This is the second edition of Braille Satellite. The festival is going to happen on the 20-22 of July, 2018 and will take place in the park of Mushroom Manor, just like last year. 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 people who want this festival to happen and are paying for tickets or offering other kind of help.
This year we will be hosting 46 live act’s and 28 dj set’s of uniquely curated underground music. Detailed descriptions of the artists can be found bellow.
As there are a lot of bands that are willing to return and play at our festival again, this year we will be introducing a Octatanz friends stage on SUNDAY. More or less we’ve been doing this already, but as those bands are not only willing to play concerts, but are also support our community in other ways, we want to make it official. Nevertheless FRIDAY and SATURDAY will be filled with many undiscovered artists and surprising performers representing DIY music scene in the wilderness.
- There is a plenty of space for CAMPING and PARKING in the festivals’ territory.
Also there are outdoor SHOWERS and several ponds for swimming.
- A variety of FOOD and DRINKS will be available for purchase.
- You must wear a WRISTLET that you will be given at the entrance after showing your ticket.
- A SECURITY team will be on site. It will not be possible to bring own ALCOHOL drinks.
- Don’t forget to bring drinking WATER, though a borehole of drinking water is available in the territory.
- Do not to 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.
- 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 one.
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 going for a visit can also pay in cash.
For cash payments please contact us via e-mail: firstname.lastname@example.org to agree on details in advance.
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.
Lithuanian Railways company offers 30% discount for those traveling by train. To be able to get a discount and travel cheaper you will need to present the festival ticket or control wristlet. Discounted tickets can be as well ordered online using the special code: BRAILLESATELLITE18
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.
Vaidotas: +370 622 24155
Rapolas: +370 620 86068
Price from train station to festival: from 1,00 to 2,00 Eur
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
Download file: Line-up
Download huge PDF file here: Map
Miguel A. Ruiz
The Madrid-born Miguel Angel Ruiz (1964) is one of the leading names in experimental music in Spain, a true pioneer of the risky and underground Spanish electronic- music scene since the early eighties. He composed more than twenty works, many of them in their own label (founded in 1987 ) “Toracic Tapes”, and under different names (Ventral Metaphor, Orfeon Gagarin, Funeral Souvenir, Zoltan Coxis, Michel des Airlines, etc.), which had an important international diffusion to the point of recording an LP for the Asmus Tietchens ´label “Hamburger Musikgesellschaft”. Also he collaborated with Russian & german musicians for diverse projects as Codachrom or Efficient Refineries. His music is considered as bizarre, surreal, dark and funny at the same time, using in a very personal and original way very different styles in an amazing and unique universe.
Mikoláš Chadima, founder of MCH BAND – non-conformist musician, composer, lyricist and publicist, one of the “fathers” of the Czech alternative scene. He became widely known in the second half of the ‘70s with his performances at Pražské jazzové dny (Prague Jazz Days) as a member of the bands Elektrobus and The Rock & Jokes Extempore Band of J. J. Neduha. Chadima took over Extempore during Neduha’s attempts to emigrate legally, leading the band from 1979 to September 1981. In addition he was engaged in the cult improvising group called Kilhets and the revival-style Old Teenagers as well as the Classic Rock and Roll Band later.
Chadima’s popularity reached its peak in 1981. Extempore won the “All-Star Band 1980/81” survey in the Jazz Bulletin, Volume 27/28, published by Jazzová sekce, beating Etc…, Pražský výběr and Modrý efekt by a wide margin. Chadima also ranked second in the “Celebrity of the Year” survey, following V. Mišík. After eight years he received his passport back and he could finally introduce his work abroad. On 1 March 1981 Chadima performed his music in the London Three Steps club, accompanied by members of the bands This Heat, The Work, Henry Cow and Art Bears. In July of the same year Extempore played three concerts in Hungary as a guest of the former No. 1 Hungarian band – Hobbo Blues Band. Chadima’s passport was then unfortunately confiscated again upon his return from Hungary, which made other offers to perform abroad irrelevant – both in the Western and Eastern blocs.
In September 1981 Chadima broke up Extempore and founded the MCH Band. In the summer his signature on Charter 77 appeared in the media and after the New Year the strength of the repression started to grow. Not even two years later, his legal concert activities were completely blocked. Chadima then slowly faded from the minds of the general public. Although he continued to perform underground, the band kept changing its name for security reasons. MCH Band thus only existed on audiocassettes where Chadima, under the brand Fist Records, spread his music as well as the music of other friendly bands in a “samizdat” way.
In 1983 Chadima established close cooperation with the poet Ivan Wernisch, which has continued to the present.
