VEKKS & KostNixLaden
Ratschkygasse 14/1 (Eingang Erlgasse) 1120 Wien
Tel.: +43(0)681 10619938
Email: georg.stejskal@drei.at
Tonto
came out of the most perverted wet dreams of Lightning Bolt, Shellac, Zu, and Death Grips. You can call it Noise, but it's groovy like Hip-hop but raw like Punk. The project started in the damp hole of the early 2010s Italian noise rock scene, then tamed in the worst pubs of Bologna, dribbled in the dense broth of the European Impro-Noise, and polluted by the same with a frenzied series of international tours between 2016 and 2023. Tonto is a no-guitar one-man band, with drumset and voice amplified in a jungle of distortions and digital artifacts. You get some sexy blast beats but also African polyrhythms at times, a lot of bumbum-cha like ghettoblasta and occasional ass-shaking straight 4/4. Tonto goes for wild barbarism and non-verbal expressiveness, rather than overt structures and methods. Tonto is a musician through a computer, like a monkey in a spaceship.
https://frazedde.eu/tonto
Primeiro
blends experimental electronics with samples of acoustic instruments and field recordings made by him, exploring the dynamic relationship between sound and territories . He develops intricate soundscapes with multiple layers that evoke a sense of tranquility and meticulous craft. Additionally, he organizes the Feed the River festival, which explores our connection with water bodies as sentient entities requiring our care and nurturing, and the use of sound to foster meaningful transformative dialogues. Last year's event took place in Hamburg, and this year, it will be hosted in both Chemnitz and Berlin.
https://www.youtube.com/watch?v=AdQeSMeusVo
QOA
works with listening as a tool to tune in with the environment around us and our own being, centering on the materiality of sound as a vibrational existence that occupy, move, and traverse the air around us. They generate expanded listening bodily experiences. Their sound ranges from minimal frequencies, processed field recordings of natural environments, live sampling of acoustic object as stones & branches, spoken word, synthesis & rhythmic spectral convolutions, creating an expanded listening experience that invites to immerse oneself in a floating time.
Qoa is part of AMPLIFY Digital Arts Initiative (Amplify D.A.I), international network of artists from Argentina, Canada, Peru and the UK, supported by Mutek and British Council. This year they was one of the 8th Latin American artists selected for Nicolas Jaar's Ladridos project.
They performed at different festivals such as MUTEK Argentina, San Francisco & Japan, Domo Lleno, Colombia, CCK, Planetario, Argentina. QOA publishes music on different labels (Aural Canyon, Krut Records, Fluere Tapes). Their upcoming album "Sauco" will be released under the Leaving Records label in Los Angeles this june.
QOA also makes installations that they presented at the Oi Futuro Museum (Brazil), Andreani Foundation, Bienal SUR, MACRO Museum (Argentina) Agora Collective (Berlin), Flux Factory (NY, USA).
MICHAEL FISCHER - GANDOLFO PAGANO
Gandolfo Pagano - prepared electric guitar
Michael Fischer - feedback-saxophone
Gandolfo Pagano Sicilian guitarist, coming from a long experience between rock, blues and jazz. Since the late 1990s he has dedicated himself to experimental improvised music with a view to systematically overcoming the conventional limits of the instrument by focusing on timbral research; he builds masses and sound fragments using everything that happens during the improvisation itself. Gandolfo Pagano has collaborated with, among others: Tim Hodgkinson, Andrea Valle, Peter Kutin, Domnenico Sciajno, Anthony Pateras, Sean Baxter, David Brown, Cat Hope, Ramon Moro, David Chiesa, Lelio Giannetto, Domenico Sciajno, Jean-Marc Montera, Rossella Cangini,Tristan Hossinger, Eugene Chadbourne. Thomas Lehn. Ken Hyder, Michael Fischer, Alessandro Vicard, Tellef Ogrim , Jacek Kochan
Michael Fischer has been working since the 90s on the speech immanence of sounds and their sculptural and dramatic evidence, in contemporary Free Improvised and Experimental Music on the tenor saxophone, the feedback-saxophone and the violin; Michael composes fixed media pieces for ad hoc soundscapes for collaborative performances with poets in experimental poetry. In 1999, he began to integrate the electroacoustic phenomenon feedback into his instrumental work and developed a unique technique and an exclusively analog, no-effect-based instrument the feedback-saxophone: micro- and macro-movements of the instrument / fingers / body, creating the texture within an dialog of the sonic reflections of the space; further development of this instrument in residencies at ZKM / Karlsruhe or STEIM Amsterdam.He has worked with outstanding artists and early key-figures in