Jul 252018
 
Oct 25, 2018 | Thu | 18年10月25日
10:00 PM | 22時00分

Knalpot

“Dierendag”

«No computer was used during the making of this music.» The warning is interily justifiabe – the concepts applied by Raphael Vanoli, Gerri Jager and Sandor Caron have traces of several musical practices having as common factor the use of laptops. The roots are on electro-pop, mathcore and dubstep, but is something else what this band from Amsterdam – but with a German and an Austrian playing – has to offer. There’s traces of Gang of Four, Fennesz, Battles, Supersilent, Sigur Rós, Squarepusher and much more, but the sound world they inhabit is very much their own. A world of unpredictable collages of procedures and styles, played with a guitar, a drumset, some synthesizers, samplers, processors and effect pedals, and a mixtable used creatively: sometimes it sounds like drone music with a song format, and in many moments you have the kind of groove produced on the fringes of techno and house, but with a drive coming directly from jazzland – after all, both Vanoli and Jager have jazz backgrounds. Polyrhythms with crazy metrics live together with harmonic constructions showing the refinement of contemporary classical music, but the lightness of it all, the good vibes, the colorful, joyous, character are distinctive of pop music. What a surprise!

http://knalpot.eu/

Jul 182018
 
Oct 18, 2018 | Thu | 18年10月18日
8:00 PM | 20時00分

EVAMUSS

Evamuss was a project of the Peruvian Chrs Galarreta (aka: Sajjra, DiosMeHaViolado, Tica, among others alias). This project was very active in the underground Lima scene between 1997-2003. Evamuss have 9 solo albums published on very limited editions, also appears in a lot of collaborations and compilations of that period. At the beginning Evamuss used home made amps, oscillators, pedal effects and toy keywords , last years it will include the misuse of computer and the pirate software. Error and non-functionality were welcome in its process. On November 2017, Evamuss resurrects with a pair of self-hacked synth toys, some effects, hand made sequencers furbished in collaboration with some hackers in Paruro (the legendary electronic black market’s in Lima City). In the current days its sounds mutated towards a warm and humid analog jungle. Its recent – 2018- assaults included tours between Portugal, Spain, Lithuania, Russia, The Netherlands and a publication of a release in Favela Discos (Porto).

https://soundcloud.com/evamuss/sets/evamuss
https://faveladiscos.bandcamp.com/album/ajqij.

Janneke van der Putten

Janneke van der Putten is a Dutch performer and visual artist. Employing techniques learned during years of training, she uses her voice as an instrument in order to explore different environments physically, sonically and intuitively. Her work moves away from the usual modern parameters of amplification and synthesis, focusing instead on the space’s and body’s resonance in the here and now.
Janneke van der Putten (Amsterdam, 1985) her practice involves experiences of listening, performances, sound and video, documentations in image/text/textile, workshops, music projects, and creating platforms for cultural exchange. Her voice is her main tool, guiding her through physical and sonic explorations in different landscapes. Engaging with specific sites and local contexts, and through her personal experiences, she investigates (human) responses to her surroundings, and their relation to natural phenomena and transitions, such as the sunrise.
She graduated with a BDes from TXT (Textile), Gerrit Rietveld Academy (Amsterdam, 2003 – 2009) and completed her MMus in Artistic Research, Royal Academy of Art & Royal Conservatoire (The Hague, 2011 – 2013). Van der Putten trained in classical North-Indian Dhrupad singing with Amelia Cuni and Marianne Svašek (Berlin & Rotterdam, 2009 – 2014) and is autodidact in various extended vocal techniques. She is co-curator of the Aloardi Exchange Programme, inviting Peruvian artists to present their work in the Schengen Area (2016 – 2017). The project ‘Invisible Architecture’ with Christian Galarreta, for which they published a vinyl in 2014, has been presented at amongst others exhibition Make the Audition: Meetings Between Art and Sound in Peru, Museo de Arte Contemporáneo (Lima, 2016) and nxnwfestival (Cologne, 2015). She was artist-in-residence at the Centre international d’art et du paysage (Île de Vassivière, 2014), and exhibited with solo shows All Begins With A at TENT (Rotterdam, 2015), Directed to the Sun in Quartier am Hafen (Cologne, 2017) and Quitsa at CINNNAMON (Rotterdam, 2017). Upcoming will be a fellowship at Akademie Schloss Solitude (Stuttgart, 2019).

http://jannekevanderputten.nl/work/jnnk/

Bielgaard

Bielgaard is a new duo playing in Austria for the first time at Interpenetration in Graaz.
The international duo from Copenhagen uses the electric guitar and baritone saxophone to create a purely aesthetic experience, and to build an aesthetic situation through composition in which the most important thing is to stimulate the listener through the production of sound. The aim is to deprive these auditory stimuli of meanings other than those of the sound itself; to present sound material for observation that does not require understanding nor suggest emotions. Thereby the physical presence of sound becomes more important than the personality of the individual, of the musicians themselves.
Hein Westgaard is a guitarist, composer and improviser who is currently studying at the Rhythmic Music Conservatory in Copenhagen. He is works in the improvised scenes in both Copenhagen and Oslo, and has played at the Oslo Jazz Festival, Molde Jazz Festival, Kongsberg Jazzfestival and Trondheim Jazz Festival. He has performed with – among others – Bugge Wesseltoft and Kresten Osgood and has as a soloist performed a composition by Barry guy with the composer himself conducting.
Michał Biel is a Copenhagen-based musician from Poland. The pure physical presence of sound and its textural nature is the guiding theme of his exploration as a composer and baritone saxophonist. In his aesthetics, he refers to figures such as Zbigniew Karkowski and Luc Ferrari. He is active in the improvised scenes in Poland and Denmark. He is co-creator in projects like Cococlock, Bachorze, Skołowacenie and Monolith Trio.

