Holly Herndon
| Holly Herndon | |
|---|---|
 |
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| Background information | |
| Born | 1980 |
| Origin | Johnson City, Tennessee, United States |
| Genres | Electronic, experimental |
| Occupation(s) | Composer, artist, musician, producer |
| Instruments | Vocals, DAW, Max/MSP |
| Years active | 2009–present |
| Labels | 4AD, RVNG Intl |
| Associated acts | Reza Negarestani, Mathew Dryhurst, <body> |
| Website | www |
Holly Herndon (born 1980) is an American composer, musician, and sound artist based in San Francisco, California. She is currently a doctoral student at Stanford University studying composition. Her work is primarily computer-based and often uses the visual programming language Max/MSP to create custom instruments and vocal processes. She has released music on the labels RVNG Intl and 4AD. Her most recent full-length album Platform was released on May 19, 2015.
Holly Herndon was born in 1980 and raised in Johnson City, Tennessee. As a teenager, she spent several years living in Berlin on a high school exchange program, absorbed in the city's dance and techno scene. When Herndon returned to the United States she began studying electronic music at Mills College in Oakland, California. She studied under John Bischoff, James Fei, Maggi Payne, and Fred Frith, receiving her MFA in Electronic Music and Recording Media. While at Mills she composed the vocal-generated piece 195, which won her the Elizabeth Mills Crothers award for best composer in 2010. At school she focused on laptop performance, and she currently does most of her composing via laptop. In 2011 she released Car, an independent, near hour-long track on cassette.
While attending Mills she began developing her debut album Movement.Movement was released in November 2012 through RVNG Intl, a record label based in Brooklyn. For the album she used the visual programming language Max/MSP to create custom instruments and vocal processes.
Movement received a score of 8.1 on Pitchfork, who stated that Herndon "uses her crystalline voice as a chief input for her laptop, ultimately arriving at a poignant nexus of electronic accessibility and experimentation that owes as much to her academic forebears as her club contemporaries. It's a record with the rare capacity to turn cynics who might scoff at the idea of laptops-as-intimate-instruments into believers."
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