Nov 152017
Feb 15, 2018 | Thu | 18年02月15日
8:00 PM | 20時00分


Mediterranean heritage mixed with the powerful approach of an avant rock band, passed through free improvisation, noise and a strong attitude to melody. This is MEDEA.
Based in Rome (Italy) Medea is a duo composed by Marco Colonna (woodwinds, cheap electronics) and Cristian Lombardi . Both in the political un-correct band Noise of Trouble , for the first time in a duo form, open the space with a huge sound project that can cover all spaces of musical language.
Marco Colonna is one of the best jazz and free improvisation musician of the Italian scene. He has worked with Agusti Fernandez, Evan Parker, Zlatko Kaucic, Danilo Gallo, Silvia Bolognesi, Fabrizio Spera, Antonello Salis (and many others) , Cristian Lombardi is a drummer of the underground punk scene of Latina, leader of we don’t care about names and drummer of the surf band Alvaro Negro.

Nov 012017
Feb 01, 2018 | Thu | 18年02月01日
8:00 PM | 20時00分

Ottone Pesante

Pesante is an instrumental trio composed by trumpet, trombone and drums that plays “Heavy Metal”.
“We are a really heavy brass band and we use effects on brass (distorions, octavers…) to make it heavier. Our music is very fast and it’s a challenge for brass instruments players, but sometimes it goes in the opposite direction becoming very very slow.
It’s something between extreme metal, jazzcore, brass bands.”

One year after they released their first EP, which was the first step, Ottone Pesante (Heavy Brass) release the first album. That confirms that was not a joke, neither a divertissement.
Trumpet, trombone and drums can be together really heavy. Ottone Pesante makes a step beyond the traditional idea of Extreme Metal, based on the sound of Bass and Guitar. They do this after 90 gigs in the last year, playing all around Italy and in Europe.
“Brassphemy set in stone” is the evolution of Ottone Pesante. Music has become heavier, more extreme and more technical but also melodic in the same time. The album is very fast and brutal, really impressive especially for brass players. “Trombstone” is the only exception, a doom track that lets the listener breath.
“Brutal” is the first song, symbol of the Heavy Brass Metal. “Nights Blood” is a Melodic Death Metal track inspired by the Swedish metal band “Dissection”. “Bone Crushing” is the chosen track for the video, recorded on high mountains. The clip shows how physical Ottone Pesante music is.
“Torture machine tool” is inspired by Meshuggah, heavy riffs and a cutting trumpet solo make this track very special. “Copper Sulphate” is the fastest song, a grind song that make you feel in the middle of the mosh pit. The last track “Apocalips”, is a 4 minutes ride that continue to hurt ears and brain.
The album was recorded live, during 4 days between May and June 2016, in the only moment that Ottone Pesante tour stopped.

Oct 182017
Jan 18, 2018 | Thu | 18年01月18日
8:00 PM | 20時00分

Unique Horns

Solo piece for 3 trumpets, laptop, home-made amplification system et various resonating objects. Throughout the piece you might hear some live and pre-recorded trumpet sounds, field recording, birds, white noise, vibrating metal stuffs, saws, toads, sine waves, music, natural or artificial of jungle sounds…


French Horn: Elena Kakaliagou
Piano: Ingrid Schmoliner
Double Bass: Thomas Stempkowski

French Horn, Prepared Piano and Double Bass creates delicate and furious, animalistic and brainy, melodic and chaotic music on the spot!

“I was quite thrilled by this young trio last year, with their debut album „PARAligo“, and I’m glad to say that they still exist and released their second CD, now performing under the band name ‘Para’. The trio are Elena Kakaliagou on French horn, Ingrid Schmoliner on piano and Thomas Stempkowski on bass.
The music is “spontaneously composed” and offers a wide range of approaches, almost like exercises in stylistic possibilities, using and rejecting all genres, from classical over free improv and folk to new music, and what they do is strong, as long as you stay within the framework of the individual piece. These can be dense and agitated (‘Zygoptera’), quiet and subdued (‘Warten’), playful (‘Neda’), mesmerising (‘An Messiaen’), frightening (‘Stormar’), dark (‘Nitsowia’), …. I like most of the tracks because they are inventive, creative and well performed….
But then I listen back to their debut album, and I wonder why the sense of unity of the first album has been lost. Now, it’s an album of great improvisations that each stand apart, without any choice being made by the trio to create a strong personal voice. Even if some of the music is daring, it is still far from being a commitment to one single option, one that is uniquely the trio’s voice, which goes beyond what you’ve heard before. They have it in them, for sure, as they demonstrated with the first album. Or, to put it differently, “Para-Ligo”, the first album had the ambitions and unity of a symphony, “Paraphore” has the lightness and the variety of string quartets, nice to the ear, but less lasting in impression.”
(Freejazzblog 2014 By Stef)

Sep 142017
Dec 14, 2017 | Thu | 17年12月14日
8:00 PM | 20時00分

Harnik / NicoNote
In the mood for Landscape
Duettomoderato cantabile in 4 mouvements

NicoNote (I/A) and Elisabeth Harnik (A) are 2 artists in the fields of sounds.