MCH Band returned to the legal stage in January 1989 with a hugely successful performance in the sports hall in Prague’s Holešovice district, at the event titled “Koncert pro Arménii” (“Concert for Armenia”). After nine long years – a legal concert in Prague! Chadima was offered cooperation with a professional agency – still state-owned at that time – on the spot, making it possible for MCH Band to start appearing legally again, in spite of several restrictions. Chadima received his passport back after many years. This enabled MCH Band to perform a concert on 5 November 1989 at the legendary festival Solidarnoszi Czeskoslow-Polskiej in Wroclaw. In December 1989, after the revolution, Chadima had his first performance with MCH Band in the West, at the “Permutant 89” festival in Copenhagen!
In 1990 Chadima decided to go freelance, becoming a professional composer and musician. He prepared his archive records for release and enjoyed the post-revolution euphoria with his band. However, he didn’t abandon his activities after all the excitement had faded, continuing to write music, release new records and perform concerts both at home and abroad.
In addition to MCH Band, Chadima cooperated with many other musicians after the revolution, such as Peter Binder, Aleš Charvát, Pavel Fajt, Vladimir 518, Mnaga a Zdorp, Chris Cutler (GB), Fred Frith (GB), Fred Gulliani (I), Marc Sens (F), Sergey Letov (RUS), Mona Mur (D) ltd. When not playing with his own band he produces electronic and “economy” project MCH TRIO (MCH3), revival project THE EX EXTEMPORE MEMBERS PLAY THE CITY, improvising project RADIMIL UHLIR & MCH3 and with Julius Fujak Czecho-slovakian improvising project XAFOO.
aka Bodo Hansen created his own musical language, mixing up krautrock, psychedelic, post-punk, electronica and drones using his laboratory of analogue synthesizers, sequencers, fx and field recordings.
formed in Melbourne in late 2013, Lime Works are Josey Kidd-Crowe and Scott McCulloch on guitars and vocals and Allanah Stewart on drums. Moving through a pile of notes, poems, cut-ups and quotes, they improvise songs to make a kind of downtrodden no-rock&roll. Drawling about weird problems … sometimes sounding absolutely dire but then moments that fall out so sweetly. First tape ‘Mild Infection’ was released on Albert’s Basement in June 2014. Currently they’re self-releasi
is the sound performance artist and promoter from Lithuania devoted to improvised and performative music. Since 2006 he has organized more than a 100 events in Lithuania and did more than 350 performances all around the world: from Brazil to Philippines, from Siberia to California, from Greenland to Moldova.
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.
is a look through the stained glass into the midnight sun, while roaring comets falls down to inseminate earth. This existential trip penetrates through the sounds that could be called “organic electronics /ritual post-punk” with a sweet-and-sour bit of trip hop. Every live action seems to be a little bit different from another, but the core still shines with the warm light of discoveries – like a sperm whale between the stars.
half of fallbeil (eng.: falling axe), altar boy, pigeon breeder and moped rider from Hamburg. He will play his analog sound tools live at Braille Satellite.
Wosto is also a record collector, a dJ and a live actor. He has released records on sing bit zero, macadam mambo and his own label teerpappe.
His Hamburgerian friends will come along with him to have fun in the festival!!
KWC 92 is a musical duo consisting of Max Stenerudh and Samo DJ. They hail from Stockholm, Sweden and have released two Albums on american imprint L.I.E.S.
Spencer Clark, the tentacle behind Typhonian Highlife, was a member of the seminal noise duo The Skaters (with James Ferraro), and has recorded under the aliases Tarzana, Fourth World Magazine, and Monopoly Child Star Searchers, whose album, Bamboo For Two found wide critical acclaim. His new Disc, THE WORLD OF SHELLS on Kraak Records, dawns the genre tab: “DEMON CLASSICAL AQUATIC FUSION”, as it invites nature, Sci-Fi Fantasy SFX, and romantic Oriental melodies to juxtapose a startling vision of the WORLD OF AUSTRALIA. Miles Bowe of Fact Magazine has said this of The World of Shells: “While his contemporaries in similar “world-building” music like James Ferraro and Oneohtrix Point Never often attempt to refract something of our own world, Clark’s music feels like exotica by way of H.P. Lovecraft, building mythologies and painting places that feel removed from any reference point. Deep listening can offer glimpses into an impossible realm – and now we enter The World Of Shells, the culmination of a journey both physical and psychic, travelling from California to Australia to Sicily and drawing on everything from alien reptile conspiracy theories to Renaissance sculpture, rock formations and the films of Peter Weir.” Clark’s label, Pacific City Sound VIsions has been Disc-Flexing for nearly ten years the Exotic, SuperNatural, and Premonitioned future realities that add to the Fruitopian Wealth of 2017.
The sound of an oar in the water, the wail of a stream train, the roar of cars, the mambo, the chachacha, rock and roll, all of these have shaped the sonic landscape of the world’s fifth largest city, Mexico City in the Valley of Anáhuac. This megacity has been one of the great repositories of the latinamerican musical tradition and musical exiles.
