Nov 072018
 
Feb 07, 2019 | Thu | 19年02月07日
8:00 PM | 20時00分

GEYSER

“Annabelle Playe deploys a very expressive music with a great dynamic playing with skill of contrasts and not hesitating to put the listener in a space in tension, but which is never an inextricable space. On the contrary, she offers us a sound world in constant mutation.” François Bonnet, Director of INA-GRM and Presences Electroniques Festival (Paris)
“Annabelle Playe plays a lot with the saturation of the sound which inevitably involves the viewer in her performance (as if she was trying to push the limits of our hearing) and at the same time there were very hypnotic, meditative moments (as if she sought to provoke an experience of experience through sound.)” Nina Jeay, Babel production, Crak Festival (Paris)

http://www.annabelleplaye.com/

Oct 172018
 
Jan 17, 2019 | Thu | 19年01月17日
8:00 PM | 20時00分

Acre

Acre works on forms, images and places of music and listening.
The group’s sound is made up of some recognizable music influences, and focuses on the way these influences are dealt
with, letting them “interfere”: the impro praxis of free jazz, the real time elaboration of synthetic sounds, the timbre and
sign research borrowed by academical western music.
After the debut album with Megasound records we are releasing a second album with the portuguese Creative Sources Rec.
The artistic proposal is not so common, but we love to produce what we feel like a necessary and contemporary art form.

Ermanno Baron – drums – objects
Ginomaria Boschi – electric and prepared guitar
Marco Bonini – laptop, live electronics

http://www.acre.rm.it/

The International Nothing

Kai Fagaschinski: clarinet & composition
Michael Thieke: clarinet & composition
The International Nothing is a Berlin-based psycho-acoustic clarinet duo formed by Michael Thieke and Kai Fagaschinski in 2000. They collectively compose multilayered sound sculptures using multiphonics, beat frequencies and difference tones as an integral part of their language. Both musicians are well known as improvisers but in this project they develop and perform exclusively their own compositions.
Every four years the duo releases an album on the Japanese Ftarri Label. In 2018 they are presenting their fourth duo album In Doubt We Trust. While each of the previous releases consisted of several shorter pieces the duo is now going epic for the first time. The new album is made of a single work of 37 plus minutes. 2 ½ years of deep sonic research in seclusion not only yielded a formal change, but also revealed new and yet unheard acoustic scenarios in slow pace and of fragile beauty.
The duo played concerts all over Europe, North America and East Asia, including Donaueschinger Musiktage (2007), Konfrontationen (Nickelsdorf 2008), Experimental Intermedia (New York 2009), Maerzmusik (Berlin 2009), Serralves em Festa (Porto 2010), Internationale Ferienkurse für Neue Musik (Darmstadt 2012), Météo Festival (Mulhouse 2012), Festival International de Musique Actuelle De Victoriaville (2015), Music Unlimited (Wels 2015), Ftarri Festival (Tokyo 2015), and Borderline Festival (Athens 2017).
Together with Christof Kurzmann and Margareth Kammerer the clarinet twins form the experimental pop band The Magic I.D..

discography:
The International Nothing – Mainstream (Ftarri 2006)
The International Nothing – Less Action, Less Excitement, Less Everything (Ftarri 2010)
The International Nothing – The Dark Side Of Success (Ftarri 2014)
The International Nothing (… and something) – The Power Of Negative Thinking (Monotype 2016)
The International Nothing – In Doubt We Trust (Ftarri 2018)
The Magic I.D. – Till My Breath Gives Out (Erstwhile Records 2008)
The Magic I.D. – I’m So Awake / Sleepless I Feel (Staubgold 2011)

nichts.klingt.orgftarri.com
theinternationalnothing.bandcamp.com
kylie.klingt.org
www.michael-thieke.