They will meet “In the mood for Landscape” crossing a lyric of beloved poet Friederich Hölderlin, toward an improvisational performance (public improvisation session) with their instruments: piano and voice.
The lyric they chose by Friedrich Hölderlin is “An die Unerkannte”.

An interdisciplinary performance inviting the audience to percive and flow towards the interior landscapes and the exterior landscapes.

The two artists created a composition in 4 mouvements about Landscape as an intimate and itnernal/external fascination, surronding us and moving deep inside us. When performed the piece transforms through improvisational means, generating with each performance, new versions of the work itself.

4 musical settings based on the same poem, a kind of meditation, recognitions which indicate special trajectories about different moods, different moments of the day, about different lights, different possibility in the same second – thriving on the tension created between Harnik and NicoNote in the improvisational space.

In the mood for Landscape can be performed in several unconventional spaces, it will be illuminated by candle light or with other very simple smart effects, to create a very intimate and enveloping listening atmosphere.

“Kennst du sie, die selig, wie die Sterne,
Von des Lebens dunkler Wolke ferne
Wandellos in stiller Schöne lebt,
Die des Herzens löwenkühne Siege
Des Gedankens fesselfreie Flüge,
Wie der Tag den Adler überschwebt?”

Friedrich Hölderlin: An die Unerkannte

ELISABETH HARNIK – free-lance composer and pianist, was born 1970 in Graz and lives in Gams (County of Styria/Austria). She studied classical piano and later – with Beat Furrer – composition at what is now the University of Music and Performing Arts, Graz.
The „repertoire“ and it´s extensions in composition and improvisation is her central focus. Harnik works within an electro-acoustic inspired sound-world, using unique preparations and extended techniques.
Commissions/Performances include: Easterfestival Graz, Hörfest Graz, Styrian Chamber Music Festival, Munich Opera Festival, Composers’ Forum Mittersill, Festival 4020 Linz, Soundings Festival London, Opera Graz, Musikprotokoll/Steirischer Herbst, E_MAY Festival Vienna, Wien Modern, Klangspuren Schwaz, Transart Festival Bozen, Estonian Harpsichord Society Festival a.o.She has worked with renowned artists and ensembles such as the Ensemble Zeitfluss Graz, the Ensemble 09 Linz, the Ensemble MusikFabrikSüd, the Radio Symphony Orchestra Vienna, the Klangforum Vienna, the Ensemble “die reihe“ Vienna, the Ensemble Kontrapunkte Vienna, the ensemble Reconsil Vienna, the Ensemble PHACE Vienna, the Ensemble Platypus Vienna, the Haydn-Trio-Eisenstadt, the Trio AMOS Vienna, the Trio EIS Vienna, the Thürmchen Ensemble Cologne, the Fidelio Trio London, the Cantus Ensemble Zagreb, the Ensemble mise-en New York and various national and international soloists. Harnik received a great number of rewards and prizes and her compositions are performed regularly at concerts and festivals for contemporary music. In addition to her work as composer she appears as improvisator at various national and international festivals such as the V:NM-Festival, the Ulrichsberger Kaleidophon, the Nickelsdorfer Konfrontationen, the Artacts Festival St. Johann, the Music Unlimited Festival Wels, the Soundgrube Vienna, the Comprovise Festival Cologne, the Beethoven Fest Bonn, the A L’ARME! Festival Berlin, the Jazz & More Festival Sibiu, the Audio Art Festival Pula, the Krakow Jazz Autumn Festival, the Alpenglow Festival London, the All Ears Festival Oslo, the Umbrella Music Festival Chicago, the Okka Fest Milwaukee, the Musicacoustica Beijing, the SoundOut Festival Canberra/AUS, the Jazz na Fábrica Festival São Paulo/Brazil a.o. Besides her solo performances she is member of many ensembles for improvised music (Barcode Quartet, Plasmic Quartet, Wild
Chamber Trio, DEK, ReDDeer a.o.) and has performed with numerous internationally respected musicians. She has toured in Europe, USA, China, Australia and Brazil.