La Redada, a sextet of tropical psychedelic music from the capital of Mexico consisting of Carlos Icaza, Julian Huerta, Daniel Llermaly, Oscar Ojeda, Feike de Jong and Fernando Caridi references Latin American from the 30s to the 70s, reinventing sounds hidden in crates of secondhand vinyl. La Redada takes these songs with the goal of revisiting an imaginary past of the Mexico City, where musical adventure, the energy of dance and the variety of human experience contained in this city of 20 million people reigns.
The sound of La Redada Is determined by its instrumentation, drums, organ, base, percussion, woodwinds and theremin. The composition of the band is cosmopolitan; numbering two Chileans, a Dutchman and three Mexicans. The band’s members have played in distinct scenes in Mexico City, such as surf, garage, free-jazz, noise, electronic music and tropical music among others.
Listeners who have come in contact with the music of Guido Möbius solely through his album releases are in for surprise when they attend one of the Berlin-based musician’s gigs. That is mainly due to the fact that Möbius makes no attempt whatsoever to translate the album tracks into a live performance. On the contrary: With the help of no more than his guitar, his voice, a trumpet and loads of effect pedals, he creates highly energetic music in between humour and hypnosis. Another element that makes his performances so special is his spontaneous interaction with the audience. Möbius always invites chance to be his accomplice.
On stage Guido Möbius is surrounded by his serially connected effects units that he controls as if in a trance. Every step in the creation of his music is public: When Möbius activates one of his pedals, the audience are a witness to this process and its result. Nothing is mysteriously conceived behind laptop screens. Möbius‘ music happens before his audiences‘ very eyes (and ears). This accounts for a large part of the fascination of his performances. The other (and maybe even greater) part results from the twist and turns his music takes, which never fails to surprise the audience. In his live sets Möbius creates delicate links between experimentation, handmade techno, funk, polyrhythmic patterns, acid, weird noises and gospel music. Methodically prepared passages and improvisation combine into a coherent set, and Möbius deals with the energy on the fly. Failures and restarts are constant companions and sources of inspiration. At times, Möbius piles up loops of vocal-, trumpet- or guitar-sounds into a mighty drone whose gravity is interrupted abruptly by a driving beat or a gospel choir. It’s different every time.
Automatenfall is a proposal by Gabriel Castillo and Miguel Soler, a space in Berlin where musical improvisation and sound experimentation meet. It is a collaborative project with the participation of diverse musicians and artists who meet without any composer pretension and through which the sound material is recorded, documented and selected.
In Automatenfall, different styles are combined in a casual manner depending on the taste and background of each participant. The styles are also subject to the nature of the instruments, the devices, the synthesizers and the effects that are used. In the recordings you can hear rolling drum rhythms with drum machines and delays. Linear and monotonous basses that try to be solid. Guitars that create sound maps based on noise and experimentation, and synthesizers of uncertain melodies that evoke a dream.
Paddy is a Zelig-like character along the timeline of Manchester’s musical activity. It’s a testament to his musicality that he has played with such a wide range of music and artists over the years, be it as a bass player, drummer, Hawaiian guitarist etc. or all these roles at the same time.
His own Homelife project released six albums in recent years, Homelife’s sound was intricate but with a warm sense of wonder, a balance of songs and instrumentals. Many musicians contributed to the Homelife project, brewed slowly by Paddy in his attic before being taken out as a small orchestra for some very unique concerts.
Never one to blow his own trumpet, Paddy quietly gets on with developing his craft. There is something of the fairy-tale cobbler working late into the night in order to make the finest shoes in the kingdom, or maybe the musical elves strike up while he’s in bed.
Recorded , It’s a sometime cartoon-like music dense with events, new textures and the colours of children’s paintings, sounds like a Swiss cuckoo clock made of egg boxes and horsehair, glued together by an African Moog player in a Vietnamese iron monger’s shop.
In rejection of the notion of ‘immaculate reproduction’, live performances err more daringly and admirably on the frontier of chaotic abstraction, expression and focussed blunder, dice rolling down the hill in case of duende, as from behind his stacked array of instruments, the anarchically intrepid punk gargles through a vocoder with his xylophone, all a-clatter under disco lights and doilies.
Lycurgus & Alexandra Macia A/V live performance
Coming from Thessaloniki, Greece, where he performed as a member of the improvisation collective “Fun With Nuns”, Lycurgus a.k.a. CXIxVI, “Goolyk” or “Sibilus Satanicus”, moved to Berlin in 2012 and later on participated as a resident live act at “OUR HOBBY IS DIFFERENT” parties, under the alias “Goolyk”.
Co-founder of “Templeyard Studios” collective that begun as a collaboration project with Miltiades, back in 2015, in Tempelhof, Berlin, they released their first short album, “Messages From A Better Destiny” on Athens-based “Echovolt Records” (EvR – 021), in 2016.
