Nov 022016
Feb 02, 2017 | Thu | 17年02月02日
8:00 PM | 20時00分


“Creatura” is the new album by OvO and will be released on 9 December 2016 by Dio Drone on CD, vinyl and cassette. “Creatura” comes to life as a mutant entity after a long period of gestation. Once born, its diversity becomes its strong point. Its uniqueness is not a limit: it does not create borders.
It is an album whose originality is monstrous and colossal, a natural evolution of that which OvO expressed on “Abisso”. They have explored the possibility of intersections between extreme rock and electronica, digging deep down, and now they come out with this protean birth which renders them once again uncategorizeable, on the outside of any scene or framework. Even the artwork reflects the path marked by the sound of the album, inspired by ancient and timeless symbols and iconography, by alchemical sigils of divination cards, yet with an original and identifying style. A symbolic joining with the cosmos from which every creature comes and to where everything returns in the end. It all came from an idea of Stefania Pedretti translated by the hands of Coito Negato, aka Stefano Matteoli, a Tuscan illustrator and frequent collaborator with the label.
For the release, they bet on a recently established label which best represents the new and contemporary way of making noise and the new way of “do it yourself”. The world has changed and to survive DIY must change with it while remaining proudly in opposition to the system. At the moment Dio Drone is the most lucid Italian response to this need.
OvO find themselves at the beginning of their seventeenth year of activity with very clear ideas and a will to surf a so fluid contemporary state, raising new complexities and refusing to conform. The only thing which remains undismayed is their live appearances, we’re on the brink of thousands of concerts all over the world.
“Creatura” was recorded by Lorenzo Stecconi in a barn normally used by theater companies and mixed by the testosteronic hands of Giulio Favero and polished off with mastering by Giovanni Versari. In addition to vocals and guitar, Stefania Pedretti also captured some field recordings during OvO’s tour in Vietnam. Bruno Dorella took on his usual role of playing his few pieces of drums, synth and drum machine programming and samples assembled by Dorella and Garaliya (or rather Morkobot), Riccardo Gamondi (Uochi Toki), Stefano Ghittoni (Dining Rooms), a034 and Reeks (Surgical Beat Bros, No Hay Banda Trio, Germanotta Youth). In composing the pieces, OvO used some of the methodologies of electronic music. In particular, all of the base tracks of percussion and samples were first played live and then resampled, choosing loops in such a way as to reproduce the mechanical aspect typical of electronica. On top of this Stefania added her infernal world of guitar and voice, dividing both into many layers with diverse overdubs to create the monster to which you are listening.
It is not said that in the future OvO might move to pure electronica but in any case, for the moment, they are going to take this “Creatura” all around the world for a few of years.

OvO have always been one of the most active bands in the noise rock world. Over 900 concerts and an uncertain number of releases among albums, collaborations, singles and compilations have made them well known everywhere for their originality and what they have to offer. A duo formed by a tiny possessed singer/guitarist, Stefania Pedretti, and a brute who plays half of a drum kit as if it were a full metal kit, Bruno Dorella. Their legendary concerts have taken them all over Europe, North America, Mexico, the Middle East and Southeast Asia. That which they do cannot be placed into any musical category. It is not noise, it is not metal, it is not doom, it is not punk nor is it rock and roll, even if there is a bit of all of this. It is certainly not free nor avant and even less so improv. For once you can truly say that a band is undefinable. After a few albums on their own label, Bar La Muerte, they released albums on the legendary American labels Load and Blossoming Noise, then two albums on Supernatural Cat and now the new collaboration with the latest release, “Creatura”.
They have collaborated and played with some of the largest names of contemporary experimental rock and have written soundtracks for cinema (Nosferatu, Frankenstein) and theater (“Aeneis V”, Teatro Lenz).
With “Creatura” they continue to follow and develop a vein in which heavy rock mixes naturally and originally with electronics, maintaining OvO an extraneous and mysterious object in the worldwide scene going on 18 years now.


Martin Philadelphy Guitar

Jeremy Carlstedt Drums

Irwin Menken Bass

Where the free jazz caravan dropped off a Sonny Sharrock-like guitar tone near a Williamsburg Brooklyn indie rock spot with instructions to respect the spaces around and between the notes you will find the duo Giant Dwarf. On their Engine Studios debut drummer Jeremy Carlstedt, a long time protege of master drummer Chico Hamilton and guitarist Martin Philadelphy composer, songwriter, producer, evoke all manner of moods — slow epic earth/space travelling, some indie rock shimmy shake, the floating of textures and waves, old school freak punk throwdown and even some swinging.

Giant Dwarf is a ragged funhouse grab bag of duo guitar/drum sound for your listening pleasure.

