Feb 172018
 
May 17, 2018 | Thu | 18年05月17日
8:00 PM | 20時00分

The Forestry Commission

Biliana Voutchkova, violin/voice
Alexander Frangenheim, double bass
Antonis Anissegos, piano

The trio investigates different forms of improvisation such as following or resisting the creative impulse, relaying on flow and the extremes of it, manipulating or ignoring the sense of timing, spontaneously changing solo-duo-tutti configurations as well as a three-voiced continuous “perfect counterpoint” depending on musical parameters like density, fluctuating tempi or sound-noise-conglomerates

http://www.bilianavoutchkova.net/the-forestry-commission.html

Patrizia Oliva

Patrizia Oliva is a singer, autor, improviser of experimental music that crosses electronics, electro-acoustic, free jazz and performing arts. Her research is aimed on a redefinition of contemporary singer.
She has played with many musicians, among other with Gino Robair, Stefano Giust, Pamelia Kurstin, Edoardo Marraffa, Tommy Greenwood, Martin Mayes, Tristan Honsinger Linda Sharrock, Silvia Bolognesi, Alessandro Bosetti and many others.

http://www.patriziaoliva.wordpress.com/

Feb 032018
 
May 03, 2018 | Thu | 18年05月03日
8:00 PM | 20時00分

CocoonCrash

CocoonCrash is a project of an Austrian musician, composer, and performer Daniela Fischer.
It is based on the idea of transformation and on the premise that the only constant source of life is movement.
The violin is used as a sound generator, analogous to a synthesizer, engaging in an electro-acoustic dialogue with the change itself.
Analog and digital effects are used as translators of the acoustic sound of the violin.
The sounds overlap to form patterns, motifs, melodic and rhythmic structures that are then developed in various ways.
The actual outcome reflects that everything is constantly in motion and is always slowly morphing into something new.
This makes space for other artists to join in, react and/or transform themselves, intensify the experience and open it up for the listener to be perceived from another’s perspective.
The cocoon symbolizes the process of transformation taking place invisibly from the inside until the crash breaks our perceptions to create our perspectives and reveals new forms.

http://www.cocooncrash.org/

Jakob Schauer

Jakob Schauer ist ein in Wien beheimateter Klangkünstler, Produzent und DJ und begibt sich mit seinem Soloprojekt in die akustischen Welten der Drone- und Experimentalmusik. Mit komplexer Algorithmik erzeugt Schauer Klangflächen mit variierenden Stimmungen, tonaler als auch atonaler Art. Weiters ist er Mitglied des „Elektroakustischen Kammermusikensembles“ (EaKmE), das sich auf improvisierte elektroakustische Musik spezialisiert und Organisator die Konzertreihe “Wow! Signal” in Wien. In seiner Musik erkennt man seinen Enthusiasmus für Experimente und Improvisation, sowie seine Liebe zu Beats und Bass.

Jakob Schauer is a Vienna based sound artist, producer and DJ and with his solo project he works in the acoustic field of drone and experimental music. Using complex algorithms Schauer creates layers of sound in variable moods in tonal and atonal ways. Further he is a founding member of the „Elektroakustischen Kammermusikensembles“ (EaKmE), which focuses on improvised electroacoustic music and organizer of the concert row “Wow! Signal” in Vienna. In his music his enthusiasm für experiments and improvisation, as well as his excitement for beats and bass is recognizable.

https://jakobschauer.wordpress.com/

Jan 192018
 
Apr 19, 2018 | Thu | 18年04月19日
8:00 PM | 20時00分

Miman

Miman is an improvising trio consisting of fiddler Hans Kjorstad, guitarist and clarinetist Andreas Røysum and bassist Egil Kalman; three of the most distinct and active young voices on the thriving Scandinavian improv scene. You might have heard them in collaboration with people like Tobias Delius, Tristan Honsinger, Axel Dörner, Frode Haltli, Håkon Thelin, Jasper Stadhouders, Henrik Nørstebø, Adrian Myhr, Frode Gjerstad, Christian Wallumrød and Rhys Chatham, or in a plentitude of bands covering the spectrum from folk music to noise. As a trio their sound is shaped by their diverse backgrounds and influences; Norwegian, English and Indian folk music blends seamlessly with sentiments aching to free jazz and contemporary music in an organic fashion that steers clear of the dogmatic.

