dies einen Sinn ergibt.
So sitzen im Sommer 2011 vier junge und eigentlich in Berlin beheimatete Männer in einer Bar in Liverpool und entscheiden sich für einen gemeinsamen Neuanfang: EMPIRE ESCAPE.
Neben einigen Konzerten mit Bands wie I Like Trains, Pete & The Pirates oder The Temper Trap zieht es die Band zu ersten Studioaufnahmen in die endlose Weite Schwedens. Mit Hilfe von Mathias Oldén (Logh) und Pelle Gunnerfeldt (Fireside, Refused, The Hives) werden hier die ersten Songs aufgenommen und produziert.



TICKETS IM VVK:
Für das Konzert wird es eine limitierte Auflage handgefertigter Hardtickets im Vorverkauf geben. Der VVK-Preis beträgt 6 Euro. Zudem erwartet jeden Hardticket-Inhaber am Konzertabend ein kleines Überraschungsgeschenk. Kartenbestellungen werden per Email entgegengenommen, Betreff "Monarch" + gewünschte Kartenanzahl und Versandadresse bitte an:
info@empireescape.com ... less

live immer wieder eindrucksvoll unter Beweis stellen (zuletzt u.a. bei gemeinsamen Shows mit I'm Not A Band oder den Crashcaptains). ... less

waren die späten '60er um '68 und '69, in dieser Zeitspanne entstanden die besten Tracks, eine wilde, explosive Mischung aus Gospel, Soul und Rhythm & Blues. Manche Bands hielten noch länger als bis '72 am ursprünglichen, rauhen und puren Funk-Sound fest, aber spätestens nach '74 war dann wirklich überall der Ofen aus. Der harte, emotionale und kraftvolle Funk wich stupiden Discorhythmen, zu denen sich auch die ungelenke weiße Mittelschicht in ihren schlechtsitzenden Anzügen auf die Tanzfläche traute. Unsere große Leidenschaft gilt den seltenen und obskuren Original-Singles der "Golden Period" von '66-'72. Platten, die meist nur in kleinen Auflagen auf unabhängigen privaten Labels erschienen und damals einfach zu wild, zu hart und ungezügelt fürs Radio und somit einen überregionalen Erfolg waren. Es ist erstaunlich, wie viele dieser Platten es gibt, und regelmäßig werden neue wiederentdeckt, eine lang vergessen geglaubte Musik erlebt eine Wiedergeburt auf der Tanzfläche. ... less

Doppelkonzert mit Rocket From The Tombs in München im Mai diesen Jahres (natürlich ebenfalls ausverkauft), kommt die Band endlich auf eine Club-Tournee nach Deutschland.

Gerade erschien die DVD "Live: Berlin 1988" vom ersten Europaauftritt der Band um Mark Arm - "erweckend" (Thomas Venker) muß dieses Konzert 1988 gewesen sein. Die erste Grunge-Band ever in Europa - das waren Zeiten! Wehende Haare, herumschleudernde Gitarren, Post-Punk-Proto-Grunge! Aber viel anders ist es auch heute nicht - der "in Würde gealterte" (Intro) Mark Arm ist auch heute noch ein grandioser Performer, die Band rockt sowas von, es ist ein Fest, sich von dieser urgewaltigen Band über hundert faszinierende Minuten lang wegtragen zu lassen:

"Mark Arm gab den charismatischen Shouter, die Rhythmusgruppe um Basser Guy Madison und Superdrummer Dan Peters sorgte für den nötigen Druck, den Steve Turner mit Gitarren-Fuzz-Attacken perfekt füllte (...) Das Publikum war euphorisch." (Visions Live-Kritik 2012)

"Als wäre die Stimmung noch nicht kurz vor der Eskalation, peitscht das markante Proto-Grunge-Riff durch die Halle: "Touch Me I'm Sick". Mark Arm erinnert beim einzigen Deutschlandkonzert seiner Mudhoney nicht zum ersten Mal an die Stooges. Das Feuerwerk an Hits, das Mudhoney über zwei hitzige Stunden abschießt, betont die eigene Legende." (Dirk Wagner, Musikexpress, Live-Kritik 2012)
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BEACHES // PALAIS SCHAUMBURG // ZEBRA KATZ & NJENA REDD FOXX // FELIX KUBIN // JAN JELINEK + MASAYOSHI FUJITA // Fuck Buttons' Andrew Hung presents: DAWN HUNGER // STATION 17 // WHITE FENCE // NIGHTBEATS // UV GLAZE

