The summit of Braille Satellite

Harald “Sack” Ziegler was born in 1961 in Berlin and is living in Cologne since 1986. More or less at the same time he started to compose and perform his own music and got involved in the 1980s tape scene. Harald is involved in numerous projects from radio plays to classical music and well-known in Germany for remarkable live performances featuring his collection of toy instruments and lovely underground pop songs.

An innovator and pioneer of the ’80s German tape scene, Ziegler is a techno-Dadaist composer/pop artist of the highest order, known for his frenetic live shows with toy instruments. His shimmering mix of cheap electronica, German vocals, weird rhythms, samples and guitars almost always manages to stick to a more or less loose song format tending to appeal not only to fans of early German new wave, but also to anyone who has an inexhaustible love for wonky melodies and funky sound bites. A master of many instruments, Ziegler is as likely to whip out a French horn as he is a beat box… (Staubgold)
Besides his incredibly large discography produced as a solo artist over the past twenty years, Harald Sack Ziegler has released three critically- acclaimed albums with F.S. Blumm as Sack & Blumm, and continuously collaborated with Mouse On Mars, both live and in the studio. He was a guest musician for Faust and Kreidler.

Acchiappashpirt is sound and video poetry/poetronic project formed in 2008 as a collaboration between the Albanian poet Jonida Prifti and sound artist SDT. Their concept is inspired by the Ouija Board, which is oral communication as a path to paranormal activities that passes through the linguistic Babel, used to free the sense” (Mapo magazine/Albania). It is inspired by the concept; “Poetry pilots the electronic sound through wirings and feedbacks and so turns it into poetry itself. Together they also run an annual sound and poetry minifestival “Poesia Carnosa” in Rome.

Galya Chikiss aka Galina Ozeran is a russian singer-songwriter, composer, producer, dj and synth diva. Over the last ten years she has recorded a remarkable range of music – from contemporary piano and electro-acoustic pieces to nostalgic synth-pop songs, shoegaze, noise-rock and trippy electronic avant-garde material – a ll as a solo artist and in collaboration with others. Galya has taken part in many stage and studio projects, she was nominated for Russia’s Voice Prize and actually won Artemy Troitsky’s “Stepnoi Volk” (Steppenwolf) award, both in 2012.
When operating alone, Galya’s music is stripped to the bare bones. Her songs become so intimate that the rigid framework of material existence is cancelled out entirely. All that remains is the ephemeral, fluid forms of her synths, accompanied by a gentle beatbox. The result may sound a little distant, but Galya’s voice is always close by. The long-standing experiments listed here have allowed her to sidestep all
manner of stereotypes regarding any “ambient” craft. Avoiding all possible risks regarding standard chill-out registers, too, Galya is instead able to stress the importance of incisive melodies and apt lyrics. A constant refusal of anything “traditional” means that she conducts a close dialog with her listeners. Voices are never raised: there’s nothing more than an exchange of whatever’s most private, pressing, or important.
Galya’s career has undergone many metamorphoses, allowing her to remain securely at the forefront of Russian avant-garde scene.

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.

Sculpture is musician, Dan Hayhurst and visual artist, Reuben Sutherland. Their work mixes electronic music, kinetic art and abstract animation in idiosyncratic polymedia amalgams. The duo’s live AV performances are central to this process. Sutherland’s visual turntablism employs an ever expanding library of zoetropic prints, intricate patterns which come to life when filmed with a video camera. Mechanical imaging technology combines with digital and software based practice in surreal, hyperkinetic loops. There’s a clear connection with the physicality of Hayhurst’s approach to sonics – unstable permutations of tape loops, lo-fi electronics and digital sequences played with a battered reel to reel tape recorder, computer, walkman, sampler and FX units. Sculpture explore spontaneous connections, simultaneity, juxtapositions and collisions through multi-sensory stimuli.

