In a month of July, a third Braille Satellite festival will take place in the Mushroom manor park. Keeping on our direction, we’ll present different genres of music on two live stages. Undiscovered legends of subcultural music as well as fresh and uprising bands will be playing music for 3 days and 2 nights. An ex-fridge room of the manor will become a stage for dj’s.
Braille Satellite is an annual DIY music and arts festival that takes place in Mushroom Manor Park, Lithuania. It is a non-commercial event of music and other arts that is not financially supported and is based on DIY principles. The whole “power” comes from the people that are willing this festival to happen and either are donating money to cover expenses or offering other kind of help. The festival aims to present bands and performers that create music outside the mainstream industry and is curated by Octatanz dj duo: M. Aerobica and Oscar der Winzige.
THINGS TO KNOW
- There is a plenty of space for CAMPING and PARKING within festivals’ territory.
- Several PONDS are available for swimming. If you prefer falling water, you can as well take an outdoor SHOWER.
- You must wear a WRISTLET that you will be given at the entrance after showing your ticket all the time during the festival.
- A SECURITY team will be on site. It will not be possible to bring in ALCOHOL drinks.
- Don’t forget to bring drinking WATER, though a borehole of drinking water is available in the territory.
- Do not enter fenced/marked TERRITORIES and only use indicated paths. A park is huge and there is enough place for everybody, even if you want to find a private spot for an hour break.
- Also, please be conscientious of the natural surroundings and remove all GARBAGE.
- It is only possible to make FIRE in marked fireplaces. Do not make fire in random places. Double check with organisers before making the fire.
- If you are planing to bring a DOG or any other animal, please keep in mind you need to watch after it all the time. Keep in mind there are sheeps and chickens living in the area. I case of a conflict caused by your pet you will be responsible for it.
- A variety of FOOD and DRINKS will be available.
You are able to order and pay for the tickets at our homepage.
Tickets ordered online must be paid in 3 days. To order click: HERE
Those who are based in Vilnius or coming for a visit can also pay in cash.
For cash payments, please contact us via e-mail: email@example.com to agree on meeting details.
Price of the tickets will increase getting closer to the date of the festival. Tickets will be available for purchase at the entrance.
till March 40 Eur
from March till May 50 Eur
May to July 60 Eur
At the entrance might be 70 Eur
This summer Vilnius airport will be functioning and there should be much easier to reach our festival for those travelling from abroad. Various airlines fly to Vilnius airport from major cities in Europe: Ryanair, Wizz Air, Airbaltic, Lufthansa, LOT, Scandinavian Airlines, Austrian Airlines, Aeroflot, AirBrussels, Turkish Airlines and others. More information about Vilnius airport including available transportation services can be found by clicking HERE.
For those who will travel to festival right after landing in Vilnius airport we suggest to use a shuttle train service that operates 16 times a day and in 7 min. takes you directly to Vilnius train station where you can get on a 1 hour train going to festival.
As place is accessible by train we would recommend to choose TRAIN travel. There are 5 trains per day going from VILNIUS train station direction IGNALINA. You will need to get off the train at ŽEIMENA station (11 stops) and continue on foot or taxi. The distance between train station and festival is 4,5 km. To reach the place walking would take around 50 min on a forest trail and gravel road. There will be two 8 seated taxi vans operating between train station and festival’s area.
Train travel time is 1 hour 11 minutes. Train tickets can be ordered online HERE, or purchased at the cashier in Vilnius train station just before departure or even on a train. There is additional fee of 1,45 Eur when buying ticket on the train. A good advice for locals is to take a bicycle on train (costs 1,60 Eur extra) to reach your final destination faster.
05:42 – 06:55; 07:40 – 08:53; 11:45 – 12:57; 15:10 – 16:19; 16:31 – 17:45 (monday to friday only); 17:34 – 18:45; 19:43 – 20:54.
06:25 – 07:38; 07:18 – 08:30; 10:28 – 11:39; 13:19 – 14:27; 17:14 – 18:25; 19:07 – 20:13.
Here is a short video “how to arrive by train” that might be helpful:
Lithuanian Railways company offers 30% discount for those traveling by train. To be able to apply the discount and travel cheaper you will need to present the ticket of the festival or the control wristlet (going back) at the moment you’ll buy train tickets. Discounted train tickets can be as well ordered online using this code: BRAILLESATELLITE19
Discount applies for Vilnius-Žeimena and Žeimena-Vilnius route, travelling from 19th to 22nd of July. You can present your festival ticket in the phone or on the paper.
For those who don’t like to walk there will be 2 taxi vans (up to 8 persons each) operating between train station and festival area. Taxi will be able to take you where ever you need. Prices are negotiable. Going from train station to festival should not cost more than 2 Eur per person.
Vaidotas: +370 622 24155
Justinas: +370 658 86479
Total distance from Vilnius 78 km
Pierre Bastien (born Paris, 1953) post-graduated in eighteenth-century French literature at University Paris-Sorbonne. In 1977 he built his first musical machinery. For the next ten years he has been composing for dance companies and playing with Pascal Comelade. In the meantime he was constantly developing his mechanical orchestra. Since 1987 he concentrates on it through solo performances, sound installations, recordings and collaborations with such artists as Pierrick Sorin, Karel Doing, Jean Weinfeld, Robert Wyatt or Issey Miyake.
The French composer and multi-instrumentalist Pierre Bastien played first in some collective bands (Operation Rhino, Nu Creative Methods, Effectifs de Profil), and with the Dominique Bagouet Dance Company.
Around 1986 he started participating in Pascal Comelade’s Bel Canto Orquesta. At the same time he created – and literally built – his own orchestra called Mecanium : an ensemble of musical automatons constructed from meccano parts and activated by electro-motors, that are playing on acoustic instruments from all over the world.