improvised music, as well as significant artists in experimental poetry, conceptual art, visual poetry and dance/performance. In 2004 he launched the Vienna Improvisers Orchestra (a.o Moers Festival 2022, Wien Modern 2021) and works as instant composition conductor with numerous international large ensembles for festivals, universities and other institutions. Performances, tours, guest-lectures all over Europe, Libanon, Japan, the USA and Canada.recent release:FEED BACK SAXO FONE http://www.klanggalerie.com/gg483socials:https://www.instagram.com/michael_fischer_sound_spaces/https://www.youtube.com/@michael_fischer_saxophonehttps://m.fischer.wuk.at/feedback_saxophone.htmhttps://duolaurianopagano.wixsite.com/lauriano-pagano-duo
Dario Sanfilippo
Order from Noise is a performance for a complex adaptive system. An autonomous recursive DSP network with elementary information processing and statistical mechanisms is activated with one millisecond of background noise from the environment; the signal, the sole sonic source, recirculates incessantly undergoing continuous transformations while the DSP network reshapes its relationships and structures. The system is left unattended for as long as the performer considers a sonic evolution completed; then, the system is reset and reactivated several times with a new impulse, showing how radically it can diverge from a perceptually identical initial condition.
https://www.dariosanfilippo.com/
Daniel Schatz (Gitarre,Gimbri) und
Michael Prehofer (Schlagwerk)
eröffnen uns in
simpler Besetzung Klangwelten, die für so manches Ohr neu sein dürften.
Sie sind dem klassischen Songwriting ebenso zugetan wie
der lustvollen Erkundung grenzenloser Klanguniversen.
https://eastofmozart.bandcamp.com/
https://pulverin.bandcamp.com/
https://kannix.bandcamp.com/album/losta
https://elsatootsie.bandcamp.com/
12.9.2024 19h30 Einlass
Schrödinger or Boom Boom God
FreeForms
Schrödinger or Boom Boom God
sind eine „fake industrial folklore“ Band aus Berlin und Zürich. Sie besteht aus Florian Kolb (bagpipes & drum pads) und Pablo Ulises Lienhard (crackle synth & sampler).
Als Musiker und Soundkünstler bewegen wir uns im Bereich der experimentellen, improvisierten Musik sowie des Theaters. Obwohl wir bereits seit 2015 in verschiedenen Kontexten zusammenarbeiten, haben wir als Duo gerade unsere allererste Single veröffentlicht.
FreeForms
ein freier dialog der kreativen : tänzerinnen, musikerinnen, malerinnen, poetinnen und dem publikum ; das nicht existente JETZT greift auf raum und zeit zu. die FREIE KOMMUNIKATION rückt ins zentrum;
-> frei im sinne von in „augenhöhe, in gegenseitiger akzeptanz; hierarchie befreit bzw. befreiend“, offen kommunizierend und grenzen überschreitend. FREE FORMS ist offen für alle genres soferne sie sich dem freien, offenen, kreativen dialog aussetzen wollen.
-> JUST MUSIC ist teil der internationalen FREE FORMS bewegung.
------- english ------------
-a free dialogue of the creative : dancers, musicians, painters, poets and the audience ; the non-existent NOW accesses space and time. the FREE COMMUNICATION moves into the centre;
-free in the sense of "on an equal footing, in mutual acceptance; liberating hierarchy", communicating openly and transcending boundaries. FREE FORMS is open to all genres as long as they want to expose themselves to free, open, creative dialogue.
JUST MUSIC is part of the international FREE FORMS movement.
14.9.2024 19h30 Einlass
Martin Philadelphy - Jane Le Croy
Jena Jang & Simon Paton
Jane Le Croy und Martin Philadelphy trafen sich Ende der 90er Jahre in NC. Seither arbeiten sie an gemeinsamen Projekten und Bands im poetry impro Bereich. (Icebergs, Ohmslice, Duo)
Jane Le Croy - Vocals and poems
Martin Philadelphy - Guitar
www.philadelphy.at/
Jena Jang (KR/CZ)
Artist bio
https://database.shareimpro.eu/en/person/jena-jang
Jena Jang is an extended vocalist and experimental noise improviser from South Korea, currently based in Prague, Czechia. They focus on power electronics and harsh noise, using vocal improvisation, extreme screaming, and high-pitched frequencies from their DIY synth modular, and exploring somatic singing techniques. Their vocal style is inspired by chanting, yogic breathing practice, throat singing, and Korean traditional singing techniques from Pansori, Samulnori, and Shamanic rituals, along with vocal warm-ups. Jena incorporates movements like head banging, crawling, performing crying scenes, and moving their hair in the air as visual performances to release stress. Their work aims to transform negative memories and old traumas into feelings of lightness, turning negativity into positive energy. Their practice centres on transforming energy through time and space, pushing the boundaries of sound and healing to offer an authentic and transformative experience.
