Aug 032016
Nov 03, 2016 | Thu | 16年11月03日
8:00 PM | 20時00分

Couscous & Boris Hauf „Eisen“

The audiovisual group Couscous has found a soul mate in noise, chaos and harmony in the internationally active improv musician Boris Hauf. “Eisen” is the continuation of their collaboration, starting with the 2013 release “Trans”. The bluntness and creativity of how Couscous intermingle musical aspects of different cultures is enriched by the alliance with this powerful horn player. Hauf’s baritone saxophone sound combined with his detailed and blissfully fractured approach to melody mixes surprisingly well with the off-balanced and angular sound Couscous has built.

Joyfully and almost indiscernibly Couscous and Hauf experiment with genres, exotic and self-made musical instruments. A turkish Saz uninhibitedly takes center stage, while industrial sound textures get counterbalanced with a fierce percussion and a slightly passive-aggressive guitar. A sea of trombones, saxophones and clarinets, piano clusters and a stubborn bass form a billowing and saturated foundation for this musical bazar. The quintet actively blurs boundaries, alternates arrangements with collective improvisation, and lightheartedly throws musical curveballs to unhinge the narrowly defined euro-centric approach to contemporary music.

Past cooperations with Damo Suzuki, Thollem McDonas, Ulrike Hager with Warszawski Teatr Tańca, Martin Zeplichal, Sebastian Six, Marina Marsilio etc.

Martin Max Offenhuber (Kreisky): baglama-saz, bass synthesizer, ektar, ghosttubes.
Thomas Binder-Reisinger (David Lipp & die Liebe): guitar, guzli.
Ralph Wakolbinger (Die Buben im Pelz, Aber das Leben lebt, The Maybe Men): drums / percussion.
Andreas Ledl (Hard-Chor): bassguitar, clarinet.
Boris Hauf (Efzeg, Peeled Eye, Next Delusion, Boris Hauf Sextett u.v.m.) baritone sax, piano.

Martin Max Offenhuber „Couscous“, pumpkin records, 2006
Couscous, „Trans“, pumpkin records, 2013
Couscous & Boris Hauf “Eisen” noise appeal records ab 24.10.2016

Aug 042016
Nov 04, 2016 | Fri | 16年11月04日
8:00 PM | 20時00分

Patrizia Ferrara

Ihr Name ist Programm. Sie hat ein italienisches Temperament und eine österreichische Seele – ist doch ihr Vater aus Sizilien und Ihre Mutter aus Kärnten. Ihre Karriere als Sängerin führte Sie auch für mehrere Jahre in die USA, nach Los Angeles und New York und so singt und spricht sie in 3 Sprachen perfekt: Deutsch, Italienisch und Englisch.

Sie war vielfach mit vielen Künstlern musikalisch tätig (u.a. mit John Heard, Dean Bowman, Vinx, John Cale (The Velvet Underground), Danny Grissett, Lonnie Plaxico, Kyle Eastwood, Geri Schuller, Célia Mara, DJ DSL, Urbs (G-Stone Records the label of Kruder and Dorfmeister), John Sass, Stereotyp (G-Stone Records), Al Haka, Annekei, Marcos Vigio, and Jorge Amorim., Sertab Erener (Gewinnerin Eurovision song contest 2003), Jon Sass (Ray Anderson, Boston Symphony Brass, David Murry), Chester C. Washington (Earth, Wind and Fire), Rudi Wilfer, Fred Eisler, DJ Cut-EX, DSL, Urbs (G-Stone Records the label of Kruder and Dorfmeister), Al Haka, und dem grossen und leider schon verstorbenen österreichische Performance- und Multimedîapoet Christian Ide Hintze) und ist nun seit einigen Jahren als Frontfrau künstlerisch tätig.

Ihre 2. CD Produktion ist eben fertiggestellt und die ersten Konzerte geplant. Während Ihre erste Produktion in den USA entstanden ist, spielte Sie diese neue Aufnahmen komplett in Österreich mit Ihrer Band ein.