He also appears through solo projects or collaborations on labels such as “Das Andere Selbst” (D.A.S. 027, “Sibilus Satanicus”), “Phormix Tapes” (PHXT01), Lyon based “mélodies souterraines / late-night rec.” (SUBREC01338) and Mathematics Recordings (MATH093).
His latest vinyl release comes in 2017, from the legendary Bunker/Panzerkreuz (Panzerkreuz 1020), based in Den Haag.
Within the barbarism composed out of an outdated visual and sound proposal, usually generalised by the total deconstruction, we find Alexandra Macia who conceptualises in the form of critique to the media manipulation and the fragility of other aspects in this multimedia field. Her further desire for expression is part of the different faces that she confronts with her raw creations. In an intentionally outside world of the conservative and in search of filmmaking of the past, the arrogance and punk attitude of the video art are rendered more sickly. The pursuit to bend established models leads to subliminal psychovisual landscapes that spring from explicit lust and artistic connotations that derive from the process’s DIY purity. The work seems to complete itself by channeling the histrionic instability of the imagery so as to accelerate the vision of the spectator.
Hypnotic Trance-Rock / Psychic Rock-Driving, monotonous beats and bass lines, overlain by floating patterns from an inimitable Echodrive guitar.
Günter Schickert has quite a reputation amongst friends of psychedelic music. He and Manuel Göttsching (Ash Ra Temple) pioneered the use of echo guitar. His solo albums “Samtvogel” (1974) and “Überfällig” (1979) have attained cult status. In 1987, he founded with Udo Erdenreich and Dieter Kölsch, friends from the Berlin theatre 100Fleck, ZIGURI EGO ZOO, a musical theatre project which soon evolved into the band named ZIGURI.
ZIGURI initially rehearsed in SO36, the legendary punk club in Berlin- Kreuzberg (subsequently finding themselves entangled in the street battles on Oranien Street which were a regular occurrence at the time). Their first gigs took place in squats, at street parties or in underground clubs, before graduating to venues like Tacheles, der Eimer and Schokoladen. ZIGURI continued playing in this format until 1997, after which only the theatre project remained, lasting until 2002.
Each of the three band members went his own way in the years that followed, signing up to new bands sooner or later. Schickert played with Kölsch in *Ponyhof* and with Erdenreich in the punk combo *HAGEL forte plus*. Both used the same rehearsal space, so the trio often found themselves gathered socially in the original line-up, as it were. One evening, those famous words were spoken: > Let’s put the band together again. <
That was in 2011. And from the first moment on, it was like they had never been apart. Picking up exactly where they had left, Kölsch and Erdenreich hammered out a driving rhythm and Schickert layered his unique echo patterns over the top. They road-tested their live set in two concerts with Damo Suzuki (Can). As ZIGURI played further shows, it dawned on them that younger listeners had bolstered their audience, strengthening the band’s resolve to revive the act as a going concern.
After two records: “Kölsch/Schickert/Erdenreich“ published on Bureau B and “onetwothreefour“ published on Sireena Records, they are looking for new adventures on the ZIGURI Road.
Since 2017 their old friend Zam Johnson is in the band. Zam Johnson is playing synthesizer and percussion and gives the ZIGURI sound a perfect and strong push. Zam Johnson is from Los Angeles and played at the end of the seventies with Gino Vanelli, Beach Boys, Brian Wilson, Ray Charles Singers, Red Bone, Iron Butterfly, Tom Petty, Ike Turner, Sweet Inspirations, Barry White and Billy Griffin. He lives since 1987 in Berlin and was with ZIGURI already in the nineties for some gigs and recordings. A wonderful and inspiring musical meeting. Sounds like a lot of fun. Welcome to the show.
Composer, vocalist, keyboardist, and poet Alvaro Pena-Rojas, better known as “Alvaro the Chilean With the Singing Nose,” has been compared to John Lennon and Tom Waits, though in fact his strange music exists in a category of its own. With a large number of self-released recordings that borrow from such diverse sources as his Chilean background, European avant-garde, minimalism, and easy listening pop music, Alvaro has forged an endearing legacy of DIY and outsider music. Born in Chile in 1943, Alvaro released several singles of pop music in his native country in the late ’60s before moving to London in 1974. Once there he hooked up briefly with Joe Strummer in an early version of the 101’ers, Strummer’s group prior to the Clash.