The trio has toured all over Europe the last year, and in April 2018 they will release their debut album and keep spreading their sound across the continent.

http://www.mimantrio.com/

John Andrew Wilhite

John Andrew Wilhite is a composer and double bassist currently living in Oslo, Norway. After his studies, John Andrew returned to New York where he worked with notable musicians such as Derek Baron, Michael Evans, and Elliott Sharp. In Europe, he works with Brad Henkel, Ståle Solberg, Noah Punkt and Nana Pi Aabo Larsen, among many others. He also writes opera and incidental music, collaborating often with Norwegian dramatist Finn Iunker.
 
His compositions and arrangements have been performed at series and festivals such as Interpenetration (AU), Sacred Realism (DE), METEOR (NO), and the Ultima Festival (NO).
 
John Andrew also performs classical music. Having performed across Europe and in America at venues such as Lincoln Center and the Peabody Institute, John Andrew specializes in contemporary works for double bass, notably those of Stefano Scodanibbio. John Andrew has studied classical double bass with notable teachers including Orin O’Brien, Ira Gold, Francesco Petracchi and Don Palma. He is completing a Masters degree in Double Bass performance at the Norwegian Academy of Music with Håkon Thelin and Dan Styffe.

http://johnandrew.no/

Gigaldi

Frühling / Spring / 春

He’s back. The man, the legend. Johann Amadeus Gigaldi. Playing the flugelhorn. Like a boss!

“Das ganze Doppelalbum” is the first solo release of Gigi Gratt aka Gigaldi. Since 2005 Gratt plays in intense bands like the improvisation trio Nirwakia with Wolf Lobo Eisberg and Martin ‘Hipi’ Hiptmair. At the same time he started with Bernhard Breuer (Elektro Guzzi) the band Tumido. But Gratt also created Gigi’s Gogos, a 13 piece orchestra built around improvisation conducted by Gigi. This project transferred into the GIS Orchestra, an Upper Austrian improvisation orchestra, with up to 30 musicians (organised in collaboration with Waschaecht Wels (Unlimited Festival). Gratt comes from Ottensheim, he is one of the key pillars of Ottensheim Open Air and organises shows for KOMA, a culture association doing shows at changing spaces. He is playing E-Guitar in the post-math-rock quartet of NI, next to BRAAZ a quartet between Jazz and Noiserock, with a lot of space for improvisation. These days Gratt is also playing at DRUMSKI a collective working in a traditional way with (upper-)austrian proverbs. And if he is not involved in new projects, his next other band is ROMANOVSTRA working in a new way with hungarian proverbs.

In 2015 Gratt transferred the idea of a concept recording having every season one piece, giving each season its own instrument. This was also the time he has chosen GIGALDI as his moniker. In winter 2013 he recorded, like every track on “das ganze Doppelalbum”, “winter” in Ottensheim with E-Bass, a dark, close to 16 minutes song. On “frühling”, Gratt uses the flugelhorn, a following composition of TUMIDO’s album “vakuum”, that was completely recored using wind instruments. On the 2nd LP, “sommer” was recored in Schrattenberg in 2016, Gratt uses the Tres, a cuban string instrument and “herbst”, with E-Guitar, he recorded in a gym hall with an amzing acoustica in Vinac, Bosnia. His Tumido fellow Mario Stadler mixed the album at the Goon Studios / Linz / Austria. Mastering done by legendary Alexander Jöchtl aka Audiobomber. The artwork was done by artist Inga Hehn. The liner notes in the album, are written bei Andreas Fellinger of the Austrian Independent zine “Freistil”. Released by Interstellar Records, that collaborated with Gigi for more than 10 Years resulting in the releases of TUMIDO, NI and BULBULTUMIDO.