Aug 052016
Nov 05, 2016 | Sat | 16年11月05日
8:00 PM | 20時00分

Jooklo Duo & Mette Rasmussen

“Blowing minds all over the world since 2004 with hundreds of charming performances and some cult records, Jooklo Duo (Virginia Genta on reeds, flutes, piano, percussion and David Vanzan on drums) keeps spreading their powerful and uniquely vibrant sound, deeply rooted in free jazz avant-garde but heavily influenced by traditional folk music, and at the same time open to extreme sound experiments. 
Over the years the perpetual research for new and challenging combinations has led Genta and Vanzan to form a large variety of ensembles and to collaborate with artists as Bill Nace, Chris Corsano, Thurston Moore, Dror Feiler, Dylan Nyoukis, Hartmut Geerken, Makoto Kawabata, John Edwards, Mette Rasmussen and many others.
The duo has also been working with the Merce Cunningham Dance Company alongside John Paul Jones and Takehisa Kosugi, performing for “Nearly Ninety” in main theatres in Madrid and London, and has also been a long time favourite of emblematic figures such as Henry Rollins and Sonic Youth and magazine The Wire.”
“Mette Rasmussen is a Danish saxophone player based in Trondheim, Norway. She works in the field of improvised music, drawing from a wide range of influences, spanning free jazz to textural soundwork. Rasmussen works on exploring the natural rawness of her instrument – experimenting on what the saxophone is capable of in sound and expression, with and without preparations. Much in demand, she has performed with the likes of Alan Silva, Chris Corsano, Ståle Liavik Solberg, and with her Trio Riot group with Sam Andreae and David Meier.”

Aug 172016
Nov 17, 2016 | Thu | 16年11月17日
8:00 PM | 20時00分

Judy Dunaway

Judy Dunaway performs avant-garde compositions and free improvisations on amplified latex balloons played as musical instruments. She is known
internationally as a “virtuoso of the balloon.” She plays a variety of shapes and sizes of balloon instruments, each with it’s own special
qualities, pushing the extremes of both pitch range and artistic limits. Her large rubbed “tenor” balloon gives Jimmy Hendrix’s guitar a run for
the money and her giant balloon pulsates into the depths of the subaudio.
Her abstract music and sounds are difficult to equate with other forms, depending upon the perception of the individual like the images seen in
fire or clouds.

Judy Dunaway has presented her works for balloons at many major venues and festivals throughout North America and Europe, including Academy of Media
Arts Cologne (Cologne), Avant-Garde Schwaz Festival (Austria), Alternative Museum (NYC), Bang on a Can Festival (NYC), Everson Art Museum (Syracuse), Fylkingen (Stockholm), Frau Musica Nova Festival (Cologne), Guelph Jazz Festival (Canada), Lincoln Center Out-of-Doors (NYC), New Museum of Contemporary Art (NYC), Performance Space 122 (NYC), Podewil (Berlin), Roulette (NYC), CEAIT Festival (Los Angeles), Seltsame Musik Festival (Krems, Austria), SoHo Arts Festival (NYC), STEIM (Amsterdam) and Zentrum fuer Kunst und Medientechnologie (Karlsruhe). She has also performed on balloons with many outstanding musicians including Roscoe Mitchell, Jennifer Walshe, John Hollenbeck, Yasunao Tone, and the FLUX Quartet. CDs of her works for balloons have been released on the CRI (Composers Recordings Inc) and Innova labels, among others.

Hankil Ryu & Matija Schellander & noid

Ryu Hankil – typewriter
Matija Schellander – double bass, victorian synthesizer
noid – cello, jing-hu

Sep 202016
Dec 20, 2016 | Tue | 16年12月20日
8:00 PM | 20時00分

Samo Kutin, born in 1982, is known for his use of unconventional instruments, be it instruments that have already disappeared from everyday use or sound-making contraptions that feature strings, wood, pumpkins, stone, glass and waste material. One of the traditional instruments in his repertoire is the Hungarian medieval stringed instrument hurdy gurdy, which he can be seen playing on the streets of Ljubljana or at events of experimental and improvised music. He organises children’s workshops, makes music for storytelling and theatre performances and is a member of a number of formations, including Samo Gromofon, Salamandra salamandra, Najoua, Horda grdih, Širom.
When it comes to non-idiomatic improvisation, Samo has been exploring at length in recent years the sound and noise potential of the hurdy gurdy. He has been using effective accessories with the instrument and amplifying it in a convincing manner with intentional roughness with the help of contact microphones and acoustic resonators such as springs and water tanks. One could say that it is above all the use of contact microphones that helps him scan and bring to the surface the processes taking place in the “guts” of the instrument, while the direct physical methods allow him to cause and locate previously unknown frictions.

Based in Berlin and London,
cyclist and artist Daichi Yoshikawa is interested in the spaces we can construct together through the intensities of live performance.
His practice is feedback.His work is the push and pull of extremes: pitch, volume and gesture.