Over the next several years in London and Germany, he recorded several demos, often just soloing on piano or keyboards and vocals, or occasionally with a drummer and bass player. With punk all the rage of London in 1977 and an emphasis on independence from record labels where bands would release their own material, Alvaro started his own label, Squeaky Shoes Records. His own quirky music, though nothing like the noise of punk, had even less commercial potential. With help from Antonio Narvaez on various percussions and vocals and Cathy Williams on vocals on one track, and himself on piano, lead vocals, percussion, pinquillo, double flute, bass, whistle, and stones, Alvaro’s first LP, Drinking My Own Sperm, was recorded in November 1977 and came out soon after. The next several years saw the release of more full-length albums, singles, and tapes from Alvaro, all issued on his own label. His third record, The Working Class, recorded in Bavaria in 1979 and released the next year, was a completely solo effort with no overdubs. His single “Mariposa” from 1985 was considered the weirdest single in the Virgin Records Megastore in London at the time.
Often shuttling from London to Continental Europe, as well as South America, to record and tour, by the late ’80s Alvaro relocated to Germany. He played some concerts on the East Coast of the United States in 1991 and continued to tour and release records and CDs throughout the next decade. Through self-production, Alvaro has maintained his unique vision, that combination of an unusual singing voice; music that is steeped in Chilean folk music and yet influenced by modern European experimentation; and strange lyrics in Spanish, English, and German. Since the mid-’70, he has also published several books of poetry with various presses.
RAP is a duo formed of Guy Gormley and Thomas Bush in 2009. Their music has its roots in Westmorland, their hometown—in it you can hear both the rural and the industrial. Primary instruments are voice and guitar, drum machine and synth. They have released two EPs to date via Jolly Discs and Stockhom-based label Born Free.
Y Create || Forbidden Photographs aka Hessel Veldman (1956) is a musician, composer and radio-producer. An early fascination with electronic audio devices from the beginning of the 1970s, in combination with a preference for writing and performing extremely idiosyncratic music, have created a wide range of experimental music and radio productions.
For the Dutch broadcasting company VPRO, Hessel produced his first experimental solo work ‘I Can Hear Trumpets?’ (1980). During the Holland Festival of 1983 in Amsterdam, ‘Portable Vaudeville’ with Willem de Ridder was created. Four nights in a row this sound-poetry show was presented in the Schouwburg in Amsterdam. Under the name FNTC many experimental radio plays were made during the 80s and 90s and broadcasted worldwide.
Via his private cassette label Exart (1982-1995), music albums and video productions were released under all kinds of artists-names (including Y Create, Forbidden Photographs, Gorgonzola Legs, Austin & Kelly). And since the last few years, after the release of the CD ‘Madadayo’ in 2004 on EE Tapes, Hessel regularly performs solo or together with other like-minded artists on special request. In Vilnius, Hessel Veldman will do an exclusive solo performance under the name Y Create Forbidden Photographs; a real time noise-improvisation with tapes and prepared guitar. Plus an extra Y Create Greatest Hits DJ-set.
Jack E. Dove
is a drummer studying engineering. With his homemade electronics and malfunctioning lights he produces a pool of rhythmical noise. He is interested in translating characteristics of electricity. Creating systems where lights react to sound and sound instruments react to light.
We got to know each other in a car crash on the A8 in the direction of Stuttgart. Judith’s driver could not control his right leg due to a lack of Zink, so she tried to intervene and caused a huge accident in front of a McDonalds. During this crash, her glasses broke and Marius choked so hard that he had to cough for almost 20 minutes. Nikel and Thomas just came out of the restaurant. Thomas’ stomach was hurting because he ate too many chicken strips. It was snowing and Nikel asked Marius for a cap and gloves. Nickel caught a cold because Marius didn’t find his cap, so we had to keep him healthy in his studio with tea and salami for some days. He was so thankful, but it was just SERVICE.
duo of Konradas Zakauskas and Marija Rasa Kudabaite who recently reside between Brussels and the Hague. By using various music approaches along with different hardware instruments together they bring dynamic voyages drifting between musique concrete elements, delicate synth motifs and lush melting grooves.
Loud Sun is Andrew Jansen – a naturalist, a musician, and a songwriter who’s been self-releasing music in various forms since the early 2000’s. With Loud Sun, Andrew combines rock, folk, psychedelic, punk and elements of electronic music. Sea Grave, Loud Sun’s latest effort, is a story of departure, loss and the time in between.
Partially self-recorded in Oakland, California and finished in Minneapolis, Minnesota, Sea Grave is largely comprised of melodic bedroom pop with experimental, garage, and ’60s influences. “Some songs were started in my laundry room studio in Oakland, and everything was polished up in my basement in Minneapolis,” says Jansen. “Writing and recording are pretty intertwined.
Berlin based music worker. Sounding objects, pollution, articulation, emphasised and de-emphasised elements ordered horizontally as melodies and vertically as harmonies, euphony, mathematics, combinations in temporal relationships, fluctuations swollen with impurities.
Random recordings of random acts of random analog.
