-----------------------------------------------------
29.05
@ Monarch Tickets online kaufenTEENITUS - Bratwurst im Exil! http://www.eineweltaushack.com/
EINE WELT AUS HACK + FESTSAAL KREUZBERG present: TEENITUS - Bratwurst im Exil
LineUp:
MOUSE ON MARS // DIRTY 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/
Infotext
LineUp:
MOUSE ON MARS // DIRTY 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/
JONATHAN TOUBINs SOUL CLAP & DANCE OFF (NYC) http://www.newyorknighttrain.com/
"Widely acknowledged as the mother of all soul jams" - Eva Madoff, Time Out New York
"New York's best 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
Infotext
"New York's best 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
-----------------------------------------------------
29.05
Tickets online kaufenTEENITUS - Bratwurst im Exil! http://www.eineweltaushack.com/
EINE WELT AUS HACK + FESTSAAL KREUZBERG present: TEENITUS - Bratwurst im Exil
LineUp:
MOUSE ON MARS // DIRTY 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/
Infotext
LineUp:
MOUSE ON MARS // DIRTY 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/
MOUSE ON MARS http://www.mouseonmars.com/
Mouse on Mars is one of the few electronic bands to stand the test of time. Constantly reinventing themselves, they 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.
Infotext
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.
JAN JELINEK + MASAYOSHI FUJITA http://www.faitiche.de/
JAN JELINEK (Electronics)
Bypassing the rules of traditional musicianship, Jan Jelinek prefers to construct collages from tiny sound fragments, 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.
Infotext
Bypassing the rules of traditional musicianship, Jan Jelinek prefers to construct collages from tiny sound fragments, 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.
FARAHNAZ HATAM https://www.facebook.com/farahnaz.hatam
Farahnaz Hatam has been working as the co-director of NK since the last two years where she has organized the 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.
Infotext
-----------------------------------------------------
30.05
@ Monarch Tickets online kaufenTEENITUS - Bratwurst im Exil! http://www.eineweltaushack.com/
EINE WELT AUS HACK + FESTSAAL KREUZBERG present: TEENITUS - Bratwurst im Exil
LineUp:
MOUSE ON MARS // DIRTY 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/
Infotext
LineUp:
MOUSE ON MARS // DIRTY 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/
WENZEL STORCH: Multimediale Lesung mit Filmausschnitten, Diashow und Musikeinspielungen http://wenzelstorch.de/
Wenzel Storch - "Das ist die Liebe der Prälaten" - Multimediale Lesung mit Filmausschnitten, Diashow und Musikeinspielungen
Das kunterbunte Universum des Wenzel Storch - Wenzel Storch liest aus neuen Büchern und wirft dazu Schmuddelbildchen an die Wand
»Das ist die Liebe der Prälaten« entführt den Leser in die wunderbare Welt der katholischen Aufklärungs- und Anstandsliteratur. Erfahren Sie alles über Fibeln wie »Peter legt die Latte höher« und Heftchen wie »Unser Guckloch«, und erfreuen Sie sich an seltenen Meßdiener-Pin-ups!
Weiterhin erzählt Wenzel Storch die aufregende Geschichte des »Beat-Club«, erinnert an die Blütezeit des psychoaktiven Comics und begutachtet die historisch-kritische »Petzi«-Ausgabe. Es geht um verhexte Tiere und fliegende Mohrrüben, um Unterwassersoul und den TV-Regisseur Kai von Kotze, um Ulrike Meinhof, Nick Knatterton u.v.a.
Die Presse:
»Wenzel Storch ist ein Katholikenschreck und Kuriositätensammler. Seine Prosastücke sind hochkomische Bastelarbeiten.« -Zeit Online
»Grandiose Entertainment-Qualität« -TAZ
»Storch ist als Kind in eine Fass mit Acid versetzter Fanta gefallen« -Rolling Stone
Infotext
Das kunterbunte Universum des Wenzel Storch - Wenzel Storch liest aus neuen Büchern und wirft dazu Schmuddelbildchen an die Wand
»Das ist die Liebe der Prälaten« entführt den Leser in die wunderbare Welt der katholischen Aufklärungs- und Anstandsliteratur. Erfahren Sie alles über Fibeln wie »Peter legt die Latte höher« und Heftchen wie »Unser Guckloch«, und erfreuen Sie sich an seltenen Meßdiener-Pin-ups!