“A composer’s dream: a fail-safe orchestra at one’s fingertips obeying ever so gently to his every command: a timeless sounding orchestra, both futuristic and slightly dada, conjuring ancient traditions in its surprisingly sensuous music. This is, in a nutshell what Pierre Bastien’s “Mecanium” is all about, a daydream of sorts that he has successfully pursued since 1976. The musicians of his orchestra are machines. And the idea behind it is simple, efficient and poetic: to have traditional instruments (Chinese lute, Morrocan bendir, Javanese saron, koto, violin, sanza, etc.) played by a mechanical instrument made of meccano pieces and recycled turntable motors. These hybrid and self-playing sound sculptures perform a series of short pieces, charming and hypnotic.” (Michel F. Côté)
In the nineties the mechanical orchestra developed up to 80 elements. It took part in music festivals and art exhibitions in Norway (World Music Days’90), Australia (Tisea’92), Japan (Artec’95), Canada (Fimav’95, Sound Symposium’98), Poland (Warsaw Autumn’95), United States (Flea Festival’96)…
In the recent years, Pierre Bastien and his machines collaborated with video artist Pierrick Sorin, fashion designer Issey Miyake, British singer and composer Robert Wyatt, Trottola circus company, musicians Alexei Aigi, Steve Arguelles and Phonophani. The most recent compositions were released on Western Vinyl and Rephlex.
This summer Meis Vranken (a.k.a. Meis) will bring to you her neo-punk collaboration with drummer Efrem Angela (a.k.a. Toto Boroto). The result of this is Fem: an explosive mix of eternal drumrolls and every-day-lyricism. This sound (as the Dutch language allows one to say: “Mooie Herrie”, “Nice Noice”) Will Have An Impact On Your White Shoes and Respectable Behavior.
Günter Schickert, four decades of multiinstrumental cosmic explorations, under Berlin`s sky, above genres, and compromises.
It was memorable the time when I firstly listened to his debut LP of 1974, the monumental Samtvogel. It overwhelmed me with layers of echoing guitars roaring into space, causing a powerful release of dopamine spreading through my skin, in the way an “Interstellar Overdrive”, or a Richard D James Album would do. It was a proof of the divine to
discover Günter Schickert, it is a profound honour today to present on Marmo his seventh album to date, Labyrinth, the first to be released on vinyl format since 1983`s Kinder In Der Wildnis.
Schickert´s Samtvogel, self-published first, then licensed to Brain, equaled the imaginative leap and sonic power of the early Pink Floyd, Manuel Gottsching`s Inventions For Electric Guitar or A.R. & Machines `s Die Grüne Reise. What followed, from his second LP Überfällig on Sky Records to his collaborations with Klaus Schulze, Jochen Arbeit and
Schneider TM, even if little acclaimed, spans a large spectrum of music styles, always through a distinctive and personal aesthetic, that is deeply linked to the one he firstly crafted back in `74, when Schickert pioneered the use of echo effects applied to guitar playing.
And now Labyrinth, a record that stands for versatility, where genres do not matter, soundscapes or life situations take over, song-writing emotions pop out, handing out a spectrum of surprises to the listener. You may find yourself flying low along steep cliffs and with a blink of eye you are thrown into a Middle Eastern scenery.
Text by Marmo Music
Yximalloo is Naofumi Ishimaru alone, but he drafts a loose ensemble of players, including the core of Shigeo Ootake and Takashi Korgo (who appear on all discs), as collaborator-executors. All of his releases are on his own label, and none have seen a distributor yet (which is why you very rarely find his CDs in stores). Mr. Ishimaru recently visited Other Music, and left us with (_very_ limited!) quantities of his entire catalog. Ishimaru works like a Japanese Jandek without the angst, like the Boredoms minus the bombast. Spiritual kin to early artpunk and especially the LAFMS, he revels in mock-ethnic music and nonsense. Lo-fi, sweet and primitive, he uses ancient drum machines, hand percussion, and electronic droplet noises, sometimes set to melodies gathered from some imaginary South Sea island where the traditional instrument is seemingly an old ’80s synth. Handclaps and chanting abound, but Yximalloo has also been painted as a Japanese Half Japanese — Jad Fair himself has collaborated with Ishimaru and draws the covers for every release here (gorgeous dayglo and glow-in-the-dark covers in iridescent plastic cases). Recording since 1973 (!), he still has but one Yximalloo release in the States, last year’s retrospective LP on Old Gold. Most CDs are around 70 minutes and usually contain over 30 tracks. Just listen to a few of the RealAudio samples to get a glimpse into his strange sound-world.-Other Music RE-
This project is the unexpected result of the sum of three musical stories apparently far from each other. The sound, contaminated by multiple influences such as Alternative – Psych rock takes shape from the bass of David Paulis, the guitar is Giacomo Ferrigato and the drums of Andrea Lovo.
Dear Ornette was born from a thought towards Ornette and his courage for having thrown a music dominated by customs in the great sea of confusion, the latter seen as a key to renewal. Improvisation is therefore not only a musical practice based on the use of sound material over a pre-established form but becomes a way of dealing with the situations that arise during the continuous dialogue of the musicians. The trio also presents some written pieces, of different nature from each other that do not however have a real positioning within the concert but are used or not based on the trends of the speech undertaken. This is the vision that is at the base of their performances, which involves a great diversity between each of them.
Arma Agharta is the sound performance artist and promoter from Lithuania devoted to improvised and experimental music. He got involved in the worldwide underground 20 years ago by publishing zines, running label, playing in bands and organizing shows. Currently Arma performs both solo and in collaborations, also curates special events in Lithuania. Since 2007 he has done nearly 500 performances all over the world, from Brazil to Phillipines, from Greenland to Siberia. His intense and high energy shows span a broad territory between the eruptions of chaotic noise and hypnotic psychedelic ritual to dadaist humour, odd bodily movements, spontaneous improvised games and the voice, detached from meaning and turning into unintelligible glossolalia.