FOQL + Copy Corpo
FOQL: Polish artist who crafts heavy, elegant and hypnotic music that stands somewhere between minimal synth, darker and more industrialised fringes of techno and coldwave/ post-punk influences. Detaching herself from the occasional boredom of techno, she also employs the best elements of the genre to shape her own unique sound – one that is as danceable as it is sonically adventurous and atmospheric. Wavey synths and analog rhythmic patterns float into dense atmospheric soundscapes or become immersed in lo-fi noise shards or melancholic soundscapes. Her recent LP “Lower Your Expectations” released on Always Human Tapes forefronts these sensibilities. Her association with such labels as Enfant Terrible, Pointless Geometry and New York Haunted also illustrate the vast scope of her activities. She is undoubtedly one of the most exciting names coming from Poland’s darker underground spheres. (source: Secret Thirteen)
Copy Corpo: Improvisator, promoter of independent music, co-founder of Trzecia Fala collective and cassette label Pointless Geometry. He creates music on electronic and electroacoustic objects. Together with Justyna Banaszczyk he organizes in Warsaw concert series focused on experimental music – “V / A – Various Artist”. As VJ Copy Corpo he creates visualizations based on feedback and video materials from VHS cassettes in aesthetics of analog glitch and psychedelic color structures. In his improvised sets he uses analogue video mixers, video cameras, old TVs and other peripheral devices.
Sigīta Seyr + VJ VS
It’s not easy to describe the nature of Sigīta Seyr’s music. On one side of this narrative there’s a consistent construct, on the other – the unpredictable chaos of soundscapes. From rough techno rhythms surrounded by light atmospheric ambient sounds, to musique concrete buzzings and beyond.
“In the creative process I try to go beyond the perception of traditional music, looking at the sound as an integral part of a variety of phenomena, actions or experiences that remain in our memory as images or scents, creating emotions and feelings connected to those experiences”, – the artist herself summarises.
Sigīta Seyr is a manifesto on the picturesque history of Delia Derbyshire, Daphne Oram, Laurie Spiegel and Cosey Fannu Tutti, creating music from unlimited audio options.
February 2018 saw the release of Sigīta Seyr ‘s debut album “Compos Mentis” on Berlin’s aspiring Detriti Records label.
Juan Pablo Villegas
Strobe is an audio-visual performance consisting of two stroboscopic lights connected to a sequencer. The action’s intention is to cause a physical reaction in response to rhythmic patterns of sound and light. One of the psychosomatic consequences implicated is the apparition of phantasmagorical images in the viewer’s mind.
Improvised 30 minutes avant-gart performance of original soundtracks on electric piano by GARO in pop-up when in mood style. Don’t miss this one.
R.Moro is an improvised musician, fisherman and dj based in Porto. Fond of twisted oneiric rhythmic explorations, he will present his fun with his little family of instruments, synths and objects.
uses reel to reel tape recorders to play and create sounds what contain diverse field recordings and malfunctions of the old technology itself. Through manipulation, the organic sound of the tape recording loops becomes unrecognisable and dependent on the hand movements of the player.
Kojos Sopa’s compositions seem like surreal sonic creatures. They might remind us of some weird jazz aesthetics and are playfully experimental. Kojosopa cannot be easily described in stylistic terms. He just takes you on a trip across strange yet cozy and warm realms.
are two brothers Simone and Michele that play a spontaneous music, described as close to the instinct, to the “out of control” sound. Physical exhaustion opposed to moments of hilarious drunken mind, unstable bodies, rotating heads. Twoonky is a residential band that plaid 4 festivals in a row and made a huge progress and a little surprise each time.
Guitarist, composer and author of various performances, the enfant terrible of the Lithuanian jazz scene. Probably no other Lithuanian jazz musicians has stirred up so much controversy as the experimenting conceptualist Juozas Milašius. Having made his stage debut in 1986, he earned the reputation of the most uncompromising jazzman in Lithuania, entering the areas of total free, uncontrollable noise and bizarre sounds, provoking both unconditional admiration and relentless opposition. Completely overtaken by the guitar, Juozas Milašius has tested the limits of this instrument playing solo and experimenting in various projects with improvisers, electronic and experimental sound artists.
Radio Globe is an lofi electronic music duo by Koreniukai brothers. It is an interpretation of retro-futuristic nostalgia for parallel Vilnius where melodies and harmonies of intensive emotional charge are accompanied by danceable rhythmic patterns.
Back in the days at the west-Saxon highlands there was a missile, which marked the starting point. When Credit 00 saw the legendary rocket rise on Tetris’ final screen, it was the first time he became aware of electronic music at all. Since then it actually hasn’t changed that much. He keeps pushing that buttons that belong to the impressive pool of music machines towered up next to his bed.