Chris is a Berlin based performer. 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” but has also played and plays with “Puppetmastaz”, “Peaches”, “Electronicat”, “Jens Friebe” and others and more recently he collaborated with Two Monkeys and Oum Shatt. In 2012 a 7Inch came out on the Belgium label “Meeuw”. It features the exhilarating and disturbing song “Vorwärts”, text wise a mixture of gloomy si-fi-romanticism and socialist hymn.
In 2011-13 he released the albums “Lemniscate”(a sound installation, developed during a residency at the Rober Wilson Institute in NY) and “We are The World” as “Driver&Driver” with Patric Catani, on the labels “Sonig” and “Staatsakt”, on which also his solo album “Nervös” was released in 2014. The critically acclaimed record resonated with the audience and German music magazines quickly publicised headline articles about him. The record’s angular, infectious and weird pop has been that significant, injecting a much needed dose of fun, ecocentrism and spontaneity into Germany’s musical landscape. Chris Imler is constantly playing all over Europe.
People are raving about his flamboyant live-shows, in which he mesmerises sonorous-sexual singer, ADHS-like drummer and artificer of unheard samples.

Squadra Omega is a psych/avant/kraut rock collective devoted to free improvisation, psychedelic jams and mind blow ups.

Spettra is the collaborative effort between Lisa Lurati and Björn Magnusson formed in the summer of 2015 in which they use reel to reel tape machines, various synthesizers and drum machines to create improvised electronic music that lingers somewhere between autistic psychedelia, techno and the raw noise of tape hiss.

The actual name “Doc Wör Mirran” was thought up by Bernard H. Worrick while he and Joseph B. Raimond lived together in San Francisco in 1982. But the real history of DWM begins when Bernard H. Worrick and Joseph B. Raimond both moved to Nürnberg Germany in 1985, where Joseph B. Raimond bought an analog 8-track recording studio and began to record what has since become a huge body of recorded work. The concept of DWM though from the very beginning was to combine music, graphic art, painting, sculpture, poetry and just about every other medium of art into one project. The open-membership policy of DWM is an important part of the DWM philosophy. In the early 1990’s, Bernard H. Worrick moved to Florida, taking with him an important part of the group’s identity. But DWM has continued onwards without Bernard. Bringing Bernard back to Germany and returning him to the DWM fold has become one of the goals of the group. Although rarely playing live, DWM is not averse to live concerts, although playing live is not one of the priorities of the group. Since the departure of Bernard, DWM has become especially interested in collaborative efforts with other artists, both recorded and live. Recent developments with DWM include the formation of a new label within MT Undertainment devoted exclusively to the recordings, literature and artwork by DWM and its various members.

Like a man on a mission Zan Hoffman took cues from John Cage and a budding cassette-oriented home recording postal network and established in 1984 an experimental label to trade and collaborate with fellow-minded artists worldwide. Across 27 years Zan engaged in wide-ranging field of study and experimentation working with over 300 artists to produce in excess of 1100 releases.
Three stand-out projects, each with over 100 releases, continued to operate past the 2011 end of Zan’s ZH27 label: Zanstones for sonic exploration, Zanoisect with composed noise and Bodycocktail ~ recently described as Frank Sinatra Synth-Punk. With over 2000 songs Bodycocktail always has a fresh batch of catchy songs for each concert tour. Extensive touring of the Portuguese coast of Spain in Galicia has made him a bit of a local celebrity and the love-affair created a most passionate performer.

Cabbages is the double sided sword of damocles hanging over your beggars banquets. The two headed rock n roll abortion by Paul Jones and Björn Magnusson. On the stage this time the band is extended by Octavio Garabello on a bass guitar.

Kasia Justka is an independent multidisciplinary artist and live performer. She is lighting up darkness with sounds, amplifying silence with images, feeding with sounds, touching with music, charging with waste. Stimulating imagination and sensitivity. Her work circuits invocations into the vast power inherent within electronic systems and networks. Kasia fashions dynamics and forms of primitive entropy and deconstruction of structures. Arranging order in chaos. Her passion with the medium of electricity, untamed nature and experiences brought her to the interest of enhancing and simplifying life in this complex world. Performed her audio-visual live performances and exhibited her work in international galleries, festivals and theatres. Kasia is also running an independent, experimental lab called Monoshop.

