Mar 122017
Jun 12, 2017 | Mon | 17年06月12日
9:00 PM | 21時00分

In Zusammenarbeit mit Gottrekorder und Forum Stadtpark

The Japanese New Music Festival is a showcase tour in which the trio of Tatsuya Yoshida (Ruins), Makoto Kawabata (Acid Mothers Temple) and Atsushi Tsuyama (ex. Acid Mothers Temple) perform as multiple different units. The tour will return to Europe May 2017, with our three heroes performing as 8 separate groups. The groups mix and deconstruct all kinds of music from psychedelic rock, prog, jazz, classical to contemporary composition, experimental, and ethnic music. Their sound is unashamedly uncategorizable, with undercurrents of Frank Zappa and his belief that humour was an essential part of music. Each of the members brings a rich wealth of musical learning, knowledge and experience. The line-up for this year’s tour will be: Ruins Alone, Acid Mothers Temple SWR, Akaten, Zoffy, Zubi Zuva X, Psyche Bugyo, Atsushi Tsuyama Solo, Makoto Kawabata Solo.

Tsuyama is best known for his monster bass in Acid Mothers Temple, but he also has amazing technique of guitar and vocal. his He has travelled around the world and accumulated the traditional styles of guitars/vocals in europe and asia. he adds his own interpretations and lyrical sense to create a beautiful but odd “fake traditional” musical world. recently he developed a new figure called “prog.rock > blues-ization plan”. he dismantle the masterpiece of progressive rock, and restructure it as an impromptu blues.

Kawabata Makoto is best known for his speed-demon noise-fuzz guitar in Acid Mothers Temple, but he is also widely active as an unparalleled drone guitarist. Drawing upon a huge reservoir of original techniques including metal glissando and bow-work that can summon up the sound of a string ensemble or orchestra, his work in this area cannot be simply categorized as minimal, drone or experimental. You’ll find it hard to believe that a single guitar can create sonic worlds of such meditative and elegant depth.

RUINS ALONE (Yoshida Tatsuya solo)
Yoshida is one of the most innovative drummer/composer/improviser in Japan’s new music scene. pioneer of Drum & Bass duo RUINS was founded by Yoshida in ’85 . Tunes are complicated and mysterious, and songs are sung in the language of their own invention. It’s high-tension, wild, heavy, speedy, acute, and powerful tremendous ensemble never sounds like they are only two players. now RUINS had no bassist and currently he has been playing as RUINS ALONE. playing RUINS songs with sampling bass.

ZUBI ZUVA X (Yoshida/Tsuyama/Kawabata)
Eccentric poly-rhythmic a cappella ensemble. It covers from Gregorian chant to ethnic music, to do-wop to hardcore screaming, heavily using irregular rhythms and polyrhythm. All sorts of ideas and aberrant musicality overturn the image of a cappella. their totally meaningless lyrics and desperate performances throw the audiences into the abyss of the laughter and admiration. it makes the concept of “singing ability”nonsense.

AKATEN (Tsuyama/Yoshida)
Formed in 1995 with the motto of “irresponsibleness” and “perfunctoriness.” They easily free themselves from the spell of the traditional seriousness of the art. Using daily commodities like scissors, toothbrush, zipper, camera, and plastic bottle as percussions, and shouting their brand names over and over as the “songs,” the show is performed under the concept of low cost and maximum sound effect. AKATEN is the experimental convenience store punk band that provides the sound images of cheap and simple daily lives.

ZOFFY (Tsuyama/Kawabata)
Formed in 1998. Zoffy’s music hints both at the members’ deep musical knowledge via their improvised performances of troubadour music and European trad, and also at their deep love for rock via their destructivist covers of classic rock songs, that no longer sounds like anything but ZOFFY. The group believes that humor is essential in music, and their unprecedented performances stray far from the beaten track. Is this the Ultima Thule that rock music has long been aiming for?

PSYCHE BUGYO (Tsuyama/Yoshida/Kawabata)
Atsushi Tsuyama’s blend of two of his favourite things: Japanese samurai and ninja costume dramas, and British rock (mid 60s to mid 70s). The lyrics deal with themes from these dramas with typical Tsuyama humour, while the music is hardcore, authentic British rock tropes from the golden age – an ultimate, ultra-personal rock fusion of east and west! Special line-up for this tour including Tatsuya Yoshida on drums and Makoto Kawabata on bass.