They have been performing live improvisational music since August 2020, collaborating with various artists and participating in festivals and events worldwide. Notable performances include a collaborative project with bela (KR/DE; Shape+ artist 2023) and mvd0ae (MX/CZ) during a residency at MeetFactory in Prague, and supporting Gabber Modus Operandi (ID) and Prison Religion (US) at the Shelter Tallinn Presents event. Additionally, they performed vocal improvisation for a trio set with Udasi (FI) and Mia Zabelka (AT) at the Ars Electronica Festival in Linz, live-streamed by Contingent Snapshot. They participated in the Prague Biennale (CZ) with jaw harp player Aldana Duoraan (CZ). Jena has appeared at festivals such as Druskomanija (LT), Biela Noc (SK), Denoize (KR), ARé Performing Art (AM), and Saund Festival 2024 in Suuresadama, Hiiumaa (EE).
Live videos
https://www.youtube.com/@jenajang/videos
https://www.instagram.com/xena_xang/
(photo credit: Saund Festival 2024)
Si Paton (UK)
Si Paton performs solo prepared bass guitar. Armed with multiple distortion pedals, screwdrivers, drumsticks, pencils, and anything that the other bands left onstage, he has crafted compelling performances that consist of virtuosic free jazz one minute, dense walls of harsh noise the next, and utilising performance art the next, dealing with the kind of chaotic energy that Andy Kaufman made famous. He has been known to play whilst climbing on tables, engage in staring contests with unsuspecting audience members, recite wrestling promos, and generally disregarding his own safety.
His influence of free jazz, harsh noise, metal, hardcore punk, 20th century classical, and Fluxus performance practices are very much on display. The skill is how he utilises his different influences within the set, combining them in very unpredictable ways. For instance, he could invite audiences in by playing as sparse as possible, before blowing it away with an intense wall-of-sound, blasting feedback with blood coming from his fingers. He has opened for like-minded individuals including the likes of Ryosuke Kiyasu, Dushume and Rhodri Davies. Whilst never quite completely fitting neatly onto any lineup he is a part of, he has nethertheless impressed audiences with his musical risk taking, off-beat showmanship, and sheer intensity.
Si Paton is a composer, improviser, bassist, academic, event curator, noisemaker, smart mouth and general antagonist. He has completed his PhD at Royal Birmingham Conservatoire and previously studied electric bass and jazz composition at University of West London. As an improviser, he has played with many well known figures, and was previously the bassist and bandleader in the math-jazz group Selectric. His solo performances, the trans-Atlantic no wave duo Phame, as well as a duo with drummer Rob Nettleship are currently his most prominent projects. He was previously the founder and curator of Thinking/Not Thinking Fest, and currently runs the concert series Don't Mind Control.
kÖök
is the invention of guitarists Jørn Erik Ahlsen and Stian Larsen and comes out of the improvisational scene in Oslo. They released their first self titled record in 2012 on FMR records and Kjøkkenmusikk. They later released the live album "Live in Leipzig" (2013) before their highly praised second studio album "Imber, Whiltshire" in 2014. Following their tour in Japan they had an extensive hiatus and then released their third studio album "No Sign Can Foretell How Soon It Must Die" in the spring of 2021. Their latest album "5" is a celebration of their 10 year anniversary and is featuring Morten Qvenild, Per Oddvar Johansen and Marius Gjersø as guest musicians.
The duo plays free improvised music and navigates the landscape between electronic ambient and experimental jazz, where both Marc Ducret and Alva Noto can be heard as inspirations. Their minimalistic sound is developed through extensive use of analogue effects, loops and prepared guitars.
Homepage: https://www.kook.no/
Live Video:https://youtu.be/W6zVD-p0WQw?si=W_Teelva_IkF6Q3T
Facebook: https://www.facebook.com/kookband
Instagram: https://www.instagram.com/kookmusikk/
Spotify: https://open.spotify.com/artist/4VHdwN6IjF3gJUsK44pEOe?si=T1eFZ41JQ6GAXi9ixuq2pA
ANTEZ
The basic of this sound action is to play the sympathies of the room's resonant structure, shaped by its architectural singularity,
and whose narrative path remains permeable to the present moment. This is achieved by using exclusively acoustic means of sound production generated by the body's movements.