An original and complex Audio Sculpted Psychedelic project founded during the 80’s ..Music/soundscapes created by Arzathon, Dreamtime Troubadours, Trolls on Acid, Heavy Metal Vampires on Nuclear Waste, featuring artists Don Campau, Shanna Dawn, Kristianne Gale and others. Music that draws you in, a spiritual /tribal experience like no other. Some pieces are heavily influenced by early krautrock infectious grooves but the whole musical signature consists of audio sculpted psychedelic electronic epics covered by harmonized acid rockin dynamics. Largely improvised and a dangerously lysergic sounding experience.

Lee Stevens, Tina Fear & ,Gina Fear formed a three piece band called from nursery to misery in the late 80’s. They were all living in the same street in Basildon Essex at the time.
The three artists where concerned with how people treated animals, environmental devastation and how people treated each other as a reflection of our times. We reflected our feelings of empathy for the underdogs and the environment and we wanted to express our concerns and love for our planet, which should be treasured. Our music is expressive using animal noises electric music and vocals.

Laura (ODL) and Eva Geist first time met in Vilnius when they came here to participate in STRCAMP festival. They didn’t know yet they will form a band. It will take a couple of years before they will meet again. This time in Berlin, at Sameheads, where they are active members of the club scene. Laura’s experience as listener and records collector, Eva’s career as live performer and composer, their mutual interests in sound studies, radio and unique music were all premises to start recording sessions. As Longitude features on Mond Musik sublabel´s Eine Welt first compilation, upcoming in November (LP 12″). Their first solo “Blauer Part” is expected end of 2016 on dutch label Knekelhuis.

7697 MILES is a project formed by Cristóbal Rawlins from Santiago, Chile and Dieter Mauson from Hamburg, Germany. The name of the band marks the distance between both cities. The musicians met in Hamburg in June 2016. Cristóbal at that time was living in Berlin for 3 months to work on his new solo album and to play some concerts in Europe. Some weeks later Dieter visited Cristóbal in Berlin and they started to record music. Before returning to Santiago Cristóbal visited Dieter in Hamburg and they went on with their studio work. In January Dieter travelled to Santiago and 7697 MILES played a small tour in Chile. They did some spontaneous concerts in Santiago, Pichilemu, Pucón and Puerto Varas and recorded new material in the countryside of Araucanía. They also had some sessions with other musicians on the island of Chiloé. They are planning some concert in Europe for July this year and a another tour through Chile and probably other countries in South America for the beginning of 2018. Meanwhile their first album is ready for release. Their music is mainly electronic based but also contains ambient sounds, guitar, theremin and radio voices.
Cristóbal was born in 1980 in Santiago and played keyboards and programming in different bands from 2004. In 2013 he started his solo project Raw C (abstract and techno music) and other electronic music projects. Dieter was born in Leer, Germany and started to play in different punk and nowave bands in 1982. With a friend he formed NOSTALGIE ÉTERNELLE in 1986 and later other bands and projects. In 2012 he started his solo-project OCCUPIED HEAD.

With a total lack of plan or idea, Known Ocean set out on a journey. Along the way, drifting in and out of reality, he has encompassed the shape and sound of a forgotten primal dimension. Attempting to force and summon the building blocks that are buried deep inside all of us – will this tangled equation ever be understood, simplified or complete?

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. A first single “Lower back rotational stretch” of Twoonky was released in August 2016.
Together they also run an unique 100 sq. meter club in Brescia. It is called “Villa” and it’s located in the cellar of the house where Simone is living at the moment. A recording studio of Twoonky is also located in a same cellar, so it’s where all music of the band comes to the light – “Villa recordings”.

Even if it seems certain that you will lose, retaliate. Neither wisdom nor technique has a place in this. A real man does not think of victory or defeat. He plunges recklessly towards an irrational death. By doing this, you will awaken from your dreams.
Cristóbal Rawlins aka RAW C, has been editing music in different projects since 2004 to date.