Sep 202018
 
Dec 20, 2018 | Thu | 18年12月20日
8:00 PM | 20時00分

Tacet Tacet Tacet

Tacet Tacet Tacet is the solo project by Zedde Francesco (also Tonto, Ex A.N.O., Ex Butcher Mind Collapse) born in 2014 as an audiovisual collective. “Perpetual” is the fourth release after the first album-soundtrack “Embodiment”, “Cuncurrence” Split with The Star Pillow and “Parade” Split with M.U.G.
Zedde combines synthetic carpets and complex textures of concrete sounds to create suggestive soundscapes where voices, instruments and rhytmical elements floats.
The first showcase of Perpetual (side A) has been acted on the April 20, 2016 on a site-specific sound system installed on the Tiber river in Rome, with 8 channel spatialization in a space 530×80 m large, on a 42000 watt speaker system, during “Liquidi Volumi” by YCC, a side event of the William Kentridge’s presentation of “Triumphs and Laments”.

https://tacetacetacet.bandcamp.com/

Lercher & Nørstebø

daniel lercher – laptop
henrik munkeby nørstebø – posaune
Der österreichische Musiker & Komponist Daniel Lercher und der norwegische Posaunist Henrik Munkeby Nørstebø arbeiten seit 2011 an ihrem Duo-Projekt, in dem sie mit großem Fokus auf die Verschmelzung des Klanges ihrer beider Instrumente agieren.
Die reduktionistisch platzierten Klänge unifizieren sich dabei derart homogen in ihrer räumlichen Ausdehnung, dass eine Differenzierung der elektronischen & akustischen Klangquellen an vielen Stellen schwierig wird.
Durch ein eigens dafür programmiertes elektronisches Instrument wird das Klangspektrum der Posaune in Echtzeit analysiert & die so gewonnen Daten auf elektronische Syntheseverfahren projiziert (Sinustöne, gefiltertes Rauschen, Resonatoren).
Experimentelle Spieltechniken an der Poasaune & Analyse-bezogene Klänge der Elektronik strukturieren eine fortlaufende Stille,
die im Wechselspiel mit den erzeugten Klängen neue Konnotationen entwickelt.
2014 veröffentlichten sie ihr erstes Album namens ‘TH_X’ auf dem österreichischen Label ‘chmafu nocords’, welches von zahlreichen internationalen Rezensenten hoch gelobt wurde.
Während einer gemeinsamen Residency im Oktober 2017 auf der norwegischen Insel ‘Sula’ entstanden nun die Aufnahmen zu ihrer zweiten Veröffentlichung auf Schallplatte, gemeinsam mit der Harfinistin Julie Rokseth als Gastmusikerin.
Die neue LP wird Ende des Jahres auf dem renommierten norwegischen Label ‘SOFA’ erscheinen.

http://nocords.net/shop/cd/daniel-lercher-henrik-munkeby-norstebo-th_x/

Sep 072018
 
Dec 07, 2018 | Fri | 18年12月07日
8:00 PM | 20時00分

PLENUM

PLENUM zeichnet sich durch das Spiel auf Bassblockflöten der Marke Paetzold bei Kunath aus. Die Mitglieder des Ensembles spielen ausschließlich auf diesen quadratischen Instrumenten deren Zusammenklang an den einer Kirchenorgel erinnert.
Dem Design von Orgelpfeifen nachempfunden, wirken die Flöten recht futuristisch, sehr technisch und hart. Sie bieten den Spieler_innen ein mannigfaltiges Klangspektrum, das sich von sphärischen Luftklängen, vollen Tönen, bis hin zu kühlen geräuschhaften Sounds erstreckt.
Bei Interpenetration spielt PLENUM eine Auswahl an im Ensemble konzipierten Stücken oder besser Klanginseln, die den außergewöhnlichen Klang der Instrumente in den Mittelpunkt stellen.
Angélica Castelló, Gobi Drab, Katrin Hauk, Thomas List, Steffi Neuhuber, Reni Weichselbaum

http://plenum.klingt.org

STIGMATIC DESTRUCTION COLLECTIVE

Musique concréte with DIY instruments
This is the new music project of Rovar17 & Syporca Whandal. Our focus on the linearity of some mechanical optic-physical laws based objects. These are homemade DIY musical instruments, during the music we’ve modified the output signal to the ritual vortex. Nagy Zopán is connecting to us during the tour with his Sound Poetry & performance art as well as his traditional folk instruments (zither, cowbell) that he played on a special shamanic way (with horse tooth and bones).
We are the gods of the lambs! The unseen substance manifests itself in the darkness of the instinct by us. The seeds of Lucifer’s doubt sink into the euphoria of the mud by us. We dream of getting home while we fall to the bottom of the flatness of moldy walls. our evening prayer is: only man can give birth to a god for the throne.

