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 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 man 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.