Paul Arámbula & The Want To
After bringing the keyboard across the long ocean, taking long walks, working long nights in the bars, Paul has written (long) songs about familiar strangers, saying a lot of nothing, forcing the easy life, and loving to hate that you are them. Arámbula’s new album “A Bit of Both”, brushes along the edges of how far intimacy can go while still being open about how distant and different both still are. Is it the honesty which will keep it together, or the shared pretending? Is it a bit of both? For this year, Paul will be supported on stage by a full band of pretenders.
is an electro acoustic music project of Dieter Mauson from Hamburg, Germany started in 2011. His songs are long sound collages which are constantly changing and sometimes song orientated with vocals but always hypnotic. Live O.H. has been performing with the horn player Harald SACK Ziegler and lately with his son Adrian playing sax. Dieter is also a member of the following duos: NOSTALGIE ÉTERNELLE (since 1986), DELTA-SLEEP-INDUCING PEPTIDE (since 1989), OPFER DER HINGABE (since 1989) and 7697 MILES (since 2016). Dieter also just started a new trio with Wosto and Inox Kapell called SAUERSTOFFF.
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.
Grégoire Fiaux is coming back to Vilnius and he’s very angry. Boris Gétaz comes to help, even angrier
The Wheel of Life
5ive is a Dj and producer who is one-half of Japanese electronic music band called COS/MES.
Behind Octatanz are two individuals who fortuitously linked through their shared fascintation 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 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, utilizing 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’.
Ron van de Kerkhof
deejay based in Amsterdam, The Netherlands’.
is a Dj and producer based in Tokyo.
Music enthusiast based in Bucharest.
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.
Stockholm’s Samo DJ continually sabotages the model with distinctive productions that fearlessly compact a myriad of demented ideas with a twisted Scandinavian cheek. One-half of Sling & Samo and co-founder of their label Born Free, Samo also creates faux-fantasy original soundtracks with MaxxxBass as KWC 92, while studio time with Tzu Sing, Baba Stiltz and Cos/Mes further transmutes his sound. Responsible for multiple standout L.I.E.S. releases, Samo’s tweaked out edits and remixes have also been issued by Public Possession, Macadam Mambo and Klasse Wrecks.
Music as a subject is constantly evolving from uncountable influences. In order to understand the history, emotions and structures of certain periods and their musical output, esclé decided to go on a seemingly and hopefully never ending journey of research.
His djing can be as diverse as music itself. From concept based to atmospheric listening focus or straight dance music. His researches mostly follow music related and influenced by Tribal, Psychedelic Rock, Jazz, traditional Folklore, Ambient, Industrial, Punk and Techno from around the world.
Besides being a dj he is one of the founders of “Pracht” from Leipzig, Curator and always working on various projects that aim to make the music/culture scene a bit stronger. Next up: Radio “Neu”.
A special dj set by Gypsy playing songs from new albums, and some unreleased tracks.
understands the dance floor as a platform towards the unknown. Guided by the seeds of freedom planted by krautrock, her vision has been growing among smoky bars and underground releases. This is maybe the reason why her sets take distance from the foreseen and try to take a journey into the exploration of the occult. In her suitcase can coexist the enchantment of kosmische psychedelia and the effervescence of cyberdelic techno, as much as the rhythmic primitivism of the first house and the aesthetic sophistication of the new-wave. Alicia translates all of this into sessions of slow cadences, tribal impulses, weightless melodies and atmospheres as toxic as the evocative that they are, inviting the listener into an introspective hypnosis.
Back in the early two thousands, DJ Squeaky was involved with System Corrupt Sound System, organizing and playing at free parties in and around Sydney, Australia. These days he is the co-owner of Bar O Tannenbaum (Berlin) and one half of the illustrious duo Dj Paul & Simon. He specializes in concentrated DJ sets with a fine nose for subtleness and the specific.
Based in Madrid, Spain. 1/3 of 209, member of the REAL NO REAL collective and partially responsible for The Gathering for Listening mixes on the Unlocked Youth platform. Radio Broadcaster of the East river for the new Madrid online Radio Relativa. Jaunting through waves and textures.
Laura Odl is a sound artist, radio producer, broadcaster, musician and Dj based in Berlin since 2007. She has completed her studies in the Berlin University of Arts (UDK) master Sound Studies and Sonic Arts. Explorer of sound and music, collector of records and cassettes tapes she also collects pieces of reality recording sounds everywhere she goes.
As Dj she plays under the name of Ondula, she has toured around Europe and played in Festivals like Strcamp, Polyhymnia, New Dance Fantasy, City of Thousand Suns or Camp Cosmic. In Berlin she is resident of the club Sameheads, icon of the underground electronic music scene in the city where she hosts the bi monthly party Diapason, together with Eva Geist. She explores deep into music proposing an Immersion in obscure electronics, forgotten tapes, analogue synths, Avant-garde, composers, pioneerism and sound collages. Down tempo dance movements combined with rhythms which lead to a different state of consciousness. “Submerged into the rivers of experimental electronics, she will always start a dialogue with those who listen, who seek and with those who swim along”.