ACID MOTHERS TEMPLE SWR (Kawabata/Tsuyama/Yoshida)
Acid Mothers Temple have rapidly become acclaimed as the greatest, most extreme trip psychedelic group in the world. Releases have appeared on labels around the world at an amazing pace, and the magnificence of their live performances is already being whispered of as legendary. SWR is the AMT Family’s most powerful battle-formation yet. featuring Tsuyama and Kawabata from the original AMT and Yoshida from Ruins. their crushingly acute freakout sound will pulverize the world’s legions of wannabe psych groups.

Feb 192017
May 19, 2017 | Fri | 17年05月19日
8:00 PM | 20時00分

Tag two!

Der zweite tag des letzten knotens des Interpenetration festivals 16/17

“Nod now!” ist das thema des aktuellen Interpenetration Festivals und bezieht sich auf die neue form der knoten und des verknotens, auf erzwungene verschiebungen, auf eine bejahende und lustvolle grundhaltung und auf die ablehnung jeglicher metal-musik. Dass es aufgrund der Interpenetration zugrundeliegenden verachtung jeglicher machismen ordentlich krachen wird, liegt bei diesem finalen knoten in der verantwortung einer handverlesenen auswahl an spitzenmetronomen und anderen haubentauchern.

Tagesticket: 10 euro
Festivalpass: 18 euro
Festivalpass für zahlugsschwache: 13 euro
Eintritt für Interpenetration abonnentinnen: freiwillige spende

Alexandre Bellenger

Alexandre Bellenger is a multi-activity prolific french character. He was born in Créteil, France, the 24th of july 1975. He started by doing the clown when he was 5. Later he formed several obscure rock bands as a singer guitarist before getting interest in noise music and improvisation. He quickly started to develop an original way of using turntables as a musical instrument.

Since 2000 he has had the chance to meet various reknown and experimented musicians. He is playing in trio with Arnaud Rivière and Roger Turner. He formed the trio CAB with Oliver Augst and Rüdiger Carl. He has played in quartet with Dan Warburton, Aki Onda and Jac Berrocal. In 2005 he formed a unique turntables trio with Otomo Yoshihide and Martin Tétreault. In 2002 & 2003 he created a 9 concert serie at Instants Chavirés in Montreuil with Jean-François Pauvros and Miho.

He is a close collaborator of the german composer and singer Oliver Augst. Their band CHANTE France ! make its debut in Paris with drummer Sven-Åke Johansson at the Sonic Protest Festival. They will also perform together the music of the socio-political documentary EUROPA and they are working on a musictheater piece about KURT WEILL years in Paris.

He has also played on stage or recorded with Noël Akchoté, Thomas Ankersmit, Pascal Battus, Frédéric Blondy, Andy Bolus, Chris Corsano, Alan Courtis, Thomas Desy, Alex Grillo, Jean-Philippe Gross, Will Guthrie, Hendrik Hegray, Marek Jason Isleib, Utah Kawasaki, Mazen Kerbaj, Sachiko M, Mattin, Erik Minkkinen, Manuel Mota, Aaron Moore, Joachim Montessuis, Nina “Mariachi” Garcia, Fred Nipi, Aki Onda, Didier Petit, Stéphane Rives, Romaric Sobac, Sharif Sehnaoui, Christine Sehnaoui-Abdelnour, Ignaz Schick, Goth Trad (Kouhei Matsunaga), Dan Warburton or Jedrek Zagorski. He has played in many festivals and venues in France, Europe such as Météo in Mulhouse, Iritijal in Lebanon, Cave 12 in Geneva, Mousonturm in Frankfurt, Densités in Fresnes-en-Woëvre, Total Meeting in Tours, Mono in Glasgow, Hoellenfahrt in Vienna, Donaufestival in Austria, En chair et en son, La Cigale in Paris and many others.

Alexandre Bellenger has also made a large quantity of graphic works using a personnal mixed media technique including the intense use of paper collage, oilsticks, acrylic paint, pencils or markers pens. He has created the free art magazine MY PRECIOUS TRASH in 1999. He collaborated with LEVI’S VINTAGE CLOTHING. His works have been shown in magazines such as Dazed&Confused, PiL, Bad to the Bone, InFringe, DDmagItaly or 0fr. He has made a serie of 220 short stop motion videos that were published on his Instagram account under #alexandrebellengermovies. In 2002 he made a 30 minutes long tourné-monté movie called ROLEX À LA PLAGE and published on DVD on the label wmo/r.


experimentell, frei improvisiert, Konzept Art, Neue Musik, rockartig, Klang, Zufall, Xenakis artig, Ligeti artig, Free Jazz, ungerade Takte, Zappa Art, Fred Frith, King Crimson, Kunst Musik, Ordnung Unordnung, Komplexität, auch mit Metronom, alles ist improvisiert, wenn was falsch klingt bei uns, sind wir auf dem richtigen Weg

