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


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.


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.


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


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.


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 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…


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.


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


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)


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.



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…