NICONOTE – created by Nicoletta Magalotti in 1997.
She is an italian/austrian indipendent artist based in fellinian Rimini – she has developed a personal language that links music and performance and creates a mobile and interdependent working team. She operates in multiple areas related to music , theater, installations and night- clubbing. Autodidacted, approaching theatre at a very young age, meeting teachers like Yoshi Oida (Peter Brook), Woytek Krukosky (Akademia Ruchu) , Enrique Pardo (Roy Hart Theater). After she studied at the school of vocalist Gabriella Bartolomei (Ouroboros, Berio, Sciarrino) in Florence where Nico lived for several years 1989-1993. During the 80s she is the lead singer of the new wave italian band Violet Eves (Ira Records/ France Barclay/ Japan Philips) playing at Le Printemp Burges Festival, Trans Musicales in Rennes, La Cicale and le Baindouches in Paris , Posthof Linz, U4 Wien, Tessalonnikki Biennale. Records distribution in Italy, France and Japan. In the 90s she starts inventing unconventional spaces, including the Morphine (inside italian renowned Cocoricò club) that becomes a place of performative and musical experimentation and at the same time working as actress as well, directed by Romeo Castellucci of Societas Raffaello Sanzio. After she worked also with the parisian director Patricia Allio, and Maurizio Fiume, Francesco Micheli, Fabrizio Arcuri and others. She presented her sound performance at Fondation Cartier Pour l’Art Contemporain in the Soiree Nomades in Paris in June 2010 and she’s invited in many international art and performing festivals in Europe and Italy. From the 80s till now she has collaborated with musicians coming from very different music fields from Patrizio Fariselli of Area , italian prog research , to Mas Collective, electronic producers and djs, from songwriter Teresa De Sio to russian classical pianist Irina Tchpirko, from Mauro Pagani violinist and producer to jazz Vibraphonist Al Di Puccio Her last album is composed with the french producer Mikael Plunian (Shane Cough , Fatale): Alphabet Dream (Cinedelic Rec/Audioglobe 2013) a kind of electronics/blues with vocal research. In 2015 she presented in Austria a site specific concert called Still the butcher project produced by Festival Der Regionen 2015/ Ebensee Shift . Currently she has just finished the European’s tour of Oresteia (an organic comedy?) of director Romeo Castellucci, again on stage after 20 years in her role of this legendary 1995 play, where NicoNote played a very powerful and vocally unique Cassandra. Now she faces her Emotional Cabaret a concert-suite, premiered in april 2014 in France with the sustain of La Fonderìe of Le Mans (F) – release album 2017 for DocLive label . She’s giving regularly courses on Voice and Performing Art collaborating with several art associations in Italy and France. She has toured in Europe, Canada, Israel, Argentina, Brazil.

Tatsuru Arai

Sound Visual performance „Matters-ton“ is 2nd work as Hyper Serial Music project,that is extended classical Serial Music as music History.This work is developed and evoluved more complex and higher quality as Hyper Serial Music than frst work „Arkhitek-ton“that is imagined relation between Sound and Matters on the three Dimentions Space and Simulation for relation of Matter/energy in the Universe.,that will be elucidated part of Principle on the Physical side of Universe/human perception.

Tatsuru Arai (1981)
lives and works in Berlin,Germany 2003-2009 Bachelor and Diplom studies in composition with Akira Nishimura,Toshio Hosokawa and Sunao Isaji at Tokyo college of Music.2007 in composition-class with Bernhard Lang at Implus in Graz.2009-2013 MA-studies Compostion, Computer-programming and Multimedia-art with Wolfgang Heiniger at the Academy of Music “hanns Eisler” Berlin. His works are performed in Over 40 cities in Europa, and Argentina, Mexico,Colombia,Tunisia,Japan etc. Opera „Vitruvian“ was performed Berlin und London that innovativ contemporary Opera,that to integrate from classical Music to new Technology.His main artistic Thema is to integrate from classical compositions to new technology, as „TRANS-AGES MUSIC“,and to present the fundamental physical nature of the universe in the form of perceptional experiences, that could say aesthetics of “geometric structure”. The human perception of sound, a physical phenomenon, infuences human beings and the “geometric structure” is a fundamental pillar that allows us to understand the true nature of the universe. Creating a way to experience even a part of the nature of the universe through sound. From 2016 he is composing Hyper Serial Music that will add innovation to the principle of Serialism three-point: “structural”, “complex” and “noisy”. Hyper-Serial-Music is the algorithm music generated by state-of-the-art technology such as Artifcial Intelligence than by native human intelligence only. He is performing this work in over 30 cities.

