished it. The sounds of their demise — the crinkle of the McDonald’s bag, the rip of the jeans’ seams, the tinkle of the TV screen as it shattered — were recorded on a bank of microphones then mixed on the spot into Herbert’s trademark quirky, sunny dance music.
Unable to view this article?
This could be due to a conflict with your ad-blocking or security software.
Please add japantimes.co.jp and piano.io to your list of allowed sites.
If this does not resolve the issue or you are unable to add the domains to your allowlist, please see out this support page.
We humbly apologize for the inconvenience.