Jan 052018
 
Apr 05, 2018 | Thu | 18年04月05日
8:00 PM | 20時00分

PGR

non empathetic, annoying, comfortable, honest, unemotional abstract celebration of nonsense since 12-12-12 (NNO action). Medicine for life boredom and isolation from the world. From dynamic to static as-loud-as-possible violence.

http://soundcloud.com/p-pgr

Riccardo La Foresta

Riccardo La Foresta is a drummer, percussionist and improviser that plays with a prepared bassdrum and move far away from drumming.

Among several extended techniques, he mainly uses a unique blowing technique through a self-made wind instrument obtained from a cymbal, treating the drum as a true wind instrument.

It’s called Drummophone and has been officially presented at Tempo Reale (founded by composer Luciano Berio).

Riccardo has played in italy, Swiss, Sweden, Germany, Belgium, Poland, Holland, France and has collaborated with Axel Dörner, Le Quan Ninh, Michel Doneda, Otomo Yoshihide, Sho Shin Duo among many others.
He has recorded on lable such as Setola di Maiale Label, El Gallo Rojo, Troglosound and his music has been broadcasted in Italy, USA, Canada and England.
Active in Modena as a drum teacher and organizers of experimental concert he leads his own avantjazz quartet Kind Of Mosh and is half of Sho Shin Duo, long standing collaboration with reedist Riccardo Marogna.

Riccardo La Foresta on youtube

Dec 152017
 
Mar 15, 2018 | Thu | 18年03月15日
8:00 PM | 20時00分

Bistre

Matthias Müller – Trombone
Guilherme Rodrigues – Cello
Eric Wong – Guitar

Formed by Matthias Müller (trombone), Guilherme Rodrigues (cello), and Eric Wong (guitar), the trio explore multiple dynamics of playing, and utilize sound from noise of attacks to full resonance of their instruments, intervening with each other to create dialogs, tensions, and different spectrum of soundscapes.

http://ericszehonwong.tumblr.com/BISTRE

Pip

Pip is a duo playing improvised and semi-composed pieces of music, with Fredrik Rasten on guitar and Torstein Lavik Larsen on trumpet.
The music is focusing on such elements as small variations in tonal and timbral colour often utilizing just intonation, extended playing techniques and repeating musical patterns.

Sometimes the music includes electronic elements, never abandoning the core sound of acoustic guitar and trumpet as a point of departure.
The duo has existed since 2006, and has since then explored many different approaches to improvised music.

Pip released their first official release on Portuguese label Creative Sources in 2016, and their tours have included countries as Germany, Czech Republic, England and the Scandinavian countries.

Torstein and Fredrik also play together in the band Oker, with drummer Jan Martin Gismervik and bass player Adrian Fiskum Myhr, and in the quartet Volumes with Magda Mayas on prepared piano and Isak Hedtjärn playing clarinet and sax.

www.pipband.com

Dec 012017
 
Mar 01, 2018 | Thu | 18年03月01日
8:00 PM | 20時00分

ff koger-fischer

Present – Option – Decision – Multilog – Reference
2 anaologe feedback systems
Surface – Layer – Space – Texture in Ephemeral

Michael Fischer, feedback-saxophone
Peter Koger, analogue video-feedback (MediaOpera)

Peter Koger works as a video artist, visualist, programmer, interactive and Animation designer and universal media craftsman in numerous art projects, mainly in the field of video and perfomative art. Lecturer at the University of Applied Art, Institute of Visual and Media Art. founding member various initiatives to promote the art of visual artists, co-founder of MediaOpera.
In 1999, Michael Fischer began to integrate the phenomenon of acoustic feedback into his instrumental works and developed an exclusively analog, non-effect-based instrument that uses micro- and macro-movements of the instrument / body, creating texture through vocal intervention, revealing the hidden sonic reflections of the space itself, this space gets shifted, moved, transformed…

http://m.fischer.wuk.at/feedback_saxophone.htm

Annabelle Playe

Sometimes atmospheric, sometimes noisy, harmonic or dissonant music takes us across states that open the perception we have of the world, others and ourselves. Music is played live based on a device made of analogic synthesizers, filters and effects. Sound is waving between electronic and electroacoustic music, some of them made from different sources (voices, concrete sounds) are processed, put into spaces and mixed to analogic.