Bear Bones, Lay Low
For over a decade, this Venezuelan now long-time based in Belgium, has been creating psychedelic electronic sound by juxtaposing digital and analog sources. Using repetitive melodies and rhythms combined with dissonant sounds, BBLL wishes to induce a multilayered trance that allows solemn listening as well as ecstatic dancing in a mental space where the archaic meets the futuristic, where the earthly meets the cosmic. His live performances have attracted many music fans from different horizons, allowing him to play in varied contexts ranging from strictly experimental music festivals like Échos in the valleys of Le Saix, to open-minded night-clubs such as Salon des Amateurs in Düsseldorf or Contact Club in Tokyo and everything in between. As an active musician in Belgium’s experimental underground he has also been part of numerous free music outfits including the late Silvester Anfang/Sylvester Anfang II and is currently active with the electronic duo Tav Exotic amongst other projects. With releases on different labels such as Kraak, Ekster, Lullabies for Insomniacs and BAKK to mention only a few, his most recent material has been released on the Rush Hour affiliated No Label series.
„He’s a preacher, a screecher, an Archie Leacher An artless dodger, a limelight hogger, a dead horse flogger. He‘s the genial game-show host whose mind is toast. The quiz-master with all the wrong answers. The life coach on the National Express. The high-street shaman in the sequinned dress. This is his sweat lodge seminar, his powerpoint aberration, the shotgun in his shell suit, the seamonkey on his back A burnt-out, blurted-out, beercan-touting carry-out cabaret.”
„A one man carnival combining music, stand up and òther´stuff.. .I aim to astound! …to transport us to a different world and bring us back again a little happier !“
Henry Sargeant trained as an actor and “dark clown” before veering off into music as frontman of the legendary Wevie Stonder ,dubbed by the BBC as “the Monty Python of electronic music ´ They went on to record 5 albums and two Maida Vale sessions. Mr Vast is his solo project and without the band he has heightend the theatrical /comedy elements to new bewilderingly ecstatic levels.
`Jesus, you’re not easy to describe, you know? Okay ,let me think.. You’re like a Muppet version of a Philip K. Dick novel… A Mr Vast gig is similar to that moment when you realise you’ve been secretly filmed by Derren Brown for that last six weeks…One of my mates thought you were well dodgy while the other insisted on paying you double for your CD!?.. How’s that? ´´John Higgs.
Visual artist and warlord of the synth shred. Counter rhythmic slap bass & turbid grooves sort of reminiscent of our no-wave/ industrial friends from the 80’s. Can make an arthritic recluse dance though. His music is released on ‘Drid Machine Records’ home to quality like Noxagt, Golden Oriole, Sightings etc.
“Pollard is one of the few creative people on the globe (Romain Perrot is another) who understands that “good taste” is the very death of art, and as such he needs to be cherished like a Siberian Tiger, albeit one whose pelt is made from artificial dayglo blue fur.” Ed Pinsent, The Sound Projector
Juan Belda-Pelayo Arrizabalaga
With an imaginary parallel sound, Juan and Pelayo, construct visionary worlds using acoustic and electronic sounds. Juan: keyboards and synthesizers. Pelayo: saxophone, bass clarinet and turntables. Their style is close to the electro-acoustic jazz with influences from the electro, no-wave (from the 80s), ambient and experimental rock. The groove is a key element in their rhythm. Their music, unclassifiable, is nourished by the power of improvisation and the innate capacity of creating new songs in real time.
Astro Can Caravan
Astro Can Caravan is an experimental spacejazz-orchestra started by Otto Eskelinen (keyboards, woodwinds, percussion), Tomi Kosonen (tenor sax, percussion) and Pharaoh Pirttikangs (keyboards, guitar, percussion). The core group consists of around 5 members, while the live line-up varies from 8 up to 20 players. The group has released three studio albums, the latest of which, Planet Caravan (2012), came out on one of the most legendary Finnish jazz labels, Ricky-Tick Records. ACC’s music is based on groovy and primitive rhythm, while the horn section blasts with strong riffs and universal melodies.
Shavi Lomi (CH) is a duo made up of the musicians Grégoire Fiaux and Boris Gétaz. Their music features haunting keyboard melodies, hypnotic loops, and sound textures that float together in an bath of organised dissonance. They exist on, and challenge the borders of, the intersection of krautrock and ambient trance.
Air Cushion Finish
Air Cushion Finish do multi-style and real time music. It’s created from anything the players come up with at a particular moment. The resulting music defies style definitions.
The slow motion part was referred to as homeopathic punk. before, however ambient, electro-acoustic electronica, dada, soundtrack, radio play, spoken word, impromptu (though preconceived in a certain sense), even jazz or free music could come to mind as well.
Air Cushion Finish formed in Berlin in 2007 and comprised composer/player Jayrope and natural vocal synthesizer Lippstueck, who had enjoyed playing Berlin’s underground together since the 1990s. Lippstueck prominently sings, wordless and backwards in time, while his partner Jayrope tends to also appreciate any DIY, electronic, string or percussion instrument small enough to fit into a single suitcase altogether.
Cosmo Wise and Sam Bardsley, a British duo based in Berlin. Their first single “Ü!” was released on Valley Sound Records and it sounds like cloud nine fission K-Jazz Pop!
Coletivo Vandalismo is a project that emerges from Pedro Abrantes and Valdemar Pereira’s first collective improvisational experiments. It started from the urge to release the restlessness of the mind and body into sonic matter, where multiple dichotomies are invited and engaged. ThIs morph into form through the exploration of machines, voice and instruments. By this means of approach a multitude of landscapes are shaped, where rhythmical structures, emotional and physical agglutination / automatic speech are present in a constantly evolving organism.