Weiterhin erzählt Wenzel Storch die aufregende Geschichte des »Beat-Club«, erinnert an die Blütezeit des psychoaktiven Comics und begutachtet die historisch-kritische »Petzi«-Ausgabe. Es geht um verhexte Tiere und fliegende Mohrrüben, um Unterwassersoul und den TV-Regisseur Kai von Kotze, um Ulrike Meinhof, Nick Knatterton u.v.a.
Die Presse:
»Wenzel Storch ist ein Katholikenschreck und Kuriositätensammler. Seine Prosastücke sind hochkomische Bastelarbeiten.« -Zeit Online
»Grandiose Entertainment-Qualität« -TAZ
»Storch ist als Kind in eine Fass mit Acid versetzter Fanta gefallen« -Rolling Stone
DJ ITTY MINCHESTA http://www.atombusentransporte.de/category/mixtape/
-----------------------------------------------------
30.05
Tickets online kaufenTEENITUS - Bratwurst im Exil! http://www.eineweltaushack.com/
EINE WELT AUS HACK + FESTSAAL KREUZBERG present: TEENITUS - Bratwurst im Exil
LineUp:
MOUSE ON MARS // DIRTY 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/
Infotext
LineUp:
MOUSE ON MARS // DIRTY 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/
PALAIS SCHAUMBURG http://www.facebook.com/pages/Palais-Schaumburg/118776913245?ref=tsfref=ts
Die einflussreiche deutsche Band Palais Schaumburg hat sich in ihrer Originalbesetzung wiedervereinigt. Ihr Debütalbum aus dem Jahr 1981 hatte seit seinem Erscheinen definitiv eine Sonderstellung inne: Leichtfüßig und verquer, abstrakt und poppig, dilettantisch und versiert, zeigte es wirkliche Alternativen zur damals verbreiteten kruden Identitätssuche der „Neuen Deutschen Welle“ auf. Die Band, die durchweg aus auseinanderstrebenden Persönlichkeiten bestand, fand sich jetzt in dieser Formation wieder zusammen, um die Anknüpfungspunkte wieder aufzunehmen, live aufzuführen und weiterzuentwickeln.
Bei ihren spärlichen Livekonzerten in Berlin, Köln und Tokio wurden sie dafür frenetisch gefeiert – und zwar nicht nur von Gleichaltrigen. Ihr Statement hat auch in Zeiten von Post-Sampling und den heutigen, dynamischen Veränderungen von Musikvermittlung nichts von seiner Faszination verloren. Wer die Kombination aus eigenwilligen Bassriffs (Blunck), bizarren und doch eingängigen Rhythmen (Hertwig, Blunck), Fehlmanns schrillen Bläser- und Synthesizerfanfaren, Hillers scheinbar atonalen Gitarren-Stakkatos und undeutbaren Text-Konglomeraten sieht und hört, dem erschließt sich unmittelbar der Einfluss der Band.
Pressestimmen:
"Irgendwo zwischen den Synthies von New Wave, der Textlastigkeit der Neuen Deutschen Welle, den Gitarren von Art Rock sowie Trompete und Kontrabass von Jazz eröffnen Palais Schaumburg eine Tanzfläche, auf der eine Kategorie wie Zeit nicht existiert. Nur das Jetzt und die Musik und die Bewegung.
