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


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.


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


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.


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.



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.

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


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.



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.


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.


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.