JD Zazie is an experimental DJ, avant-turntablist and sound artist living between Berlin and Bolzano. Coming from a DJ and a radiophonic background JD Zazie has explored over the years different approaches of real-time manipulation on fixed recorded sound. In her work she redefines DJ and electroacoustic activities. As a solo performer, in small groups or large ensembles she moves in an area which is constantly stretching the borders of what is supposed to be DJ mixing, free improvisation and composed music. Juxtaposition, decontextualization, fragmentation, repetition, sonic texture, scratch and error are elements of the grammar adopted to relate, organize and rearrange the sound material. She is the art director of “MuseRuole – women in experimental music” festival, is a member of the Italian label Burp Enterprise and broadcasts monthly on Colaboradio and Reboot.fm
Simon Crab (Bourbonese Qualk) & Fritz Catlin (Skidoo 23)
Simon Crab was the founding member of Bourbonese Qualk, who were easily one of the most strange and compelling bands to emerge from the ‘80s underground. They were also sometimes one of the best, but they never quite achieved the stature in the post-industrial canon that they deserved. A good part of that is probably due to their constantly shifting and eclectic style, though they seemed to perfect their singular mélange of electronic music, mutant funk, gamelan, and experimentalism by 2001’s ‘On Uncertainty’ (their final album).
In the last few years Crab has started to work as a solo artist – recording new music and performing live electronic and acoustic music mixed with real time video manipulation. This new music continues to develop the path that made Bourbonese Qualk so intriguing; an eclectic unpredictable mix of electronica, improvisation, obscure instrumentation enveloped in rapid changes of mood, direction, noise and rhythm. Simon Crab’s first solo album ‘After America’ was released in 2016 and was followed by a new album ‘Demand Full Automation’ (Klanggalerie CD & Vinyl) in March 2018. Since 2016 SImon Crab has been performing with a live band at numerous festivals and venues across Europe. A new album is planned for 2019.
are composer-performer Francesco Venturi and sound artist – researcher Francesco Fonassi. Formed in 2017, Interlingua blends archaic chanting, modular synthesis and frame drumming, with a focus on imaginary archeology. A mix of signal based research and contemporary music plus a pinch of drifting dub attitude. Lyrics are written in lost or imaginary languages. The hybrid space thus created, is resulting from the stratification of speculative, rootless and often unnamed ritualities – within which the future echoes from the past.
With Colombian and African roots, La Rueda is a musical gathering in Madrid, Spain, which combines Caribbean and African native instruments and rhythms, such as cumbia, djole, mapalé, reggae; and mixes them alive with beats and electronic effects, creating futuristic sounds that bring indigenous and African ancestral legacies to modern psychedelic and electronic waves. In 2018 they release their first single “El Rurrú”, a song that make a tribute to Colombia’s natural and cultural diversity and is part of the first record production that La Rueda is preparing to be launch in 2019.
Whether for classically trained musicians or forward-thinking rock and rollers, Faust is one of those groups that is evidently referred to. For 46 years, the group has kept up with its legendary and truly avant-garde status, its work being literally one step ahead of art. Although a « noise band » reputation generally precedes them, their work is actually much more than this. One could think that a group outside the standard pop structure could easily be “grating or irritating”; well Faust never are, even though some will need a second listening to recognise or appreciate how melodic their music is. Their influences will make them sound familiar to those who don’t yet know them. Amongst other innovations, one could point out the heavily rhythmic structures – continually rolling and tuneful – and the loose and open arrangements that can be heard from many contemporary artists. Faust could find its place in the 20th century classical composers’ lineage, after Terry Riley, Karlheinz Stockhausen and Tod Dockstader. Their singularity is Faust’s populist ideas – which unintentionally laid a foundation that still influences the Krautrock music of today. Its music is not supposed to be listened to in an auditorium, nor is it played only to make its fan base content.
APJIK are alexander paul jovanovic and inox kapell.
they play every show with different instruments,
selfmade instruments, curious instruments, toys-instruments,
akkusitik and electric, analog or digisynth noisemakers,
the history in muzic is long, both of them playing in many band-projects or
as an inox kapell does performance and happenings.
alexander is a composer of comńtemporary ballet/ berlin and dresden,
he played also in – neues glas – ( ex ton steine scherben)
drums and triangel with klaus schulze…in the early 80th.
inox kapell is one of the duo -nostalgie eternelle –
and runs his -urknall-tonquelle label – since 1986 v.d.a.
he starts 1982 as stefan heinze – as musician/ singer,
he ś known as artist, musician in combination to his entomological scientist/ specialist work.
he is an insect lover and long tiome he dioes the -insekteum- in berlin
and other clubs/gallerys/art-rooms….
alex is djing,too as erziehungsberechtigter.
kind im garten is the djname of inox.
they are based in the subculture and more fluxists/avantgardists – coming out of improvisation.
they love to play live – so be surprised as they do !!!
Elia Buletti is a berlin-based swiss sound artist and designer. Working in the field of electro-acoustic and experimental music, Elia produces and performs since 2011 as Delmore Fx, while being at the same time a part-time dj (Giorgio Gabber) and a member of the Marimba duo with the guitarist Paul Jones. In 2008 he founded Das Andere Selbst, a label focusing on limited runs of cassettes and vinyls counting more than 30 releases so far. Delmore Fx pieces and performances could be seen as abstract sonic narrations being enrooted in a peculiar freeform diy hermeticism. Taking shape from a sort of self-hypnotic practice of improvisations recording, his electro-acoustic samples are continuously and ephemerally restructured, gathering into unsteady and slightly psychedelic sound shapes. Since 2011 Elia has extensively performed around Europe and further, like for his 2016 Japan Tour.
Ludo Mich was born in 1945 in Antwerp, Belgium. His work, rooted in Fluxus, involves many media: computer art, sound performances, Fluxus happenings, poetry, painting, electronic music, drawing, sculpting, theater, environment and street performances. In 1978 he started working on holography, holographic film and „holoism“, introducing holography as a new medium in art. He is known most for his film from the 60s and 70s, and is regarded as one of the best artists of the Belgian Underground Cinema. The film „Saturnus“ (1971) is a hallucination-like fairy tale situated on the planet Saturn, filmed with a fish eye lens in three days. The film was projected on a large spherical shape with live musical accompaniment. „Lysistrata“ (1975) is a free adaptation of the 411 BC Greek satire by Aristophanes, filmed in Antwerp on a set of blown up painted 35mm pellicule, around which the actors played. Mich has performed all over the world, released music projects and did collaborations with artists.