Am vorletzten Abend 2011 geben Palais Schaumburg das beste Konzert des Jahres." - Die Welt (zum ausverkauften Konzert im Berliner HAU)
Infotext
Bei ihren spärlichen Livekonzerten in Berlin, Köln und Tokio wurden sie dafür frenetisch gefeiert – und zwar nicht nur von Gleichaltrigen. Ihr Statement hat auch in Zeiten von Post-Sampling und den heutigen, dynamischen Veränderungen von Musikvermittlung nichts von seiner Faszination verloren. Wer die Kombination aus eigenwilligen Bassriffs (Blunck), bizarren und doch eingängigen Rhythmen (Hertwig, Blunck), Fehlmanns schrillen Bläser- und Synthesizerfanfaren, Hillers scheinbar atonalen Gitarren-Stakkatos und undeutbaren Text-Konglomeraten sieht und hört, dem erschließt sich unmittelbar der Einfluss der Band.
Pressestimmen:
"Irgendwo zwischen den Synthies von New Wave, der Textlastigkeit der Neuen Deutschen Welle, den Gitarren von Art Rock sowie Trompete und Kontrabass von Jazz eröffnen Palais Schaumburg eine Tanzfläche, auf der eine Kategorie wie Zeit nicht existiert. Nur das Jetzt und die Musik und die Bewegung.
Am vorletzten Abend 2011 geben Palais Schaumburg das beste Konzert des Jahres." - Die Welt (zum ausverkauften Konzert im Berliner HAU)
FELIX KUBIN http://www.felixkubin.com/
Who hasn't heard of Felix Kubin - the 'Whirlwind Wizard of the Ivories', whose appearances on stages at a multitude of health spas rendered audiences almost speechless?
The only remaining, tattered photograph we have of him was taken during his heyday in the Baderstreick (an area of what was then known as Czechoslovakia), where he was worshipped as a god by the bourgeoisie. His technique was often compared to that of Mozart, and it was endlessly suggested that he was tirelessly involved in numerous romantic liaisons.
By the early 60's the pubescent Felix (officially known as Friedel Kern) had already attracted a lot of attention with his seductive and uncannily precise organ playing. His legendary and unforgettable dance-hall soirees at the Cafe Senator in the town of Bergendorf impressed both young and old alike.
Eventually he attracted the attention of the famous chanson singer Elias Zankapfel who introduced him to the rest of the world at exclusive receptions for the Shah, the Maharaja, various State Presidents and even the Queen of England. It was about this time that Felix Kubin's popularity skyrocketed into the orbit.
During the winter of '76 a startling accident unexpectedly changed the course of his life forever. For reasons which he has never revealed, the organist refused to appear in public and the name Felix Kubin slowly faded into temporary obscurity.
In his despair he got involved with a number of occult societies, contacted otherworldly composers and rumour even has it that he was obliged to play his once so-beloved
organ at satanic masses. After many difficult years, and with the help of a qualified solicitor, he finally succeeded in turning his back on this lifestyle and eventually managed to recoup his energy while staying at his favorite place of refuge, the Bad Lux Health Spa.
It is still a complete enigma how he managed to telepathically contact the long-lost space pioneer Yuri Gagarin. Indeed, Felix Kubin might very well be the most important clairvoyant for the now incorporeal cosmonaut, whose phantasmogorical concepts are telepathically transmitted through Felix Kubin as desolate and futuristic electronic compositions.
This music is the melancholic hum of protons.
Infotext
The only remaining, tattered photograph we have of him was taken during his heyday in the Baderstreick (an area of what was then known as Czechoslovakia), where he was worshipped as a god by the bourgeoisie. His technique was often compared to that of Mozart, and it was endlessly suggested that he was tirelessly involved in numerous romantic liaisons.
By the early 60's the pubescent Felix (officially known as Friedel Kern) had already attracted a lot of attention with his seductive and uncannily precise organ playing. His legendary and unforgettable dance-hall soirees at the Cafe Senator in the town of Bergendorf impressed both young and old alike.
Eventually he attracted the attention of the famous chanson singer Elias Zankapfel who introduced him to the rest of the world at exclusive receptions for the Shah, the Maharaja, various State Presidents and even the Queen of England. It was about this time that Felix Kubin's popularity skyrocketed into the orbit.