Giant Dwarf’s guitar/drums duo record addresses on of the biggest problems with indie music — lack of playing ability. Carlstedt, Menken and Philadelphy mix improvisation and stoner rock with freak punk and textured ambient work.


alex ( voc, git ) und catta ( dr, electronic ) spielen seit 1996 in verschiedenen formationen und im duo zusammen – seit 2011 unter dem namen runes

Nov 162016
Feb 16, 2017 | Thu | 17年02月16日
8:00 PM | 20時00分

Katharina Klement und Martin Siewert

Mit gänzlich analogem Instrumentarium – Klement am präparierten Klavier und Siewert an der E-Gitarre, beide auch am Synthesizer – entwerfen die beiden in sensibler gemeinsamer Improvisation nahezu orchestrale Klangwelten, die in ihrer formalen Stringenz mitunter fast auskomponiert anmuten.
Die ungemeine Vielfalt der Spielweisen und der dadurch entstehenden Klänge werden durch den Willen zu Form zu komplexen und organischen musikalischen Prozessen. Manchmal klar Ihrer Entstehung zuordenbar, manchmal von ihrem spielerischen Ursprung losgelöst, erzeugen die akustischen und elektrischen Klänge vielgestaltige Netzwerke von Obertonstrukturen von bald überirdischer Schönheit, bald schroffer Metallizität. Oft meint man einen musikalischen Nukleus zu erkennen aus dem die Protagonisten mit minimalen Mitteln beinah traumwandlerisch reichhaltige Texturen schaffen. Da kann ein einzelner unscheinbarer Impuls sich zu einem wuchtigen Klangmassiv entwickeln, nur um dann in erstaunlicher Einvernehmlichkeit plötzlich zu zerstäuben. Jede Aktion ist hier immer auch Reaktion und doch als selbständiges Ereignis formbildend, und kann jederzeit zu einer unerwarteten Verschiebung der Perspektive führen.
Die Spannung ist in jedem Ton fast greifbar. Hier haben zwei aussergewöhnliche Musiker eine ganz eigene Klangsprache gefunden, und sie haben damit bemerkenswerte Dinge zu erzählen.
(Stephan Sperlich)

Ido Bukelman

Ido Bukelman is an Israeli (based in Berlin) guitarist, multi instrumentalist, composer-improviser, whose work combines elements of modern music, folk, and free jazz
Ido Bukelman very active in the Israeli “new music” scene for the past 10 years
Ido played a large number of solo concerts in different international festivals and venues.

Dec 022016
Mar 02, 2017 | Thu | 17年03月02日
8:00 PM | 20時00分


Electronic sound and visual performance.

No questions
No answers
No mallets
No bullets
Pulses and textures
Birds and bricks
Future is past
No way out from this land.

The project Xover is an electronic sound and visual performance executed by Danilo Casti (Sardinia, Italy)  and Travis McCoy Fuller (Boston, USA). The performance encompasses glitch, drone, noise and field recordings. Xover comes from the gathering of our paths in experimental electronic music, a mixture between digital and analogue sounds, between programming and circuit bending, between no-idiomatic shapes and abstract sound objects. Structures are made in the moment to disrupt time perception and audio spaces, overlapped by generative visual textures. 

Danilo Casti is an electroacustic musician and composer born in Cagliari (Sardinia island, Italy). He’s been present in the Italian electronic music scene since 2000, starting his music career with hardcore punk, moving to noise-drone, glitch, acousmatic and electroacustic music. His music research ranges from experimental theatre, to contemporary dance, video and multimedia installation. Over the years he has developed an interest in real time composition methodologies, researching various performing possibilities applied not only to sound performance but also to dance and video. He has collaborated with several artists  and he performed at various festivals of electronic music, theatre and dance all around Europe, USA and Japan. He has been a guest in several creative residencies. He is one of the founders of the performance group OOFFOURO. In 2003 he organised the festival EnToPan at the Foundry in London and Multiversal EXP-OFF festival in Cagliari. 

Travis McCoy Fuller is a visual, sonic and performance artist currently living and practicing in Cagliari, Italia. 
He was one of the founders and organizers of the late TEST performance art initiative in Boston, USA and is a member of the Los Angeles based artist collective Obscurities and the Estonian Performance art collective Non Grata. He has exhibited his work widely throughout the US, Europe and South America. His practice includes, live sound performance, live action performance, drawing, printmaking and experimental instrument building.

Jan 062017
Apr 06, 2017 | Thu | 17年04月06日
8:00 PM | 20時00分

Soft Kill Option

„Urbaner ヨ-Jazz im Trioformat mit tiefergelegtem Chassis und der Lizenz zum Headbangen.(Falter Top 10 des Jahres 2015)
„Jazz, der vom Energielevel her ordentlich abgeht und so richtig schön kantig und ungehobelt aus den Boxen schallt.“
(Michael Ternai, MICA).
„Changierend zwischen Slowcore & speedy, funky & punky erinnern SKO ein wenig an Ken Vandermarks Spaceways Inc. File under: Urban Headbang Noir Jazz.“
(Klaus Nchtern, Falter)
„Grenzgänger einerseits, Experimentierer andererseits, die sich das Beste aus Jazz und Rock herausfiltern und zu einer Melange der Extraklasse verschmelzen.“
(Herbert Heil,
„In ihren besten Momenten klingt diese Musik als wäre die Inbrunst des Jazzrock in den Sound von Rage Against The Machine gefahren und hätte noch ein bisschen was von King Crimson aus den 70ern mitgenommen.“
(Christoph Irrgeher, Wiener Zeitung)