She is the half of the electronic music duo As Longitude. As Longitude is part of the Berlin label Eine Welt and the Dutch label Knekelhuis where their first Ep, Blauer Part, has been released in 2017. Their live performances are made of infinite bass loops, drum machines and sequenced riffs, crooked, overdriven synths and tape manipulations. The output is a unique raw experimental acid, spatial techno, bubbling soundscapes and fuzzy rhythms.
Michael has run the Albert’s Basement label for some 10 years or so in Melbourne, Australia, releasing mainly home-dubbed cassettes and some vinyl editions. Music on the label ranges from Muura “sounds like a single cell of feedback noise from a Butthole Surfers or Fushitsusha show ca. 1998, concentrated and amplified as though it alone were the point” to Secret Valley “condensing the double helix of hermetic love into two a half minutes of pop bliss”. For this set, Michael will select music mostly off the Albert’s Basement catalogue, and also upcoming, hopefully opening a door into it’s world, possibly some rules broken too.
Involved in different musical genres for several years, Interiors is now commonly known on Lithuania’s underground scene as the resident DJ, promoter and conceptualizer at one of the finest Vilnius nightlife establishments: Kablys Club – the place where he runs his regular, but musically diverse Gamma nights. With varied tastes and influences from different scenes, he blends his own mixture of dark disco, krautrock, EBM and other psychedelic-minded alternative dancefloor sounds, fit as much for the brain as for the body, for the club or bedroom, mid-day or midnight. Even if his sets might seem a bit chaotic, one couldn’t help recognizing that he has got his own mixture of the past, the present and the future, seamed into his very own musical strategy, which Interior himself calls “a thin line between contrasts”.
I actually was in Vae Victis (Misano) on the summer 1989, it was around 9 a.m. and there was a selection at the entry: two guys hanging on the garden door in front of a waving crowd. No line, the selectors were calling the selected straight out from the crowd by pointing to somebody and saying “you, in”.
I was 15, hanging out with some older friends on a 2 weeks holiday, i will always be grateful to my mum cause she did let me go, we were coming from Cocorico that just opened that year and still was a really crazy place.
One of my friend had a lot of haunting clothes that he was kindly lending us, i remember i was wearing some black and white chess elephant legged suit and no t-shirt.
No idea how we got there, we were walking in the morning sun completely lost and suddenly we get to the Vae Victis parking, some guys were closing their car’s door by kicking it violently as we entered the crowd.
Possibly we were a bit spaced out by the night and by this situation that was completely new, i just remember that at some point the guy at the door pointed to us and said “you guys in”, the crowd opened and we walked through entering the garden. It was an incredibly good feeling, i still feel it when i tell the story.
Bad Boy Baader
Having spent decades in inky black basements casting pearls before swine, the grumpy old spice known as Bad Boy Baader descended to the underworld many moons ago and is bound to never return. Having made himself a name with his beloved and notorious Disco Dilettante parties, Baader has become a constant fixture in the Dresden outsider scene. Never having been one to stick to genre boundaries, he has developed a unique sound, incorporating bad tempered upbeat ballads, trippy techno rap, as well as dark but funky electronics into his sets. Definitely not taking himself too serious – for better or for worse – bad, better, Baader is what you can expect.
Selector and graphic artist based in Vilnius.
Dj and producer from Berlin.
Member of Madrid based collectives Real No Real and 209, part of the mix series Gathering for Listening on Unlocked Youth and currently responsible for the radio show Dreams on Queue on Madrid’s Radio Relativa.
Young dj based in Madrid.
Most often she builds up from the ground, taking to the journey with an almost mesmeric fusion of industrial, experimental and tribal rhythms. In her DJ sets, she is keeping a groove from hard drums and combines bright and positive moments with the dark meditative piece. Rugile makes your high momentum closer to feel uplifted & illuminated.
Poly rhythmic, warm hearted, electronic dance music.
Ilius & Švenčionis
not only spin some post-punk/minimal/industrial tunes, but are also behind Secret Thirteen, a well known mix series. Ilius is known for his atmospheric synth sets with excursions to ambient, experimental pop or dark wave fields, while Švenčionis prefer heavier sounds of gritty EBM, raw punk or more abstract musical forms. Expect something in between as apart from these differences, there are also lots of overlap in their tastes.
almost a DJ from Aachen living in Berlin.
Cid Hohner is known as a music maker in projects like Aufgang B, C.Z. or OTTO. Creating rough sound aesthetics by playing hoarded and stacked analog electronic instruments seems to be his specialty. From soundtracky synth-pop to slow acid infused electronics, sonic drama sleeps in his hands.
As a DJ, Cid is an old stager in the business. Highly addicted collector of an impressive variety since many years. Witness him select records as he knows to form all those special tunes into a mind-blowing trip full of emotions. No genres to be named nor missed.