Dear music friends, we’d like to introduce you to a piece of german everyday reality. Picture an obsolete home organ and simple synthesizer crackling on worn tape. Rhythmically automated wahs hover over dusty March patterns that trigger a lighting console, while the candle still flickers.
Twisted arpeggios buzz over your head, like a badly thrown lasso. Don’t press that Cha Cha button, the bumper car might hit you. But thats the funky part anyway.

Samoln is the solo project of Valley Sound Records founder Sam Bardsley. His other projects include Hunllef, NEVER and The Valleys.

Marius Trajanas‘ music finds inspiration from heavy analogue experimentations and from sounds of nature‘s glory. Composition movements are full of emotions. Deep tribal soul in distorted aesthetics with hypnotic repetitive rhythms.

Tiese is the problem child of now defunct experimental quartet Twentytwentyone. The duo of Antanas Dombrovskij and Vilius Šiaulys produces monoliths of sharp noise and deep drone, framed by oblique machinist rhythms which disintegrate and reassemble, keeping a fragile balance between utter chaos and total control. Their sets are always unexpected and gloriously intense, inviting the listener to dive into the gauntlet of murderous sound.

Gene is a multi-instrumentalist song-writer based in Berlin. Living in Germany since 2001 and moving around in Europe, mainly between France, Italy and Spain, Gene was subjected to quite a colourful multicultural influence, but not quite as colourful as in Berlin. Consequently he went through various phases of musical development.
The trace of this development runs from an electro-acoustic pop tunes, including genres like art-rock, electro-punk, psychedelic-outsider-folk, avant-pop etc…to post-modern experimentalism and back….and forth and back and forth again.
At the festival Gene Fin will perform some songs within a cinematic narrative.

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.

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’.

Luzi Gehrisch is DJ based in Leipzig, orignally she is from Frankfurt and well-known for playing at “STAY”, a party series, which takes place in Robert Johnson Offenbach.
Also she’s playing often for the SIGN BIT ZERO Party’s, an young Label from Leipzig.

Justinas Mikulskis (b. 1986), a.k.a S13, is a DJ, curator, promoter, journalist, and the mastermind behind the acclaimed experimental music and art 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.
In his DJ sets and mixes S13 weaves this diverse palette of interests into a coherent whole, constructing thought-provoking sound narratives with unexpected stylistic twists, radical mood swings, and powerful, sometimes even surreal atmospherics. Strict rhythmic patterns might suddenly give way to abstract drone voyages or disengaged improvisations, dismantling traditional musical structures. Due to this his selections can be perceived as an exercise in eclecticism and a challenge to the musical status quo. These tendencies (interest in sound collages and eclecticism, connections between the visual and the aural) extend to the Secret Thirteen journal as well. The Secret Thirteen Mix series curated by Mikulskis could serve as an example.

Apart from writing texts for Secret Thirteen Ilius also shares his sonic discoveries via eclectic dj sets. Drifting between lush and groovy synth gems and more abstract atmospheric soundscapes, he tries to convey dark, dreamy and dynamic narratives. Always preferring vinyl to digital, Ilius aims for a more personal and organic approach in the spaces he plays.

Aside from performing the functions of a Swiss Army Knife at Secret Thirteen, Švenčionis is an occasional event organiser and DJ. His sets lean towards the more aggressive shades of industrial music, minimal wave, and post-punk, but always mixed with excursions into various other territories.

Dating back to 1987, Tiney has been playing records for 3 decades now. Although remaining relatively unexposed, this year might flip things a fair bit with the release of his version of Susana Estrada’s cult track “Espacial” on the Italian Disco Segreta label. He’s also been producing under another moniker, which he prefers to keep secret. Being a constant draw in the line up of infamous Camp Cosmic festival and also contributor to the Overfitting Disco blog, he’ll surely add a certain kosmische vintage feel to our rooster, that doesn’t try following common standards.

Rugile makes your high momentum closer to feel uplifted & illuminated with an psychodelic approach to EBM, synthronized electro and weirdos internacionales.

Teenage Jeans wears his old aged genes, journey’s to nowhere seeking and searching for the savage minded mutants amongst us.

I run a clubnight with my friends called Smala in Opium Club. I release my music on Les Disques De La Mort.