Herr Ebu, founder of the label Ebus Music, sings to the guitar, uses a loop machine, dances in a golden cloak and involves his audience in parts of his performance. His mostly german lyrics are humorous, serious, even syllabic, sometimes Dadaist-minimal and deal with arsonistic art, life, suicide and wanderlust. Herr Ebus repertoire consists of songs from his now 30-year-old solo- and band practice up to brand new material. Somehow refreshingly different – between encouraging lightness, self-taught didactics, melancholy moments and the punk’s defiance. The old project Schmertz der Welten is also experiencing an authentic revival in the original stage outfit from the beginning days.
Herr Ebu – Songs, Lyrics, Ebulala
EL ANIMA the unkonscious feminine side of a man, our goal is imagination, this is the dimension.
EL ANIMA deals with inferior function of the shadows, we go into the light.
AeNIMAL a permutation, the same value, abstrakt symbols of the Self.
Information is among us.
We are one
EL ANIMA is Muozik,Roky Baba & DKrapoola not an aggregate of father or mother, brothers, sisters, aunts, unkles, or teachers
EL ANIMA of kourse we are bros…maybe ? why not?
EL ANIMA manifest themself by appearing in dreams and influence attitudes and interactions with The Sonik Thing.
Blenno die Wurstbrücke
Comparable to action painting I make a self-constructed performative setting with element of absurdist theatre, comic strip and arte povera. Most of the time I use what get in the place I arrive to make all the performance: The scenography, the dress, masks, collage, and music (instrument) so different latitude different show! I tested my music (my show) at the beginning on the street just like an anarchist “demonstration” or like a mystical dervish beggar. Due to that reason I was invited several time in Teheran by some underground gallery to work and show what could be possible with scab we find in every city and how to make some noise in policed state (like in the TAZ theories). So, I’m more a sort of noise-ambient musician that usually use theatralisation installation to perfect the effect of the music.
There might be a way to establish a communication tube between all sisters and brothers in the cosmos by using strange rhythmic sounds.
Houschyar is an artist and electronic globalist recently based in Istanbul, Turkey. In 2015 he co-founded the project Hardware which besides a podcast series and a tape label mainly focused on throwing events in the underground scene of east Germany. The events were hosting names like Detroit in Effect, AN-I, Mick Wills, June, Fallbeil, Mauopa Mazzocchetti, Credit 00, Alessandro Adriani & many more. Since 2016 he studies Fine Art in the class of Carsten Nicolai (alva noto) and started to develop own live performances.
Houschyars DJ Sets are fulfilling a wide range, from organic percussion to noisy tape experiments, from weird disco tunes to heavy dark wave hymns, from industrial ebm to pitched down funk. Though his expanded view, his selection always walks on a mystic way of describing the connections between earth and space.
His live performances are always different, specifically prepared for the event and often fall from psychedelic waves into heavy, rhythmic journeys. A live performance of Houschyar is always unforeseeable and can easily turn from experimental compositions into punk.
Controlled voltage vision is a machine in the mind of a human. it triggers feelings, samples memories and multiplies reactions. live stepping sequencers and early electronic devices. to capture this music, its been recorded through screaming preamps on dirty tape to a sampler.
A little is written about the connection between chefs, experiments with substances that alter the consciousness and romantic electronic club music. Not sure why actually – the connection is more or less obvious and as far as I can judge, a lot of people have a master-of-the-kitchen friend who, when not cooking, drifts in parallel universes sound and mind wise. It might be the cooking it self, cutting slices, mixing spices, boiling it all up, combining into a meal – it already sounds like music. One could also put Concierge in that category, coming more from a post punk, hardcore band music background, he slowly manoeuvred his endeavours towards dark romantic electronic music- cooking on trackers as well as hardware – little dungeons for the mind – a hot soup and a safe spoon – yes for sure a stock trader of artificial meat – that trade that is definitely lacking contemporary club music and its historical indexing – so while most music of that genre still beats the real meat concierge enters thru the backdoor, brings his own future pan to your party as well as all the ingredients – and in some parallel trap universe or in the corner of your party one would say “lit” and add 3 fire emotjis. Just C serves the meal hot, went thru a few kitchens, and knows how to feed the hungry customer with a meal that is mind and soul food – overall filling while eating nothing less than light – but not grease like this text. More the opposite – a connoisseur and the caretaker of slow food and not exactly what the friendly foodora guy will deliver when you are starving at night and the bass line kicks in.
