Booking: free@culte.be
Laryssa Kim is a multifaceted Italo-Congolese artist (singer, composer, producer and DJ) who weaves ritual-like dreamscapes where musique concrète melds with smooth electronica, electro-soul, and ambient textures. Her tender vocals float over otherworldly, polymorphous compositions that abandon typical song structures.
Born in Rome, she refined her craft within Amsterdam’s contemporary dance and physical theatre circles before making Brussels her creative home in 2013. There, she earned a Master’s degree in Acousmatic Composition at the Royal Conservatory of Mons and, in 2015, unveiled her eponymous live electronics project.
On stage, her voice drifts like incense smoke one moment, then blooms with soulful warmth and intensity the next. Hypnotic soundscapes unfurl slowly: field recordings whisper from afar, while seductive, bare-bones trip-hop textures and aching beats pulse beneath echoing vocal loops, morphing into shape-shifting electroacoustic arrangements.
In this oneiric realm, Laryssa Kim leads listeners into an immersive sonic odyssey—a trance that awakens every sense.Described by Pitchfork as “her most accomplished work yet, a mesmerizing odyssey guided by sharp intention,” her debut album Contezza, released in February 2024 via the Belgian label City Tracks, received outstanding attention from both the public and the press (Le Soir, Focus Le Vif, L’Echo, Rockerilla, Electronic Sound, Libération, Dazed, DJ Mag Italia, Friction Magazine, Bruzz Select, Larsen, RFI, The Fader, Gorilla vs. Bear, Bandcamp Essential, BBC, and more).Laryssa Kim’s work exudes an undeniable dreamlike strength, a sonic surrealism that blurs the boundaries between dream and reality. Her music, both organic and immaterial, frequently accompanies collaborative works with socio-political and historical resonance, such as Mobutu’s Game, a documentary mini-series aired on VRT (January 2025). Her compositions have also been featured alongside James Baldwin’s texts in the play Fire Will Become Ashes (KVS) and have blended with performances like Spirit Capital – The Seat of Memory by Roland Gunst (Moussem, Viernulvier, Kaaithater, DeSingel, detheatermaker), Malinconico, The Bastard by Rashif El Kaoui, and Pelvic Bath by Helena Dietrich. Additionally, her musical interludes have punctuated the philosophical salons of In Naam van de Waarheid (Theatre Malpertuis and Victoria Deluxe).

Geert Waegeman is following