Marquis' McGee

Here are some moments from "Nymph's at the Stream" which is part of my video series (Scene through Sound) where i'm creating ambient soundscapes, by mixing Foley techniques/ sfx objects, guitar effects pedals, and various instruments live. The full video and two more are up on YouTube (link in bio!!) Everything you hear is coming from the mic and guitar pedals (live looping and fx) with a bit of mixing in post for balance. As some of y'all know, I work often with Dance and Theater, creating live sonic scenography and music like this on stage. Here, I wanted to try recording it by itself as their own pieces to see how they hold up without the visual aid of the scene being acted out/alluded to in some way. Eventually though I would love to make more of these (right now there are 3 main videos up on youtube!) and feature some of the amazing dancers, actors, musicians and other artists I've had/hope to have the immense pleasure of sharing this musical/sound journey with at different points in the future.  I'll also share shortened versions of the other videos here on Instagram in the near future, but in the meantime, please check em out in full on Youtube if you like! I hope these pieces transport you to nice and interesting places in your imagination and wish you a great day. Thank you for watching! A big thank you to Jonathan Moy de Vitry @j.mdv   for helping me document these and to Guy Schneider @schneider.guy for the mixing advice! Sounds: Stream: Fidget Spinners and Small Shampoo bottle Frog:Percussion frog Insect Sounds: Gionbue and Mago Suzu Instrument(s): Hatun Charango Pedals: @redpandalab Tensor @empress_effects Reverb @eventideaudio Mixing Link @bossinfoglobal RC-30 @bossinfoglobal RC-5 #ambientmusic #soundscapes #livelooping #foley #sounddesign #asmr

Excited to show ”nicht oben,nicht unten - irgendwo dazwischen” at the Premio 2026 Kick-off @suedpolluzern on the 24th of March 2026! Jumping, trying, failing, imagination! With an incredible team: @malmequerido @javier.ara.sauco @bardofnone @vnvice_laure and outside eyes @david.lagerqvist and Romain Guion! With the wonderful support of @roxy_birsfelden @theatredujura And @premioschweiz.ch Photo by @hitzi_hitzinger #dance #theatre #switzerland choreography

In the third act of contemporary contributions within the exhibition «Suzanne Perrottet. After Dada, After Dance», New Kyd @newkyddd3 @newkydwerk presented their performance «Chanson Noire» at Cabaret Voltaire on February 26, 2026. The performance was developed in collaboration with Marquis McGee @bardofnone and produced by RESTLESS collective. Until March 25, 2026, various traces and symbols that emerged during the creation and staging of the performance unfold from the corridor into the exhibition space, bearing witness to an activation that extended from the Historical Hall to Suzanne Perrottet’s archives. The objects, traces, and works—both sonic and material—form a constellation of orienting points within the artist’s cosmology, showing key references that shaped the development of the performance. The piece takes the Dadaist Chant N_ as its point of departure—specific program elements of the Dada soirées in Zurich, during which Oceanic and African poetry and songs were appropriated in an effort to unsettle Western thought and language. From this starting point, the work opens a field of references through which it seeks new narratives grounded in Dada’s anti-war ethos. In keeping with Dada’s interdisciplinary and culturally multi-perspectival spirit, the project also resonates with Suzanne Perrottet’s commitment to humanity and liberation. More broadly, New Kyd’s artistic approach—marked by collaged narratives and a playful embrace of rebellion and absurdity—can be understood as deeply embedded within the historical and conceptual framework of Dada. New Kyd also presented the Happening Jam «Political Marketplace!» @political_marketplace in collaboration with Kymbali Williams @kymbali_williams as part of their artistic intervention within the exhibition «Suzanne Perrottet. After Dada, After Dance». The Jam was co-produced with Tanzhaus Zurich @tanzhauszuerich and takes place again on March 20, 2026, at Tanzhaus Zurich. Images 1–14: Romain Mader @romain_mader Images 15–16: Liah Sinquefield @liahsinq