“Imler caused a stir, hypnotically moving his hands and hips in a salacious and undulating dance.” (The Moscow Times) The kinetic magic of his wicket playing style makes him the voodoo priest of Berlin’s music scene. He was a member of the legendary “Golden Showers” and has also played and plays with “Soffy O”, “Peaches”, “Electronicat”, “Puppetmastaz”, “Oum Shatt“, „Die Türen“ and many others, more recently he has been collaborating with Two Monkeys. In 2012 a 7Inch, his solo debut, came out on the belgium label “Meeuw”. It features the exhilerating and disturbing song “Vorwärts”, textwise a mixture of gloomy si-firomanticism and socialist hymn. He released the albums “Lemniscate” 2011 (a soundinstallation, developed during a residency at the Robert Wilson Institute in NY), “We are The World” 2013 as “Driver&Driver” with Patric Catani and his solo-albums “Nervös” 2014 and „Maschinen und Tiere“ 2018 on the labels “Sonig” and “Staatsakt“. Delay-alienated vocals and jarring drums, accompanied by booming basses and hypnotic loops is the sound of „the master of the good bad-mood-tune“ (Verbrecher Verlag), eternally touring through Europe. It simply can be said, that Imler „preserves fire rather than worship ashes” (G.Mahler). He says YES to a cheerful imposition and to an anarchic variety of austerity, NO to premature customer service and petrified resistance formulas. He knows time is a moving target, and whoever wants to beat it to death must adjust their weapons. At large his lyrics describe the stones that late capitalism lays in your way “I lost my bag on the way to Vienna/I wanted to save myself from ruin (…) I deserve never to get what I deserve /Do I deserve the war I get /Did I deserve to derail with all my trains” he sings in “Fahrvergnügen”, and the cheerful pessimistic “Nach Unten” (downwards) leaves no doubt about the final destination of the journey: “It goes down / It goes down / To the dogs tied up in front of the customer centre” (translated from German). But also the journey into the abyss can be an adventure, and a better instruction guide is really hard to wish for.c
Felix Kubin lives and works against the gravity with Sci-Fi pop, noise, animation films, radio plays (Hörspiele) and experimental broadcasting. As the messenger of exploding lungs he started his label “Gagarin Records” in 1998 and rules the “syndicate of counter-noise” since 9.9.1999. Felix Kubin is one of electronic music’s most dynamic and versatile performers. A lovechild of the home recording era, his activities include futuristic pop, radio plays, electroacoustic music, and works for chamber orchestra. Kubin’s music is saturated with enthusiasm for disharmonic pop, industrial noise, and 20th-century avant-garde music. In the last 20 years, he has released a diverse array of albums and played over 80 electronic music festivals. He likes to move between high and low culture, clubs and concert halls, as his main concern is the shifting of contexts and expectations. Indeed, Felix Kubin might very well be the most important clairvoyant for the now incorporeal cosmonaut Yuri Gagarin, whose phantasmagorical concepts are telepathically transmitted through him as the sad humming of the protones.
Two friends meet after a very long time:
1 “Hey, how are you? Do you still play music?”
2 “Yes, sure, I play with an orchestra”
1 “Ah, nice, how does it look like?”
2 “It is a quartet”
1 “OK… and how many are you?”
2 “We are three”
1 “And who’s in it?”
2 “It’s me and my brother”
1 “Wait, do you have a brother?”
Formatory Apparatus is an Amsterdam based home-taping project by Bence Meijer that started out in 2010 out of the ashes of a previous unknown group. The music consists of fully analog, motorik-synth, minimal wave, home-taping and experiment music. Tracks can vary from synth-pop tunes to synthetic atmospheres to non-music or noise depending on the mood and circumstances.
Aside from producing tracks Bence also DJ’s and organizes concerts and exhibitions with the Amsterdam based arts and music foundation Haperende Mens. Furthermore he runs the music blog and record label “Archaic Inventions” dedicated to deviant and forgotten music from the past and the unknown future.
It’s an unexpected collaboration of Morrigun (Aušra) and the head of Raguvos (Ingula) under the name of “Kult Ferat”. You might know them personally, but nobody knows what their sparkling minds will bring in this collaboration. It might be wavy, it might rustle, or it will crackle and buzz. We will discover on the day of betrayal.
Jealousy Party is a Berlin based abstract R&B outfit blending noise and improvisation with funk, avant rock, dub and idiosyncratic electronic collage – a fusion they term Punca.
Founded in Florence, Italy in 1995 by producers Roberta WJM Andreucci and Mat Pogo, JP keep their line-up open to variations and explorations, with multi- instrumentalist Edoardo Ricci as their main collaborator. Right now they are active as a duo with founder members WJM and Mat Pogo on players, electronics and vocals playing metamorphic samples from the burning library of sessions that the duo recorded with an open collective of musicians involved in the Jealousy Party since years. Those recordings are endlessly reshuffled, dubbed and remixed live with a spontaneous use of playback devices that has become one of Jealousy Party’s most crucial trademarks, in a musical frame that is never 100% improvised and never 100% fixed.
Somewhere in between the Atlas Mountains, Caribbean Sea and Eastern European plains a bizarre memory stick fell down from the sky. Strange behaviour was reported by everyone who touched it as attacks of lightness and nostalgia overwhelmed them. People described their experience as seeing flashes of bright colors and hearing warm, electric melodies. The most thing was the rhythm, which lead to instant body movement, but was of completely unknown origin. The stick was engraved with coordinates leading to a distant universe far away from Earth, which i now better known by the peculiar name of <<Planeta Polar>>.
Octavio Garabello is a Argentinian painter and musician based in Berlin since 2012.
Martí Guillem – heterodox artist, who manipulates electronic devices, sounds, images, videos, actions and objects, where it often becomes unusual, unique. Improvisation, experimentation and diy (do it yourself), are combined, irreverently but reflexive, mostly in ephemeral proposals. It is characterised by a fresh and changing language that reflects on the social habits and the relationship between creativity and everyday life.
DLIGHT is the most recent project from. DLIGHT is based on the sinestesic effect light-sound-light. Different artefacts are created with the possibility of controlling different kind of light and sound parameters that effect each other. A poetical and hipnótical experience out of standards.
Transnadežnost’ is transcendence stranded in rock. Here and Now. Instructions for increased awareness. Trance, as the altered state of consciousness achieved by means of sound waves and the beating of the heart. Trance, as a bridge between the worlds. Reliability – what you need on the journey. Because there is a Fear not to go back and that is not the end. But it’ll never end. Have a nice trip, which is our Life.
John Kameel Farah
John Kameel Farah is a Canadian composer, pianist and visual artist whose work embraces aspects of baroque and early music, experimental, contemporary classical, improvisation, middle-eastern music and forms of electronic music.
He studied composition and piano performance at the University of Toronto, where he received the Glenn Gould Composition Award twice during his studies. In 1999 he had private lessons with Terry Riley in California, and later at the Arabic Music Retreat in Hartford.
Farah continues to compose for ensembles and film, but largely focuses on live solo concerts, using a setup which surrounds the piano with synthesizers, as well as processing the piano through computer filters and effects. His music draws upon an interest in astronomy, history, mythology and painting. As a visual artist, his intricate ink drawings have been presented at solo and group exhibitions.