Tobias Hamann hier bei extremnich Schlagzeuger mit Präparationen
Bremen/Deutschland, 34 Jahre, studierte an der Musikhochschule Bremen Schlagwerk, Klassik, Neue Musik, Aufführungen von Neue Musik in Deutschland, Europa, Welt, durch das Ensemble Babylon (siehe Homepage), Kloppstock-Percussions Quartett (siehe Homepage); Werke von Xenakis …., auch tätig in diversen Barock Orchester als Pauker, in Latin Band als Percussonist, freie Musik mit extremnich, frei beruflich tätig, Unterricht an Musikschulen in Bremen und Umland, Gastaufträge an Musikhochschulen z.B. in Freiburg als Dozent

Heiko Müller, hier bei extremnich E Gitarre, 2 Key, TomBassdrum, Gesang, Trommeln
Bremen/Deutschland, komme vom Schlagzeug, Rock und modern Jazz, früher Unterricht erteilt, Komponist für Neue Musik, alle Instrumente, Aufführungen meiner Werke auch im Radio, experimentelle Bands, nach Neue Musik hin, Kammermusik, experimentelle Rock Musik und modern Jazz moderner, um so verrückter um so besser

Jensac Opcion Wurzwallner

Noise : Karl Jensac \ Patrick : Drums : Wurzwallner / Nikos Zachariadis (Opcion) : Noise

zwei münder, eine wand, zwei stangen, ein knüppel, zwei fahnen, ein panzer, vier fäuste, aus seide – space is the place, my boot to your face.

“a triophonic experience synergizing the crap out of two computer-thingies and a lame old drumset – quite fabulous! Loved it, but hated it!! (someone from the internet)

Feb 182017
May 18, 2017 | Thu | 17年05月18日
8:00 PM | 20時00分

Tag one!

Der erste tag des letzten knotens des Interpenetration festivals 16/17

“Nod now!” ist das thema des aktuellen Interpenetration Festivals und bezieht sich auf die neue form der knoten und des verknotens, auf erzwungene verschiebungen, auf eine bejahende und lustvolle grundhaltung und auf die ablehnung jeglicher metal-musik. Dass es aufgrund der Interpenetration zugrundeliegenden verachtung jeglicher machismen ordentlich krachen wird, liegt bei diesem finalen knoten in der verantwortung einer handverlesenen auswahl an spitzenmetronomen und anderen haubentauchern.

Tagesticket: 10 euro
Festivalpass: 18 euro
Festivalpass für zahlugsschwache: 13 euro
Eintritt für Interpenetration abonnentinnen: freiwillige spende

The Elks

Liz Allbee (USA/Berlin) – trumpet
Kai Fagaschinski (D/Berlin) – clarinet
Billy Roisz (AT/Vienna) – electronics & e-bass
Marta Zapparoli (IT/Berlin) – tapes & devices

“Den kräftigen Abschluss am ersten Tag machen The Elks, ein Quartett, dass sich der Innovation mit einer gewissen Kompromisslosigkeit verschreiben hat. Kai Fagaschinski spielt eine sehr luftige Klarinette, Liz Allbee liefert dazu zurückgenommene melancholische Trompetentöne, für den Elketroniksmog sorgen Billy Roisz und Marta Zapparoli. Sprachfetzen und Sounds wie aus dem Weltempfänger ergänzen den Gesamtklang, Wichtig erscheint das Kollektiv, das gemeinsame Erarbeiten eines höchst individuellen Gruppenklangs, niemand stellt sich eitel in den Vordergrund. The Elks sind wie ein fruchtbarer Komposthaufen, bei dem vieles vergänglich ist, um Neues entstehen zu lassen.”
(freiStil zum Konfrontationen-Konzert (Nickeldorf Juli 2016))

