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


“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)

Lukas Moritz Wegscheider

With my tape loop performances i want to focus on atmosphere, collective mood, melancholy and the hauntological phenomenon.
The endless repetitions, sharpen the acoustic perception and allow the discovery of new sound events.
This image gets distorted and blurred until the focus is placed on the distortion and the blur itself.
Influences of Minimal Music and Ambient, combined with the atmosphere of the hauntology theory and lo-fi aesthetics.

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


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”.

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”.

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.