Sep 072017
Dec 07, 2017 | Thu | 17年12月07日
8:00 PM | 20時00分

Manuel Knapp

Der Österreichische Alchemist Manuel Knapp ist aktiv in Komposition, Computeranimation, bildende Kunst und noch einiges mehr. Er tourte in Europa und Asien mit Schwerpunkt Japan, Tokio.
Das 2016 veröffentlichte Album “AZOTH” produzierte er rein digital ausgehend von freien Audio plug-ins (synthesizer, sound prozessoren, filter) und packte es auf limitierte 15 Stück Vinyl. ein kompromissloses Werk das auch in digitaler Form online zur Verfügung steht. immer fordernd und fokusiert bewegt er sich zwischen harsh noise, drones, melodien und frequenzen.
seine arbeiten sind archaisch und elementar; seine live-sets sensorische fluten, die uns augenblicklich einnehmen und unseren körper und unsere sinne direkt adressieren: radikal, herausfordernd und unausweichlich.
Manuel Knapp ist fixer Bestandteil der Underground Noise Szene in Tokyo wo er unter anderem mit Hiroshi Hasegawa und Rohco Hasegawa die legendäre Noise Formation C.C.C.C. unter dem neuen Namen „Cosmic Coincidence“ wiederbelebt hat.
Internationale Konzerte mit Zbigniew Karkowski, Astro, Government Alpha, Tetsuo Furudate, Keiko Higuchi, Kelly Churko, Daniel Buess, uvm.


„Krakspeech“ — ein live – Hörstück von und mit Jürgen Palmtag a.k.a. TESTPILLOTT — ein Hybrid aus Sprechimpro/analog/digital/sich
trauen, in offenen, unsicheren Möglichkeiten zu denken und zu handeln/ Sampling/Song/Störung/Krach/Puls /Hörkino , gut organisiert und aus dem Ruder laufend…

TESTPILLOTT: voc./harp/laptop/mics/effects/
Der 1951 in Schwenningen geborene Jürgen Palmtag hat an der Hochschule der Künste in Berlin studiert und lange Zeit fast ausschließlich als Maler und als Grafiker gearbeitet. Seit den 1990er Jahren verstärkt sich der musikalische Anteil seiner schöpferischen Arbeit. Palmtags Schlüssel zum musikalischen Tun liegt in genau jener elastischen Leichtigkeit, die durch bewusste Dilettanz in Kombination mit dem unerschrockenen Mut zur bekennenden Blamage entstehen kann. Ein von Spezialistentum und Erfüllungsdruck befreites Gefühl, das zu Höhenflügen der anderen Art inspiriert und Genialität und Absturz nie zweifelsfrei klären kann.

Aug 162017
Nov 16, 2017 | Thu | 17年11月16日
8:00 PM | 20時00分

Ilia Belorukov & Lauri Hyvärinen

Ilia Belorukov (Saint-Petersburg) – alto saxophone or fluteophone, objects, electronics
Lauri Hyvärinen (Helsinki) – acoustic or electric guitar, effect pedals, objects

Ilia Belorukov and Lauri Hyvärinen met in 2012 at a jam session in Helsinki, a starting point for their long-term friendship and work. Together they played with a variety of musicians before starting their duo. Starting from free improvisation traditions and continuing with quiet contemporary composition, the musicians now approach their music from a more compositional point of view, carefully choosing each sound they produce. The range of sounds used is very wide, from using the surfaces of acoustic instruments such as saxophone or guitar to pick up sounds, to feedback in effect pedals chain or software/hardware modular synthesizer. The duo has several releases on Pan Y Rosas Discos (USA), Rypistellyt Levyt (FI) and Spina!Rec (RU) labels. They will be on their first big tour in November 2017 after some smaller ones in Finland, Russia and Baltic States.


Gigaldi gliedert sich in vier Parts, die vier Jahreszeiten. Die jeweiligen Parts wurden jeweils in der korrespondierenden Jahreszeit aufgenommen, damit die Stimmungen und Klänge möglichst gut in die Musik adaptiert werden konnten. Die ersten Releasekonzerte wird gratt den herbst mit der e-gitarre präsentieren.