Superb & excellent meeting 4tet in perspective between 4 fascinating actors and instrument topers, machines / electronics and sounds / sounds mixing in sumptuous and highly taking electro-acoustic flux perfectly crawling and captivating.
Featuring / bringing together four strong and original personalities from the international experimental scene, each of whom has developed deeply unique languages ​​/ approaches on their respective instruments or set-ups, THE ELKS (the name of the 4tet) sails within superbly haunted / Inhabited extended sonorous landscapes, filling the space and the auditory ducts with a deep hypnotic presence and ideal to let our brains derive.
Amazing trumpet with fantastic preparations (the fantastic lighted, unexpected sometimes and inhabitant Ricaine Liz Allbee), magnificent clarinet with precision and golden lines / tensions (the sur-precise Berliner Kai Fagaschinski), manipulations of electronic and bewitching abstract soundscapes (the Viennese alchemist Billy Roisz) and cassette recorders and other made-to-the-house puzzles / players of the Italian hijacker Marta Zappoli … all combine to a strange and exciting electro-acoustic sound universe, between crawling drones, clicking / electronic surfaces, spikes / aerated and / or underground pulsations, etc.
A wide / infinite sonorous universe, mixing and completing perfectly to form only a compact and formidably coherent mass-form-flow enveloping us in the most beautiful way.
An excellent laboratory of experimental international in action tonight, with YES, 3 girls / grrrls / ladies most active / activists and original of the current scene together, yes_yes_yes!
(CAVE12 Geneva Autumn 2016 (translated from French))


DEKJ functions as an ongoing project studying sound as the primary axis of actual dynamics, behaviour and instances. Considering the sonic and vibrational milieu as a representative for balance, transgression, violation, that also affects physical composition and the notion of structured spaces.

Relations in interobjectivity through dismantling factors attributed to automata elements in order to determine actual dynamics and effects infecting the experiential, derivations of non-eugenic/anthropocentric tendencies in posterity.

DEKJ is part of the oqko collective based in Berlin.

Rinus van Alebeek

“Ich mache es etwas anders. Vorher gab es einen abstrakten Narrativ von verschiedenen auf Tape aufgenommenen Geräuschen, worin und woraus jede/r für sich ihre/seine eigene Geschichte entdecken konnte. Das war alles sehr gemütlich. Jetzt aber sind die Zeiten weniger gemütlich; ich glaube mann soll sich mal wieder etwas anstrengen. Deswegen habe ich ein paar Elementen zu meiner Performance hinzugefügt: Ich werde zusätzlich verschiedene Texte lesen, und auch sichtbare Handlungen an unhörbare kuppeln. Und sobald die Zeit kommt, dass ich das alles nur Theater finde, mache ich wieder etwas anderes.

Feb 042017
May 04, 2017 | Thu | 17年05月04日
8:00 PM | 20時00分

Jorge Sánchez-Chiong & João Castro Pinto

Composers Jorge Sánchez-Chiong and João Castro Pinto meet for an experimental music concert consisting on the transformation of sounds originated from the live manipulation of Chiong’s turntables / vinyl and Castro Pinto’s field recordings and samples, via laptop and midi control.
The night will feature three moments, firstly two short solos, afterwards an intermission and then the duo, this structure will allow the audience to clearly hear and understand both distinct sonic approaches. One can expect experimental soundscapes filled with dense textures, broken rhythm patterns, field recordings from urban and natural sources and musical samples.


is an instrumental collective founded by drummer and producer Alexander Yannilos.
The music is created in the moment with as much love and electronic support as possible! free to dance, free to destroy!

________________IS UNPROVISED MUSIC.

_______________/// A BRIDGE BETWEEN \\\_______________
__________/// THE ANALOG AND THE DIGITAL \\\__________

Jan 202017
Apr 20, 2017 | Thu | 17年04月20日
8:00 PM | 20時00分


Sonde I (for double bass and public liyng on the floor)
Sonde II (for prepared double bass and two bows)

Marco Quaresimin – double bass and objets

An organic engine shakes the ground and the bodies all around..

Shining water surface.
Aqcuatic plant spirals.
Forest of bones.

Immerse in a dance of wawes, sliding between thousand of possible variations within a slow and continuous movement.

The rumble of a boat along a black river.

Marco Quaresimin solo works are focused on relations between sound, time, space and movement. He has been playingsolo concerts since 2011, exploring different forms, from free improvisation to graphic scores, from free jazz-like explosions of energy to very calm and contemplating minimalistic long form. He has performed in Italy and France in theaters, art galleries and open-air events. His new performances are based on the balance between continuum soundand constant micro variations, with a specific focus on breath. They are sensory experiences which explores the visceral quality of the sound with the listener, opening up a communication between the resonance in our human bodies and the vibrations of the space.