Jul 172018
 
Oct 17, 2018 | Wed | 18年10月17日
8:00 PM | 20時00分

Katharina Klement

CD-Präsentation “Drift”

Drei Kompositionen aus den Jahren 2014/15 von Katharina Klement sind auf dieser CD vereint:
„Wie Tag und Nacht“ für 3 Zithern und Elektronik
„in dem HIMMEL benannten Darüber“ für zwei Ensembles (subshrubs und PHACE)
„Drift“ für Orgel und Elektronik

Erst in der Zusammenstellung dieser drei Stücke gaben sich unterirdische Zusammenhänge preis: allen gemeinsam ist eine dunkle Tönung, die in das jeweilig benachbarte Stück hineinfließt bzw. ausstrahlt. „Wie Tag und Nacht“ wurde während eines längeren Aufenthalts in Belgrad geschrieben, „in dem HIMMEL benannten Darüber“ bezieht sich u.a. auf den Ex-Jugoslawien-Krieg der 1990er, und „Drift“ schwebt zwischen der Hörbarkeitsgrenze und gewaltigen Klangvolumina.
Allen Stücken ist das Unzynische eingeschrieben, spiegeln sich ineinander und widerspiegeln die Elemente unserer Gegenwart.
Drift steht also für ein Dazwischen, fürs Liminale, die Fähre über den Fluß der Musik, den nicht fixierbaren Ort des Übergangs von einem zum anderen oder dem anderem
zum einen. Drift bedeutet das passive dem Dazwischen Ausgeliefertsein als auch die Praxis der Verschiebung. Die Stücke resonieren mit der Verlagerung in den Elementen unserer Zeit. Sie befinden sich in einer nicht auflösbaren Liminalität, oder einem musikalischen Schweben, zwischen akustischen und elektronischen Elementen. Das Ankommen auf einer Seite, oder eine Zuordnung, ist nicht beabsichtigt. Existenzieller ist die poetische Ungebundenheit des unzynischen Tuns dazwischen.
So beschreibt Philipp Schmickl in seinem Text zu dieser CD die Musik.

Mit der CD „Drift“ veröffentlicht Katharina Klement nach „jalousie“ (CD), „deepseafish“ (LP) und „Hoverload“ (CD) bereits ihren vierten Tonträger bei chmafu nocords.

http://katharinaklement.com/

Jul 042018
 
Oct 04, 2018 | Thu | 18年10月04日
8:00 PM | 20時00分

Puzzle Work

„Ich wurde gefragt wie lange ich gebraucht habe um Puzzle Works aufzunehmen. Ich spontan: Puzzle Works war an einem Nachmittag eingespielt. In der selben Sekunde korrigierte ich aber meine Antwort: Naja, eigentlich habe ich 18 Jahre dafür gebraucht,…um meine eigene musikalische Improvisationssprache auf der Gitarre zu entwickeln, Geschichten zu erzählen und lebendig zu bleiben. Solo zu spielen ist für mich jedesmal eine spannende Herausforderung. Man besitzt die furchtlose Freiheit jeden Weg gehen zu können. Es ist jedoch immer eine Gradwanderung mit Spannung, Konzentration und Gelassenheit das filigrane und jederzeit einsturzgefährdete Gebilde auf dem Weg zu halten ohne das Ende vorbeiziehen zu lassen.“An diesem Abend präsentiert Philadelphy seine bald erscheinende neue Puzzle Works.

„die meditative Macht der Monotonie, die vermutlich selten so abwechslungsreich und faszinierend geklungen hat“ Mica 2012
„mal präziös, dann wieder kantig in die Magengrube“ Presse 2012
„ein intensiv leuchtendes, flirrendes Puzzle voller überaschender Teile!“ Concerto 2012
„Martin Philadelphy is a Master of Mood and a film-like evocation ideas“ DMG 2012

http://www.philadelphy.at/discography/puzzle-works-liveliwood/

krehm

MichLaab (git/vox/electronics) & Patrick Wurzwallner (drums/vox/electronics)
das grazer anti-groove-monster presenting extrem lauter handysynth, abgefuckte funkgitarre und shreddrums. schweren herzens impovisiert. zeitgenössisch stimmig, respektlos und kaputt.
the anti-groove-monster from graz präsentiert extremely loud cellphone-synthesizers, fucked up funk-guitar and shreddrums. improvsed with a heavy heart. adequately contemporary, broken and lacking any respect.