Killick Hinds - H'arpeggione
Camila Nebbia - Tenor saxophone


Killick Hinds´ music style is self-described as Appalachian Trance Metal and is made on unusual stringed instruments with an emphasis on unquantifiable rhythms (shaping time), intuitive intonation (shaping pitch), and shamanistic ROYGBIV (shaping color). The primary sonic influences on Killick are animals, wind, water, fire, electrical hum, and silence. Pop-culture mashups and ancient and obscure forms infuse his music; the effect more closely resembles speech patterns and emotionally-drawn architecture than it does conventional Western music.
Camila Nebbia is a saxophone player, composer, improviser, visual artist, curator and educator from Buenos Aires, Argentina based in Berlin, Germany. Her artistic practice reflects the relationship between different media in the context of memory and identity. She has played and recorded with many artists of the international scene such as Valentin Garvie, La Big Nant, Axel Filip Sextet, Nacho Szulga Quintet, El devenir del río, Burka, Paula Shocron, Barbara Togander, Patrick Shiroishi, Paul Pignon, Vinnie Sperrazza, Katt Hernandez, Kenneth Jimenez, Lesley Mok, Violeta García, Susana Santos Silva, Tom Rainey, Elsa Bergman, l’ Arfi collective of Lyon, Joanna Mattrey, Micheal Formaneck, Flatter Ensemble, John Hughes, Lesley Mok, among others.

About their duo encounter, Killick Hinds writes:......

Late afternoon, Bushwick, Brooklyn NY, August 31st, 2022.

“What’s the noise quotient of your band?”

Our first interviewer, first photographer, all in one person…a stranger from across the street entrusted with my cell phone to capture a sufficiently iconic image for our freshly recorded ensemble.

“73%,” Camila and I osmosed.

“I know how to take this picture.”

We never did get a name. Thank you, talented and friendly impresario!

Only later did I notice the garbage bag at my feet. I tried to remove it digitally. I couldn’t quite get it looking realistic. I convinced myself the grit imbued authenticity and relatability.

Have you ever driven the Major Deegan? It’s called an Expressway though I’m thinking of roller coasters with civic aspirations. Tight squeezes like a marble through a maze. Housing, trees, blight, beauty, zippy, disheveled Le Mans. It sharpens the focus.

The original plan was to meet in New Jersey but logistically it was easier for me to come to the city. The City. I’m not saying we would have made bland music in the suburbs but there is an energy in and about the Big Apple.

Over labne, salad, fruits and hummus we talked about the sounds we captured. The eventual titles reflect the dichotomy in our music, in all music, between groundedness and ephemerality. Sensory Colonnade, Illusory Trace, Forgetting About Everything. Sonics born of ceaseless convocations, recombinant DNA of enculturation and exploration. Kindred symposia encouraging the making of something rooted and transcendent and new.

Camila Nebbia and I met virtually through what became Habitable Records, an outgrowth of the Composers and Improvisers Community Project, an international initiative created to keep momentum going during the early days of Covid. Her enthusiasm for exploring the outer reaches of music and art was clear even on blurry computer calls. Listening to her saxophone playing as a side person and leader was revelatory. When the coast was clear enough and the stars aligned we had this session which resulted in We Hear We Are Here. The music flowed easily from the first notes.

After years of delving into various configurations, I’ve found my 18-string H’arpeggione works best in a duo setting. Especially with such a sympathetic and empathetic creative partner as Camila. The comprehensive nature of her playing: heft, mellifluent cascades, support, assertion, filigree and echoes like I’ve never heard before is an inspiring sounding board for my bowed and plucked contributions. It brought out some of my best playing yet. It’s a joy to work amid this complete dedication to craft.

I’m excited about future sessions and gigs with Camila, whether in her home country of Argentina, in the States where I live, or in Europe where Camila resides. The door is open and I’m deeply appreciative. 73% noise and counting. Thanks for listening.

Killick Hinds
Athens, Georgia
June 9th, 2023