Biography: Double bassist and bassist Marco Quaresimin started to play different jazz forms with the musicians of the northern Italy creative scene (A.I.R.E. El Gallo Rojo Records) at the age of 18. He developed then his vocabulary as a free improviserworking regularly with the percussionist Roberto Dani, and meeting between Italy and France Jöelle Léandre, MatsGustaffson and Tristan Honsinger. In parallel to this he had a rich and varied academic education in both the Rovigo (Italy) and Evry (France) conservatoires. He has also continuously followed body and vocal practice workshops. Now based in Paris, he plays in, amongst others bands, with the minimalistic trance music trio Tripes (COAX Recrods), with wich he had a tour in Europe in 2015, and the jazz quintet Healing unit (Futura -Marge Records). Thinking about connections with other disciplines as a source of inspiration to enrich and precise his artistic universe, he’s involved inprojects in different areas. In the the field of dance the group Tripes collaborate on choreographic performances with Claire Malcrowicz and Flora Gaudin under the direction of Marine Mane; in theater with the musical for children Un ourse of cOURSE alongside Lawrence Williams and Alice Zeniter; in cinema playing Noma Omran’s music for the Ossama Mohamad’s films, like Eau Argentée, presented at the Cannes festival in 2014. In circus composing and playingthe music for the Tanmis company’s rchitectonic circus show. S pace S.

Jan 062017
Apr 06, 2017 | Thu | 17年04月06日
8:00 PM | 20時00分


The screwed up, angry, either riff-based or totally abstract punk-metal-free jazz-noise played by Albatre may be one of the very best offers coming from the Rotterdam underground scene. Everything emerged in distortion and with a sometimes heavy, sometimes crazily fast beat. But if the music is explosive and always searching for the maximum impact,there’s a place for nuance and for detail, with the three contributors throwing intriguing elements to the magma of sound.

“ALBATRE is a brain blow. With a jazz -core vortex that devours us.”

Soft Kill Option

„Urbaner ヨ-Jazz im Trioformat mit tiefergelegtem Chassis und der Lizenz zum Headbangen.(Falter Top 10 des Jahres 2015)
„Jazz, der vom Energielevel her ordentlich abgeht und so richtig schön kantig und ungehobelt aus den Boxen schallt.“
(Michael Ternai, MICA).
„Changierend zwischen Slowcore & speedy, funky & punky erinnern SKO ein wenig an Ken Vandermarks Spaceways Inc. File under: Urban Headbang Noir Jazz.“
(Klaus Nchtern, Falter)
„Grenzgänger einerseits, Experimentierer andererseits, die sich das Beste aus Jazz und Rock herausfiltern und zu einer Melange der Extraklasse verschmelzen.“
(Herbert Heil,
„In ihren besten Momenten klingt diese Musik als wäre die Inbrunst des Jazzrock in den Sound von Rage Against The Machine gefahren und hätte noch ein bisschen was von King Crimson aus den 70ern mitgenommen.“
(Christoph Irrgeher, Wiener Zeitung)


Keyboard and drums duo Hexenschuss produce fast-paced, sharp and nasty instrumental tracks which merge classic EBM sensibilities with contemporary sound interests. The music is beat-driven and dirty, and shies away neither from experimental nor pop. It attacks all senses with relentless sound textures, sequencer-like beats, and guitar samples. Underneath the apparent simplicity of their hypnotic, repetitive music lies a deep, constantly evolving musicality.

The band members are influenced by a variety of artists, none of which could be traced in their sound. Although Hexenschuss believe in live instrumental performance (drums/keyboards) the approach towards the music they produce is more similar to the electronic music world. Minimalistic and repetitive trance-like phrases are very well influenced by techno music as well as alternative acts like the Fall. German Krautrockers Faust and their like were quite an influence on the sounds palette, whereas Post-Punk band Wire’s ability to compose less than two minutes long masterpieces certainly influenced the more song-based tracks.
The rhythms are complex but packed in a simple groovy beat, influenced by noise rock and sometimes prog rock. The keyboards are layered with distorted wall of sound which is still clear in definition and melody and it is played like an electric guitar set up. It avoids sequencing & sampling and is played like an analogue instrument – with effect racks that could be turned on and off and manipulated while playing. The combination of sounds can be described as mean and sweet, dark and cinematic. The noise that Hexenschuss make is usually either hypnotic psychedelic effect-soaked soundscapes wrapped around a hypnotic beat, or stripped-down but carefully structured skeletons of songs, very short, compressed and minimal – they’re not real songs, since there are no vocals on them, more like parodies or reflections about popular songwriting, usually made up of only two parts. Although their music is constructed of repetition of simple bass lines and drum beats, the foundation of their music is a good song structure.

The attitude of the duo is post-punk, meaning the music brings something new and doesn’t play an existing defined sound/genre. Hexenschuss music crosses over many genres and can attract music lovers from a wide range of styles- from dance to rock, from post-punk to general psychedelia.