Experimetal noise with body art performance
Pairing noise music with performance art, It often works with astonishing musical and visual elements. Caution! This show is suitable for disrupting tranquility. We do a wery massive above 18 years body art performance – that may happen we use nude female body, black paints and blood. Rovar17 is responsible for music, while the performers are Syporca Whandal and Zopán Nagy.
MaN from Pent Leditgrant Memorial Orchestra frames the event with a slide show as a visual artist.

die!hundianer

Einerseits als Sänger der Grazer Post-Rock-Formation „Code Inconnu“ und andererseits als Produzent eigenwilliger EDM gibt es für den autodidakten Steirer kaum Berührungsängste hinsichtlich der musikalischen Nischen in welchen er sich bewegt. Auch Musik für Theater (TaO! Graz) und Sound
Collagen für den englischen Schriftsteller William Osborne für dessen Lesungen gehören zum Repertoire des Künstlers. Das experimentelle Kunstprojekt
„Timmi der Hund“ mit Alfred Lenz, sowie das Noise Wave Projekt „Inner Tetra“
mit Markus Sworcik sind weitere Stationen auf diesem Weg.

Das aktuelle Soloprojekt „die!hundianer“ verwendet Stimme und Computer
als zentrale Musikinstrumente um damit unkonventionelle Popmusik mit eben solchem Heimatbezug herzustellen.
Durch das Kreieren einer Kunstfigur (Verkleidung, Performance) eignen sich die Darbietungen auch für Vernissagen und Interventionen im öffentlichen Raum.
Die Texte sind durch starken Österreich-Bezug geprägt und werden in ostmittelbairischem Dialekt, dem sogenannten „Wienerischen“ vorgetragen.

Begonnen hat die musikalische Laufbahn von Hannes Schauer im kulturellen Melting Pot London, wo der Steirer mit dem deutschen Soundkünstler und Labelbetreiber Alexander Wendt einmal monatlich einen Abend mit elektronischer E- und U-Musik mit Gastkünstlern aus aller Welt veranstaltete.

http://www.soundcloud.com/die-hundianer

Sep 062018
 
Dec 06, 2018 | Thu | 18年12月06日
8:00 PM | 20時00分

Serpentu

Serpentu is a project by three Italian musicians (Mirko Maddaleno, Lorenzo Cappelli, Alessia Castellano, that have been playing for several years in the italian underground music scene with different bands. The project was born in summer 2017, and in December of the same year Serpentu recorded their first album. In this range of time the band has been working both on the arrangements of the songs and on improvisations that deeply influenced the final form of the album. The album has been recorded and mixed on the Tuscany hills, and the whole process has been handled completely by the band. After the live recording of every song, the second step of has been all about recording and manipulating sounds; lately these sounds have become a kind of texture that connects the songs to the fragments of the improvisations.
Eight raw, slow and obscure songs that follow one another as different ambients shift on the background. While Alessia Castellano’s cello swings between dark drones and romanticism, the two guitars sound as two different instruments: one is big, rich and liquid, the other is percussive, skinny and repetitive.
The three voices define the shape of the songs and form a single sound wave that goes from whispers to screams, from sweet melodies to dissonance.
After the release of the album, the band has been working for the Festival delle Colline on a live soundtrack for the Carl Theodor Dreyer’s 1932 masterpiece “Vampyr”.

https://serpentu.bandcamp.com/

DIE HOCHSTAPLER
present „The Quick Brown Fox Jumps Over The Lazy Dog“

Pierre Borel – alto saxophone
Louis Laurain – trumpet
Antonio Borghini – double bass
Hannes Lingens – drums

After devoting their debut to the concepts of Anthony Braxton and Ornette Coleman and inventing the collective alter ego Alvin P. Buckley as the mastermind behind their second album, Die Hochstapler (The Impostors) have with their third release officially declared Alvin P. dead and arrived at a music entirely their own. Based on questions of language and communication, their music is developed collectively in extensive rehearsal periods. Card games, alphabets, mathematical structures as well as texts from Beckett to Kerouac form the basis for radically free discourse. Four independent voices, free to suggest, pretend, agree, disagree or ignore at any time of the game, collectively build up a rhetoric full of hints and references, playful and ever changing.