In the third act of contemporary contributions within the exhibition «Suzanne Perrottet. After Dada, After Dance», New Kyd presented their performance «Chanson Noire» at Cabaret Voltaire on February 26, 2026. The performance was developed in collaboration with Marquis McGee @bardofnone and produced by RESTLESS collective. Until March 25, 2026, various traces and symbols that emerged during the creation and staging of the performance unfold from the corridor into the exhibition space, bearing witness to an activation that extended from the Historical Hall to Suzanne Perrottet’s archives. The objects, traces, and works—both sonic and material—form a constellation of orienting points within the artist’s cosmology, showing key references that shaped the development of the performance. The piece takes the Dadaist Chant N_ as its point of departure—specific program elements of the Dada soirées in Zurich, during which Oceanic and African poetry and songs were appropriated in an effort to unsettle Western thought and language. From this starting point, the work opens a field of references through which it seeks new narratives grounded in Dada’s anti-war ethos. In keeping with Dada’s interdisciplinary and culturally multi-perspectival spirit, the project also resonates with Suzanne Perrottet’s commitment to humanity and liberation. More broadly, New Kyd’s artistic approach—marked by collaged narratives and a playful embrace of rebellion and absurdity—can be understood as deeply embedded within the historical and conceptual framework of Dada. New Kyd also presented the Happening Jam «Political Marketplace!» @political_marketplace in collaboration with Kymbali Williams @kymbali_williams as part of their artistic intervention within the exhibition «Suzanne Perrottet. After Dada, After Dance». The Jam was co-produced with Tanzhaus Zurich @tanzhauszuerich and takes place again on March 20, 2026, at Tanzhaus Zurich. Photos by Liah Sinq

Kurzer Besuch von ROXY Kollegin @jocelyntlr_ bei den Endproben zu „nicht oben, nicht unten, irgendwo dazwischen“ Mit Vorfreude hüpfen und gumpen wir Richtung MIXED PICKLES #15 Do 05.03. 20:00 Fr 06.03. 20:00 (+Nachgespräch) und im @theatredujura am Sa 07.03. 18:00 Kommt und seht die Arbeit von @sophieflanneryprune @malmequerido @javier.ara.sauco @vnvice_laure @bardofnone Romain Guion. 1/4 von MIXED PICKLES #15 Alle Infos = link in Bio @tanzbuero_basel @kulturbasel @birsfelden_bl @baselland_tourismus @premioschweiz.ch #roxybirsfelden #freieszeneschweiz #thisisbasel

Chanson Noire: The tale of pomegranates is inspired by “The Poet’s Inner World – Music Inspired by the Colour of Pomegranates” by Aram Bajakian An archive, a ritual. A story and also a lament. Part 2 of the Ode to Odetta triology. At Cabaret Voltaire, where Dada erupted in absurdity against the logic of war, New Kyd revisits the echoes to rupture sense and rationality again, in order to find ways to survive a violent future and history. The Dadaists were emigrants. Exiles. Anti-war bodies seeking authenticity in a collapsing Europe. Their nonsense was not frivolous—it was refusal. Kyd is inspired by the archives of Suzanne Perrottet’s work exhibited at Cabaret Voltaire and the desire that can be clearly seen in it: notes, photos, love, messiness—all colliding in expressive defiance. This evening draws deeply from that lineage of non-rationality and shadow werk. Kyd’s myth theory — Otherwise known as Kydology (watch this space) is threaded by the principle of the performance the orisha who is named Oya, a Yoruba deity. A goddess of war and storms. She is an ambivalent force of the world, usually explained as having both the force of masculine and feminine energy. Her ritual dance is fierce and based upon the untameable power of nature; representing change and destruction of the old. As such she is a cleansing spirit, clearing the path for the New. The last mythology is of the Jynx / wryneck bird. A bird known for being able to twist their necks by 180°. It protects itself by twitching and making snakelike movements, never confined by linear vision. It serves as a symbol of hope for hauntologists (in Kyd’s opinion at least), for it can see the past, present and future—including the lost ones. This continues Kyds ongoing research into imaginative archiving, supernatural dances, hauntology and automatism (after Huat Lim’s understanding of the term) through the lens of Yoruba mythology. A thread which links Kyd’s work is their position as a Nigerian of the Yoruba tribe; born and raised in the United Kingdom, and living in Zurich since 2019. Magical Team:- Live music and foley @bardofnone Dramaturgy @th.fredi Video @muckla