http://www.annabelleplaye.com/

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

Medea

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.

http://www.setoladimaiale.net/catalogue/view/SM3390
http://www.marcocolonna.com/

Perlin Noise

Perlin Noise is an algorithm which allows computer graphics artists to represent the complexity of natural phenomena in visual effects. It is often used to make computer-generated visual elements – such as object surfaces, fire, smoke, or clouds – appear more natural, by imitating the controlled random appearance of textures in nature.

THE PERLIN NOISE (QUINTET) translates this idea into acoustic terms. The music, written by Alessandro Vicard, embraces the elements of fire, fluid, wind and metals. The quintet combines, it creates transitions. While alternating between structured composition and free improvisation, The Perlin Noise is weaving organic textures from pseudo barock music morphing into freejazz, jumping to techno-Romitelli and picking up a funky Ligeti innuendo on the way.

Die Bezeichnung Perlin noise stammt ursprünglich aus dem visual-arts-Kontext und bezieht sich auf einen Algorithmus, mit dem sich die Komplexität von Naturphänomenen visuell darstellen lässt. Computergenerierte Grafik wirkt dadurch organischer, da kontrollierte Zufallserscheinungen von natürlichen Strukturen imitiert werden können.

Im Gegensatz zu dem aeusserst nützlichen namensgebenden Algorithmus behauptet THE PERLIN NOISE (QUINTET) von sich selbst, keine Funktion zu erfüllen. Wir unterstellen mindestens Selbstzweck, erahnen aber tatsächlich Genuss auf höchster musikalischer Ebene.

Alessandro Vicards Kompositionen fuer THE PERLIN NOISE (QUINTET) wechseln zwischen vorgegebener Strukturiertheit und freier Improvisation. Pseudo-Barock verwandelt sich hierbei in Freejazz und geht dann in Techno-Romitelli über, während zwischendurch ein funkiges Ligeti-Zitat eingewoben wird.

http://rarafestival.com/

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

Cilantro

Von wegen mikro. Im Borderland (mikroton cd 53) von CILANTRO erwarten einen hypersome Raupen, Grillen, groß wie Ochsenfrösche, Walfische auf Rädern, Gray-cap ‘Mold’, wamperte Figuren, die Big Dom oder Prince Tubby(‘Prinz Wompe’) heißen könnten. Weird Sonic Fiction, wie “Melancholie des Widerstand” (aka “Die Werckmeisterschen Harmonien”), “City of Saints and Madmen” oder “Dunkle Stadt Bohane”, wahrhaftig vertont. Angélica Castelló & Billy Roisz reiseführen nach ‘Smoketown’ (nach Ambergris…) mit Rauchspuren von Paetzold-Blockflöte, Ukulele, E-Bass, Organ, Computer, Tapes, TVSamples und Electronics, ohne Scheu, als narrativ und phantastisch (miss)-verstanden zu werden, wenn sie da wummern, brausen und krimskramsen, überzogen mit einem knisternden Geräuschfilm. Aber auch nostalgischer und hauntologischer Patina, wie bei ‘Calypsoblues’ und ‘Lullaby for a Ghost’, wo das Blau und Immergrün zu Evergrey verrauscht, verdüstert und verflimmert sind.
(Review von Rigobert Dittmann, Bad Alchemy)

http://mikroton.net/recordings/mikroton-cd-53

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.”

The album “BRASSPHEMY SET IN STONE”:
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.

http://www.ottonepesante.it/

Aquifer

Aquifer is a solo electronic performance by Tomer Baruch in which he explores the possibility of a made-up nostalgia. By live sampling and processing toys and vintage organs, the music is retaining a hint of familiarity in a futuristic soundscape; shifting from naive to abstract and vice-versa; projecting the illusion of a longing to something that never were…

http://aquifer.tomerbaruch.com/