He occasionally presents his side-project, “Music for Organ and Synthesizers”, looping and altering the pipe organ’s sound in combination with analog and digital synths in various church settings, which has attracted great interest from electronic music fans.
Started trying to make music around 2010 out of the depths of the Bavarian alps, they were torn apart by greater forces shortly after. Nonetheless the will to musical expression was always there but never lead to a serious destination. After these nine years of preparation, trying to find intersections in there musical pile of dust, they will perform in the Lithuanian mosquito haze. Expect anything!
His sound tends to oscillate between psychedelic trips, experimental disco and voodoo percussion, exploring the slowed-down heartbeat of danceable music.
Behind Octatanz are two individuals who fortuitously linked through their shared fascination in occult musicality dating back to October, 2012. The duo consists of: Oscar der Winzige (Oscar Olias), notable for a Berlin-based cellar studio known as the Sucked Orange Gallery and M. Aerobica (Matas Labašauskas), predominantly an organiser of DIY music events based in Vilnius.
Together they offer a selection of impressions floating amidst the deepest recesses of melodic sub-culture- immersing you, the audience, to partake in the discovery of a myriad of cryptic composers, seemingly unnoted to a label; a pure nebulous extraction of auditory hidden gems. Among these artists some approached commercialism, while the majority made no attempt in this direction, merely playfully or naturally reaching a means of production which consisted of a limited valuable number of records and/or audio-cassettes. What, in fact, binds these particular eclectic characters together is their valiant effort through a gradient of sensousness of expression, utilising conventional aural art as their conscious awareness and fantasies allowed.
It’s also something special for you, the listener- an assemblage towards the potential in practicing ‘dangerous’ emotions in a ‘dangerous’ situation, without having to confront to ‘reality’. Inspired by the concept of Hell in Paul-Émile Borduas’ Refus Global, he created a concrete manifestation of total acceptance – a parallel world to commercial culture. We can call it “underground”, if you prefer – it’s an aesthetic approach diving in all forms of expression. We take his manifesto as a testimony to the subcultural music of all nations. In other words, Octatanz offers you the chance to learn from others’ experiences, and in this way, it fulfils one of the most important functions of ‘MUSIC’.
“Being at an Albion gig is like entering a bedouin tent and for the first time ever smell the scent of an exotic spice that you could imagine living with for the rest of your life.”
He is a DJ who doesn’t merely take you on another drum journey, but adds an extra dimension where preconception doesn’t apply. It can take a while to get used to it though. Because sophistication never went out of style, it just took more than three decades to catch up with it. And when the coin finally dropped, Albion was there to pick it up. In 2004 he realized that he could set out on a musical journey that no DJ had done before him. Over the last years he has recorded more than a hundred mixes and has steadily built up a worldwide following.
With the groundbreaking Mixtura mixes, he rediscovered and brought together European disco tracks that had been lost and forgotten since the heydays, Albion defined his own sound, which he refers to as Continental Disco Sound.
5ive is a Dj and producer who is one-half of Japanese electronic music band called COS/MES.
Selector and graphic artist based in Vilnius.
Jeroen Vermandere is an Amsterdam based artist, curator and runs the music label ‘Ongehoord’. His label is related to a research in forgotten and unknown cassette’s that are recorded or related to The Netherlands. The approach is not to blindly restage or release the music on vinyl or to contribute to a nostalgia trip. with his label, Jeroen Vermandere takes music from a specific historic context and reframes it in the present. The music is hard to pin down by genre and navigates freely between the outer margins of the music industry.
Relax, with Sallad Egg you are in capable hands. A 1on1 musical treatment for your enjoyment and her amusement.
From the polish squat and bar scene in the early 2000s it was only a stone’s throw for her to find the way behind the Berliner decks. Patronella is a music enthusiast. Frenetic, energetic and straight forward like Kaltes Klares Elektro, a radio show she launched from 2004-2008 where she reached out to all types of electronic music genres. Since 8 years Patro is now organising and playing parties in Berlin. Fascinated with industrial aesthetic, dichotomies, malicious melodies and german language.
Playing kinky punky zouk wave music.
Madrid, Vallecas, Malasaña. 30 years on the decks, musical discourse, not conforming. Timeless electronics Non stop. Every time is the terminal one.
Juan Vacas is a member of the Madrid based collective Real No Real and occasional collaborator with other art/music spaces. He is based in a country house in the outskirts of Madrid where he holds occasional music-oriented meetings with like-minded individuals.
Selector/collector freewheelin through many styles and genres of records.
Alexander Arpeggio is a Berlin based Producer and DJ, founder of MONDMUSIK and EINE WELT. He started Djing in 2002 influenced by New Wave, Italo Disco and Minimal Synth. His Dj-Sets are always a story comprised of cosmic, wave, obscure disco and contemporary electronics. His label Mond Musik is officially re-releasing and re-editing obscure and sought-after german productions from the late 70s to early 80s like Papertiger And The Catcammer Orchestra, Eiskalte Engel, and Der Gøtling. The Gøtling LP for example was restored and reconstructed from an original tape. Only 50 hand-numbered cassette copies of this underground minimal synth project where released back in 1986! A sub label of Mond Musik called „Eine Welt“ features upcoming and up until now unknown talents, and aims to develop a community of contemporary producers with a different take on dance music. The sound can be described as raw experimental acid, spatial techno, bubbling soundscapes and fuzzy rhythms. The first releases will be compilations introducing every artist for the first time.
He also curates the bi-monthly event Club Cosmic (a club version of the summer festival Camp Cosmic) as part of his residency at Berlin institution Sameheads. A new party series called Cosmic Service he just started together with Tom Bolas to deliver both electronic music and disco eclectic.
As a producer, Alexander Arpeggio just released an EP on Austrian label Neubau.
Alexander Arpeggio is part of Aufgang B together with Cid Hohner, which is a slow, acid and industrial project performing analogue live sets; the band shared an EP on Serious Trouble with Benedikt Frey and released the B-Ware EP including a remix by Tolouse Low Trax on Neubau. A Remix for Khidja is out on Hivern Discs.