"It sounded like Earth – or at least what I imagined Earth to be. A soundscape drawn from the archives of my training, from a world that was never mine." XENOFIELD NOTES is an explorative study in which Foley Sound studies oscillate with digital, generative sound design. Based on a concept paper by Deaf Anthropologist that tells the story of xenobiologists exploring new territories and life forms on an alien planet. This work explores the theme of alienation and unfamiliarity as a mirror of one's own identity in a thought-provoking manner. The concept deals with topics that have been the focus of my work in 2025: documenting a fragmented world against the backdrop of my sensorineural hearing loss, recognising and reflecting on how we deal with the unknown as a mirror of how we deal with our identity. It approaches the idea that when confronted with the utmost strangeness, we may encounter ourselves and gain insight into the ideological beliefs, fears, and prejudices that influence us. The aim is not to cement the dualistic poles between otherness and self, but to attempt to overcome them - and maybe to create a new identity? In 2024, I wrote down the idea and the short story, thus formulating the design that would serve as the first element in a series of works in my “XENOVERSES” project. In cooperation with Marquis McGee, SIDE A was created during an improvisation workshop in Basel in 2024: the instrumental version of the short story, allowing you to immerse yourself in the action without vocal / lyric accompaniment. In 2025, Pericopae collaborated on SIDE B, in which he lends his voice to the project and also contributes his own sound works and aesthetics. SIDE B is the continuation of the concept and casts the events in a new aesthetic of lost radio waves and a fragile documentation at the end of the known universe. It is no less immersive but offers a different, new perspective than SIDE A. Finally this work is being retrieved from the extraterrestrial archive and released as a cassette in a strictly limited edition with a Zine. The digital download is available exclusively on Bandcamp as a pay-what-you-want option / or just DM me #experimental

2 weeks of research with @javier.ara.sauco @malmequerido ! It was wonderful to be back in the studio - sweating and lots of laughters! And fun sounds from @bardofnone … We will show a first excerpt of the research @roxy_birsfelden for Mixed Pickles #15 at 20h on the 5th and 6th of March. On the 7th at 18h at the @theatredujura And on the 24th of March at the Kick-off event of @premioschweiz.ch at @suedpolluzern … 📸 @david.lagerqvist #jumping #jumpingforjoy #jumpingchoreography

livelovelava#7 with two solo sets by @danaborich and @bardofnone 🦋

My new solo : Joy(ce) premiers in a month. Nov 18 - 23. Tickets in bio 💚✨ In 2006, the body of Joyce Carol Vincent was found in her London flat nearly three years after she had died, her TV still flickering. New Kyd’s solo Joy(ce) attempts to dance this absence: to trace what it means to vanish while visible. The piece unfolds as a fugue of solos, moving between rupture and ritual, meditative movements and stillness, mourning and invocation. New Kyd channels muses across time and style, Isadora Duncan’s abandon, Graham’s rituals of sadness, Wigman’s whimsy, Billie Holiday’s vulnerability. Joy(ce) reflects the architectures of visibility and erasure around womanhood from a hauntologist* perspective. Joy(ce) is a choreographic séance that presents Joyce as a symbolic figure of spectral resistance**. A meditation on solitude, memory and the shimmering echoes of those like Joyce Carol Vincent who slip away unnoticed. But revived through reminiscence. *Hauntology: A theory where the present is haunted by “lost futures” of the past **Spectral Resistance: using ghostly figures as a metaphor for resistance to power Choreography, performance New Kyd @newkydwerk Music Marquis’ McGee @bardofnone Production, dramaturgy Fredi Thiele Production management Kelly Tuke @kerzn_ Technical direction, scenography Noe Wetter @noewetter Sound technics Santiago Latorre @santiago__latorre Photography Liah Sinq @liahsinq Video documentation Tuskqo Sobrinho @90s.xasualties Co-production Tanzhaus Zürich @tanzhauszuerich Dtramaturgical Support Tanzhaus Zürich Jessica Huber Critical Friend Tanzhaus Zürich Kapi Kapinga Grab Supported by Stadt Zürich Kultur, Ernst Göhner Stiftung

Zürich 2024, Diplomprojekt Simon Thöni ZhdK - DABEI WAR DER RISS IN DER WAND HEUTE MORGEN NOCH GAR NICHT SO GROSS. VIELLEICHT SOLLTE MAN WIRKLICH ETWAS TUN. EIN PHYSICAL THEATRE-STÜCK OHNE WORTE VON UND MIT Credits Nik Huber Bühnenbild Prisca Grandi Kostümbild Marquis’ McGee Musik Adriana Carlota Berwert Spiel, Lichtdesign Simon Thöni Spiel, Konzept, Leitung Diane Gemsch Spiel, Choreographie Levio Gioia Spiel Charlotte Mathiessen Dramaturgie Adrien Borruat Auge von Aussen Faustino Blanchut Mentorat Team BTW Technischer Support Ramona Mosse Studiengangsleitung Diplomproduktion Master ZHDK Theater Schauspiel Simon Thöni