Active since 2010, Die Hochstapler have played at venues and Festivals such as Météo Mulhouse, Jazz d‘Or Berlin, Cable Festival Nantes, Hagenfesten and Umlaut Festival Berlin.
The “extensive aesthetics” (freiStil) of their “excellent album” (Citizen Jazz) “The Braxtornette Project” (Umlaut Records 2013) has been perceived as “sensational” by austrian magazin skug and its successor “The Music of Alvin P. Buckley” (Umlaut Records 2015), according to allaboutjazz, “swings as hard as early Ornette and Don Cherry’s interlocking horns mashed up with the radicalism of Jimmy Giuffre’s ensembles”.

http://www.hanneslingens.de/index.php/projects/die-hochstapler/

Christof Ressi & Szilard Benes

Szilard Benes (HU) – Klarinette/Bassklarinette
Christof Ressi (A) – Elektronik/Video
Die beiden Musiker verbindet die Lust an der Grenzüberschreitung.
Während Szilard Benes sich auf der ständigen Suche nach der klanglichen Erweiterung seines Instruments befindet und Inspiration vor allem aus der Neuen Musik und dem Free Jazz, aber auch aus der Klezmer-Musik schöpft, bastelt Christof Ressi, wenn er nicht gerade komponiert oder arrangiert, an live-elektronischen Setups und Computerprogrammen, die ihm einen spontanen und direkten Umgang mit Klang und Bild ermöglichen. Gemeinsam suchen sie nach neuen Ausdrucksmöglichkeiten im Aufeinandertreffen unterschiedlicher Medien und vertreten dabei einen möglichst offen Begriff davon, was (noch) Musik sei.
Bei den Stücken handelt es sich meist um Konzeptimprovisationen – darunter die audio-visuelle Performance “Borderline”, eine Studie über das expressive Potential psychischer Ausnahmezustände.

www.christofressi.com

Aug 152018
 
Nov 15, 2018 | Thu | 18年11月15日
8:00 PM | 20時00分

Michal Libera – Lethe. Opera concrete

Michał Libera (1979) is a sociologist working in the sound and music field since 2003, recently, mostly as a dramatist and librettist in sound essays and other experimental forms of radio art and opera. Recent shows include “Cosmos-Cosmos” based on Witold Gombrowicz’s work (with Lê Quan Ninh, Ingar Zach, and Tomasz Nosiński), “Snow” based on Ted Hughes’ work (with Hilary Jeffery and Gianpaolo Peres), “Kalkwerk / Studium” based on an unwritten treatise on hearing in “Kalkwerk” by Thomas Bernhard (with Pete Simonelli, Hilary Jeffery, Andrea Belfi, and Ralf Meinz). Other collaborators include Barbara Kinga Majewska, Martin Küchen, Rinus van Alebeek, and others. Libera also runs the conceptual pop label Populista dedicated to mis- and over- interpretations of music as well as series of reinterpretations of music from the Polish Radio Experimental Studio (Bôłt Records). He curates various concerts, festivals, and anti-festivals, music programs for exhibitions and received honorary mention at the 13th Venice Architecture Biennale. Other collaborators include Donaueschinger Musiktage, Huddersfield Contemporary Music Festival, National Art Gallery Zachęta, Centre for Contemporary Art in Warsaw, Polish National Museum (Królikarnia), Galerie West in The Hague, and Satelita in Berlin. His essays on music and listening “Doskonale zwyczajna rzeczywistość” were published by Krytyka Polityczna. Libera is 1/3 of “Grupa Budapeszt.”

http://patakaind.blogspot.com
http://soundcloud.com/michal_libera

Ana Kravanja & Samo Kutin

Samo (hurdy gurdy, self made instruments) and Ana (violin, self made instruments) combine non idiomatic improvisation with imaginary folk into a special music travel with unexpected turns in soundscapes.

http://www.sploh.si/samokutin.html