Another live project with Cid is the ‘OTTO’ band. It is about old organs and preset rhythm drum machines. A third EP Stimmungen which reached Groove Single Charts 14 and a remix for Dollkraut are the latest products. Currently they are working on their 1st Album. Handmade in Germany for Tanzen!
Young dj based in Madrid.
Ondula delivers through her musical approach an unorthodox way to reach the emotions behind the shell. Record and cassette collector based in Berlin since more than a decade, Ondula was always and is still purchasing the singularity of any sonic experimentations – behind the desk with her library of musical rarities, with her partner on stage under the name of As Longitude. The emphasis on the right wave of frequencies and on the dreamy groove can be understood as a statement towards the listening experience.
Justinas Mikulskis (b. 1986), a.k.a S13, is a DJ, promoter, journalist, and the mastermind behind the underground music journal secretthirteen.org. Having grown up surrounded by his uncle’s vinyl collection of black metal, punk, hard rock and 70’s music, Mikulskis became interested in the world of sound from a young age. When he was ten years old, his engineer grandfather helped him make his first DJ mixer, and Justinas started mixing cassettes, creating sound collages, and developing his knowledge in sound architecture. Later on he became a rebellious youth, who couldn’t quite fit in with post-Soviet social norms. When Mikulskis was expelled from school, he decided to delve deeper into music, immersing himself in the world of experimental/contemporary music, free jazz, noise, field-recordings, industrial, ethnographic, new wave, synth-pop, ambient and other genres, constantly challenging the boundaries of his sonic perception. In these years he also drowned himself in literature, ranging from ideological books on anarchism, nihilism, ancient philosophy to science fiction and surrealist works.
Menqui is a dj & digger constantly on the hunt for musical treasures ranging from obscure disco over synth pop, wave, proto house and many other fields. Besides sharing his music from behind the decks he has also been involved in a variety of different projects – f.e. by taking care of the newly established R-i-O Label or by contributing a remix to Don’t DJ’s release on Planet Almanac back in 2015. While Menqui’s mixtapes mostly invite you to float and dream away, he also feels at home in a more dancefloor oriented environment.
Dauwd manipulates his sets with the delicacy and curiosity he uses to produce his music. Intricate and subtly layered, there is many « Rhodes » he likes to explore. Strong from his lonely childhood, in the evergreen landscapes of lost valleys of Wales, via the turbulent and confrontational UK big city routine, he’s comfortable wandering around various sonorities, from music concrète, via library, to esoteric electronic music, caressing ethnic sonorities and sound effects…
“Insultor is the previous owner of Berlin based record, book store and gallery Staalplaat (freshly-retired this year…). He’s also the man behind the Le Petit Mignon projects, a traveling gallery and independent record label and publishing house with a strong DIY spirit. Now free from his main obligations at Staalplaat and besides forthcoming new projects, Insultor aims to travel the world and share part of his time between the organization of Le Petit Mignon’s traveling group exhibitions, the production of new editions in collaboration with international emerging artists, and the presentation of his own music and visual universe. On the occasion of the 2019 edition of the Braille Satellite festival, Insultor will put on his DJ outfits and play a mix of vinyls, tapes and digital files, ranging from hallucinogenic anachronism to timeless multifaceted mash-up.
Brokenchord is a local producer, musician, DJ. In his DJ sets he explores gritty guitars, wave, obscure disco, and motorik sound worlds.
is one of the two founders of O Tannenbaum Berlin. Musically active since 1986 as singer and guitarist in new wave and experimental bands like the Moving Waves and the Hitmachine, played synth and keyboards as Billie and Ballie and Pieter Kock, did performances with Olivier Maarschalk and Meeuw (Meeuw Muzak) and made experimental techno as Jerome and Taladu. Released records, CD’s and tapes under the name Taladu (Brick 001), the Hitmachine, Billie and Ballie, Pieter Kock, Jerome and made two releases with with de Fabriek (Zwolle)). Organizer of underground acid parties, open air parties, the Tannenbaum Waldfest, Wet Floor and Cosmic Dust, Night of the Clowns and many other events. Owner and founder of Olé Records that released records by Harry Merry, LEM, Bertin, Frans de Waard, Mummy’s a tree and others, and active as DJ playing a broad range of music from Leftfield techno to tape experiments, soundart, wave, world, cosmic, jazz, punk, industrial, weirdo shit in general etc etc. with lots of energy and passion. 2018 will see the first releases of O Tannenbaum Records.
Es gibt Dinge zwischen Himmel und Erde, die sich weder wissenschaftlich, noch mit dem reinen Verstand erklären lassen. Aus parapsychologischer Sicht und deren Forschungsergebnissen muss gesagt werden, daß es Geister tatsächlich gibt. Jedoch ist die Frage, was sie denn nun wirklich sind, ob die Seelen verstorbener oder eine Massenhallozination, noch nicht vollständig beantwortet. Sie jedoch als Lüge oder Wunschdenken derer zu bezeichnen, die ihnen schon begegnet sind, zeugt nur von Unwissenheit und Ignoranz. Vielleicht können wir durch unsere Erkundungen überzeugen…
“He is a DJ-Producer of higher quality. Him no deal with booze and abuse of drug. That’s why mi give him thanks and praise Jah Jah knows” (Dr Alban)
Don’t DJ is interested in what he calls “musique acéphale” – a metric which has no distinct starting point and thus encourages the listeners to constantly switch their metric focus to discover different “points of listen” within the same arrangement. When performing live Don’t DJ is constantly rearranging the components of the rhythms, thus never really reproducing the initial tracks but constantly experimenting.
As a DJ he is praised for his “smooth eclecticism” (Mark Gonzales) while his pivotal point being the style he releases on his DISK imprint.
Don’t DJ seeks to inspire consciousness to wander beyond culturally suggested boundaries of the perception of reality.
Poly rhythmic, warm hearted, electronic dance music.
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