Others:
WENZEL STORCH // JONATHAN TOUBINs SOUL CLAP + DANCE OFF // NETWORK AWESOME SCREENINGS // JULIANE KOWALKE // CHRISTOPH BLANKENBURG // URBAN MUTATIONS // ITTY MINCHESTA // DJ TEAM No1: JIMMY TRASH & J-DU...

When: May 29th-31st 2013
Where: FESTSAAL KREUZBERG//WEST GERMANY//MONARCH

Tickets: festsaal-tickets.de & www.koka36.de

Support by:
taz.de
spex.de
fluxfm.de
bytefm.de
www.bln.fm/
roteraupe.de
greatest-berlin.de
noisey.vice.com/de
digitalinberlin.de
blitzgigs.de
www.exberliner.com/
networkawesome.com/ ... less

have taken electronica to new heights with a unique blend of sound annihilation, fragmented melodies and an impassioned hatred of conformity. For nearly two deacades, Andi Toma and Jan St. Werner have sweated over burning consoles to create a new musical language, only to twist it again into thousands of myriad distortions.

Mouse On Mars’ sound links them to the club-music scene, as do their many remixes and collaborations with members of the dance-music world. Yet their association with the formalized and utilitarian world of dance music is ironic, as the band’s raison d’etre is to place electronic flies in any aural ointment they choose to muck through. A series of 11 albums and numerous remixes has come off as primarily intent on dashing expectations, from the ambient-house ectoplasms of 1994’s Vulvaland and 1995’s slightly more structured Iaora Tahiti to the flighty and funny electronics, spluttering horns and acoustic-guitar samples of 2000’s more “organic” Niun Niggung to the forest of sonic porcupine quills that is Idiology. Radical Connector (2004) further granulated the MoM aesthetic into nine vaguely pop-oriented songs, ever heavier on the beats and increasingly hinging the tunes on the vocals and drumming of longtime collaborator Dodo Nkishi. Varcharz(2006) entirely recorded at Mouse on Mars’ St. Martin Ton Studios in Duesseldorf has been their most live sounding and diverse studio album to date. 2012 saw a new Mouse on Mars once again. Their LP Parastrophics is a thriving vision of the other side of experimental music. Discordance turns into pop as Alice in Wonderland bounces her booty to laser bass sounds, the likes of which would make Walt Disney jealously ponder the question, “Why didn’t I think of that?!” Parastrophics is glamorous, funky and deep. No speakers exist that could display all the details of such manic production.

Andi Toma and Jan St. Werner collaborated with The Fall’s Mark E. Smith as Von Südenfed and released Tromatic Reflexxions on Domino in 2007. Both Toma and St. Werner produce independently for their Sonig label. St. Werner has worked on solo records under several monikers, written pieces for acoustic instrumentation and electronics, did music for installations, and acted as the artistic director of the Amsterdam Institute for Electronic Music, STEIM. His blog fantastic analysis is updated regularly. Toma has produced Moondog, Stereolab, Junior Boys and The Fall, amongst others.

One of their most recent projects Paeanumnion has been as unique as the rest of their career – an orchestral piece which didn’t play by any of the rules. As St. Werner said, “it was a way for us to carry on being an electronic band, only without electronics”. As ever, he was not being entirely serious. Both Jan and Andi were on stage throughout this hour-long voyage, playing their own digitally-crafted sounds and processing the orchestra at the same time. For this event Mouse on Mars have created their own musical software which they also used for the production of Parastrophics.

WOW would be the band’s 11th outing into the LP format and couldn’t be further apart from it’s predecessors. It was created from scratch in just a few weeks and was released a mere 9 months after Parastrophics. This exuberant, club focused album is a perfect counter point to Parastrophics with Dao Anh Khanh lending his talents as a vocalist with other collaborations coming from Las Kellies as well as Eric D. Clark. In 3 words, WOW is epic, intense and ridiculous.