My first inspiration to produce a continuous sound with a percussive instrument evolved through an investigative process
of the acoustic qualities of the performance space. I picking out various objects and implements over travels tours,
and in working residency I have adapted this piece to be played on a large drum, which is used as a acoustic amplifier.
I develop an intimate affinity with the materials in vibration. I have to evaluate these vibrations in my body at different
levels, to be able to coordinate my postures and movements, but
also like the archer with Kyudo, tuned the mind to it. For givelife to these vibrations I have used, since 2008, an dextrocentrique circumambulation. These sounds are often compared to certain sounds produced by synthesizers but also to the magnitude that an orchestra can. However, these sounds depends of the reflectivequality of surrounding surfaces, and on the volume of the performance space itself. These sounds have unusual sonic textures, they escape traditional percussion registers. They test the limits of our perception, from infra to ultrasonic, by playing phase shifts. They insert themselves into the intimacy of matter, through micro vibration, and we are presented with an audio saturation by noise density. The flow of these evokes both restraint and excess, immersion and timelessness.
Days Like Television
Daniel Bryden is an experimental musician and video artist from Newcastle upon Tyne, currently based in Berlin. He releases music as Days Like Television.
Using an array of dissociated sound sources and fragmented synths, Bryden’s work delicately balance a viscerally intense heaviness with a melodic and nostalgic beauty.
His debut album- ‘This Will Have Been the Past’ (released 05 / 06 / 24 on Bonambi) acts as the culmination of 10 years of experiments within the noise, improvised, and electronic music scene. These include live AV performances at such venues as ICA (London), La Vallée (Brussels), ACUD MACHT NEU (Berlin), and VEKKS (Vienna).
As a founding member of ‘Kross Collective’, Bryden co-organises the experimental event series ‘CONVERGENCE’ which takes place at Lettrétage.
https://www.daysliketelevision.co.uk/about
Sam Shalabi
is an Egyptian- Canadian composer and improviser, living in Montreal, Quebec. Beginning in punk rock in the late 70s, his work has evolved into a fusion of experimental Arabic Music that incorporates traditional Arabic, shaabi, noise, classical, text, free improvisation, electronics, and jazz. He has released 9 solo albums, 6 albums with Shalabi Effect (a free improvisation quartet that bridges western psychedelic music and Arabic Maqam), and 4 albums with Land Of Kush (an experimental 30 member orchestra, for which he composes). He has appeared on over 60 albums and toured Europe, North America, and North Africa. Recent projects include albums with Dwarfs Of East Agouza, a Cairo based trio with Alan Bishop and Maurice Louca -Albums with Karkhana a group featuring members from all over the Middle East and collaborations with vocalist Nadah El Shazly, Oren Ambarchi Angel Bat Dawid. He has also composed music for over 20 films in North America, Europe, and The Middle East.
https://www.musicworks.ca/sam-shalabi-and-evolution-global-aesthetic
Yves Charuest
was a member of the Peter Kowald Trio (1985-1990) with German bassist Peter Kowald and South-African drummer Louis Moholo, with whom he played extensively in Europe and the USA. He also played with several musicians from the US and abroad such as William Parker, Agustí Fernández, Nate Wooley, Georg Graewe, Roscoe Mitchell, Lê Quan Nin, Dominic Lash, Mark Sanders, Steve Noble, Richard Scott and Audrey Chen. Charuest has collaborated with electroacoustic composers Jean-François Denis, jef chippewa and Jean Piché. Charuest’s solo work has recently gained renewed momentum. He has always devoted most of his creative energy to improvisation in varying forms and contexts: free improvisation, encounters between improvisation and notated material (conventional and graphic notation, verbal instructions), ensembles with more apparent stylistic links to free jazz. In collective situations as well as in solo, his approach is characterized by his sense of form and his attention to the sonic properties as well as the formal potentialities of the material he works with.
