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 to July 50 Eur
At the entrance 60 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 50-60 min on a forest trail and gravel road. There will be two 8 seated taxi cars 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; 19:43 – 20:54.
04:57 – 06:05; 10:28 – 11:39; 13:19 – 14:27; 17:15 – 18:25; 19:07 – 20:13.
Here is a short video “how to arrive by train” that might be helpful:
For those who don’t like to walk there will be two taxi cars operating between train station and festival area. Taxi will be able to take you where ever you want. Prices are negotiable. Going from train station to festival should not cost more than 2 Eur.
Vaidotas: +370 622 24155
Be warned! Right after you enter a town of Pabradė there will be a speed camera. Your speed limit must be not higher than 50 km/h as in town area.
Total distance from Vilnius 79 km
Foaming at the gills with pockets full of thrift store novelties, homemade transducers, and costuming collaged from mailbox weeklies usually reserved for the cat box, Crank Sturgeon utilizes such finery to marinate a commingling of noise and lower case art interruption. The consequence has been a quarter century-long journal entry that reads something akin to a failed circus flier: brimming with tales of dirigible mishaps, bathtub teleconferences, cassette recordings consisting of hiccuping contests, and skits showcasing repurposed office equipment that never seem to stay on script (or upright for that matter).
In recent years, a number of these close shaves have placed themselves on the map. Witnesses observed processes involving self-inflating shirts in Quito, airborne conga lines featuring dancing plywood business suits in Leipzig, parades in Roanoke denoted by trousers filled with 30 gallons of water, and revelations pertaining to the acoustic qualities of packing tape in Athens. To date, Crank Sturgeon’s career highlight has been a fingerprinting marathon which took place on an island in Maine — 600 people in four hours — printing just their middle fingers.
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)
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
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.
Concierge has Been sleeping for the Last days. He has been eating too much vegan gyros also. He tried to remember the Dreams onto something, an understanding medium, to be able to tell His friends about it. Later he found the Cassettes empty, emptied by a strong magnetic field. He sat down and recorded them again and again. He will bring his fostex and some structures and he will carefully forget the other Dreams eventually.
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.