WOW also brings to the fore the band’s hardware inspired iPhone instument WretchUp which was heavily used across the studio production process as well as their live shows.
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from the lost-and-found products of samplers, tape recorders, media players and other recording implements. To this end, Jan Jelinek often works with loops and slight modulations to distil the gist of a piece of music and define it more clearly while masking its original source.

In the late 1990s he started to release his works under the pseudonyms Farben and Gramm, adapting his primary sampling premise to a surprising range of different sounds. During the following years, Jan Jelinek released solo projects under his own name on the scape-label, collaborated with artists like Sarah Morris or German author Thomas Meinecke, played a range of laptop or gadget-based live sets, worked with improvisation ensembles from Japanese trio Computer Soup to the Australian jazz formation Triosk and created a number of audio-visual performances with video artist Karl Kliem, founded with Hanno Leichtmann and Andrew Pekler the Trio Groupshow and launched in 2008 the label faitiche.

MASAYOSHI FUJITA (Vibraphone)
masayoshifujita.com/

Masayoshi Fujita’s route to Berlin was a roundabout one. Introduced to music via Bon Jovi, his first stint abroad naturally took him to the motherland of rock, the United States. After a year in the USA, he returned to Japan to study film. His love for movie making, however, proved less pronounced than his admiration for Bon Jovi, a band he can still quote and sing from memory. He decided to learn how to play the drums, followed by extensive vibraphone training to craft and play his own, mostly jazz and electronic-influenced compositions. Determined not to stick to traditional vibraphone styles or techniques, Masayoshi started to prepare his instrument with pieces of metal, strips of foil and similar objects. The resulting new sounds, akin to distortions, help to expand the vibraphone spectrum without eroding the instrument’s intrinsic character or even abandoning it altogether. Besides his extremely reduced and deliberate style of playing, it is this aural redefinition that makes Masayoshi Fujita’s craft so remarkable and noteworthy. ... less

entire workshop series and curated the experimental concerts, among these have been the concert and workshop of Francisco Lopez and Zibigniew Karkowski. In addition she has been working as an organizer of the SuperCollider Symposium 2010 in Berlin, which was funded by the HKF. She also curated the workshop program for NK at Club transmediale - 2010 Berlin. Lastly, she has worked as a co-curator on the 11th series at Ausland in Berlin. ... less

BEACHES // PALAIS SCHAUMBURG // ZEBRA KATZ & NJENA REDD FOXX // FELIX KUBIN // JAN JELINEK + MASAYOSHI FUJITA // Fuck Buttons' Andrew Hung presents: DAWN HUNGER // STATION 17 // WHITE FENCE // NIGHTBEATS // UV GLAZE

Others:
WENZEL STORCH // JONATHAN TOUBINs SOUL CLAP + DANCE OFF // NETWORK AWESOME SCREENINGS // JULIANE KOWALKE // CHRISTOPH BLANKENBURG // URBAN MUTATIONS // ITTY MINCHESTA // DJ TEAM No1: JIMMY TRASH & J-DU...

When: May 29th-31st 2013
Where: FESTSAAL KREUZBERG//WEST GERMANY//MONARCH

Tickets: festsaal-tickets.de & www.koka36.de

Support by:
taz.de
spex.de
fluxfm.de
bytefm.de
www.bln.fm/
roteraupe.de
greatest-berlin.de
noisey.vice.com/de
digitalinberlin.de
blitzgigs.de
www.exberliner.com/
networkawesome.com/ ... less

soul party" - Rozalia Jovanovic, Flavorpill New York

"Jonathan Toubin is the only person we can call a "professional DJ" without involuntarily making a jack-off motion with our hand.... his parties are like what Ancient Stonehenge was like if it was, as archaeologists theorize, filled with people dressed many times better than you completely losing their shit." - Mike de Leon, VICE

"New York Night Train's Jonathan Toubin throws the raddest underground rock parties in New York" - Alexander Thompson, Paper Magazine

"DJ Jonathan Toubin is creating his own kind of dance revolution" - Araceli Cruz, Village Voice ... less