https://youtu.be/GMTdM8cJIbY?si=uvT9udlt3nrqQ1Fx
Nicolas Caloia
is a Montreal based bassist, composer, and bandleader. He works at creating a living music by using rigorously composed material to channel collective improvisation. He can be heard in ongoing collaborations with Tristan Honsinger, Joe McPhee, Matana Roberts, Malcolm Goldstein, Kim Zombik, Lori Freedman, Rainer Wiens, and Yves Charuest or in past projects with Roscoe Mitchell, Marshall Allen, Steve Lacy, Hassan Hakmoun, William Parker, and Pandit Hariprasad Chaurasia. Nicolas has composed for and led many ensembles including 20 piece, Juno and GAMIQ nominated Ratchet Orchestra. He has fulfilled composition commissions from the Quatuor Bozzini, Tour de Bras, Productions Super Musique, FIMAV, Radio Canada, and CKUT 90.3 fm. -
http://www.nicolascaloia.net
Udasi
"My setup consists of: Synthesizers, drum machines, old cassettes and walkmans as well as four trackers and voice, also weird electric instruments. These are my favorite way to convey the feel of my music - sometimes Ambient, often intense and melodic, sometimes dystopian and cinematic."
Album: Nostalgia-Experiments
The feel of the album revolves around feelings of nostalgia, there are no lyrics so its all based on the feel of the sounds and noises. I often try to make sounds that evoke some sort of memories from childhood when everything still felt fresh and very alive. Losing this "aliveness" is accompanied by this feeling of nostalgia, that is something very familiar but still something that is just out of reach.
https://udasi.bandcamp.com/album/nostalgia-experiments
https://open.spotify.com/intl-de/album/0iyjAnCw4i8i0FYXrgjC10?si=tbjO8V39QU6r8wsj9QZnUA
Das zweite Album „BOA“ wurde im Frührjahr/Sommer 2019 imKapustudio / Linz aufgenommen und im Dezember 2019 auf MuteAnt Sounds, Netlabel veröffentlicht. Zusätzlich erschien das Album im Jänner 2020 als limitierte Auflage von 100 Stück auf Hoochie Records als LP.Stilistisch handelt es sich bei BOA um eine Mixtur aus Doom, Drone und Jazz. Als Gast am Saxofon wurde der 2023 verstorbene Freund und Wegbegleiter Peter Holtz hinzugezogen.„BOA ist ein anspruchsvolles Album aus Noise und Drone Doom mit etwas Klassik, viel Jazz und einer sehr dunklen Note. Goddess Limax Black spielen Doom zum aufmerksam zuhören. (Raphael Lukas Genovese, betreutesproggen.de, 5.1.20) Das aktuelle Album „monstranz“ wurde im April 2023, wieder inklassischer Triobesetzung als live Session im Goon Studio / Linz aufgenommen und als limitierte Auflage von 100 Stk. als LP und digital veröffentlicht.In „monstranz“ wird die katholizistische Prägung unserer Gesellschaft im Sinne eines kollektiven Unbewussten aufgearbeitet. Der Katholizismus wird als Folklore, als Teil der Volksseele und damit als kollektives Eigentum verstanden. Dieses kollektive Eigentum wird, aus seinem Kontext gerissen, zur Provokation.Goddess Limax Black bewegt sich im Spektrum von Doom, Drone und Noise. die Band spannt ihren Bogen zwischen Melancholie und Übermut, Minimalismus und Opulenz, Ruhe und Lärm.
Goddess Limax Black
Jakob Eckerstorfer - Schlagzeug
Dominik Gruber - Gitarre
Philipp Finster – Bass, Synth
Goddess Limax Black wurde 2014 von Jakob Eckerstorfer, Dominik
Gruber und Philipp Finster als Nachfolgeprojekt der Band Club DeportivoJ esus mit dem Ansinnen, instrumentale, progressive Musik zu machen gegründet.
Das erste Album „Goddess Limax Black“ wurde im Winter 2015 im EPH Studio aufgenommen und auf Bandcamp.com und als CD veröffentlicht.
Tristan da Cunha
is a post-rock/drone/ambient duo from Pavia, Italy
They are Francesco Vara (guitar) and Luca Scotti (drums) in August 2016.
HIDDEN SEA is Tristan da Cunha's sixth release.
The approach is much more exploratory in the directions of ambient, noise and musique concrete.
it was recorded using Zoom H1 positioned a few centimeters from the sound sources, in this case cymbals and drums, in order to capture all those "hidden" frequencies that would not normally be highlighted in normal recordings. Hence the name Hidden Sea to underline "the hidden world" of the sound frequencies present in an instrument such as the drums. In addition to these recordings, which were subsequently sampled and processed, guitars were recorded. The sound world that emerges is an unknowable and dark non-reality that flows into another space-time.