During the winter of '76 a startling accident unexpectedly changed the course of his life forever. For reasons which he has never revealed, the organist refused to appear in public and the name Felix Kubin slowly faded into temporary obscurity.
In his despair he got involved with a number of occult societies, contacted otherworldly composers and rumour even has it that he was obliged to play his once so-beloved
organ at satanic masses. After many difficult years, and with the help of a qualified solicitor, he finally succeeded in turning his back on this lifestyle and eventually managed to recoup his energy while staying at his favorite place of refuge, the Bad Lux Health Spa.
It is still a complete enigma how he managed to telepathically contact the long-lost space pioneer Yuri Gagarin. Indeed, Felix Kubin might very well be the most important clairvoyant for the now incorporeal cosmonaut, whose phantasmogorical concepts are telepathically transmitted through Felix Kubin as desolate and futuristic electronic compositions.
This music is the melancholic hum of protons.
WHITE FENCE http://whitefenceartcollective.blogspot.de/
Those who expect Tim Presleys White Fence project to be an extension of Darker My Love are in for a lysergic surprise. Sure, youll hear the same 60s love thats in Presleys day-job band. But replace the boogie bass with The Velvet Underground and Nico guitars, ramp up the weirdness youll start to feel all the brown acid in your brain melting into your pineal gland just in time for the bad trip lyrics to kick in. That and the laughter, and the reverb, and the echo, and the feeling that this is a nightmare Presleys welcoming you to enjoy.
Press:
"Darker My Love and The Strange Boys... do variations of dirtied-up psychedelic pop. White Fence is [Tim Presleys] third band and much more idiosyncratic. Its just Mr. Presley making songs as complicated as he wants, with his multi-tracked asthmatic voice and his gift for weird, wayward song hooks."-Ben Ratliff, New York Times
"[Presleys] debut under the moniker White Fence is absolute ramshackle-scatterbrain-chaos, revealing an equal affinity for the acid-soaked psychedelia of Syd-era Floyd and the noise-caked post-punk of The Fall. Even while traversing a wide variety of moods and personalities, this kaleidoscopic LP is masterfully complete, and an understated portrait of the savvy genius behind it."-Altered Zones
Infotext
Press:
"Darker My Love and The Strange Boys... do variations of dirtied-up psychedelic pop. White Fence is [Tim Presleys] third band and much more idiosyncratic. Its just Mr. Presley making songs as complicated as he wants, with his multi-tracked asthmatic voice and his gift for weird, wayward song hooks."-Ben Ratliff, New York Times
"[Presleys] debut under the moniker White Fence is absolute ramshackle-scatterbrain-chaos, revealing an equal affinity for the acid-soaked psychedelia of Syd-era Floyd and the noise-caked post-punk of The Fall. Even while traversing a wide variety of moods and personalities, this kaleidoscopic LP is masterfully complete, and an understated portrait of the savvy genius behind it."-Altered Zones
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31.05
Tickets online kaufenTEENITUS - Bratwurst im Exil! http://www.eineweltaushack.com/
EINE WELT AUS HACK + FESTSAAL KREUZBERG present: TEENITUS - Bratwurst im Exil
LineUp:
MOUSE ON MARS // DIRTY 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/
Infotext
LineUp:
MOUSE ON MARS // DIRTY 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/
DIRTY BEACHES http://dirtybeaches.blogspot.de/
Alex Zhang Hungtai, AKA Dirty Beaches, started off as a one man band in 2005 in Montreal. A trans-pacific nomad and genre hopping sound smith, his past releases include drone instrumentals, film scores and a fascination with dissecting popular american music like blues, rockabilly, soul, RNB, and hip hop, often rendering them to the point where its no longer recognizable.
His latest release, Drifters/Love Is The Devil, is a double LP that chronicles the musician’s life on the road over the past 2 years, as we follow him down the rabbit hole through the labyrinths of Berlin, Belgrade, Paris, and many other cities through heartbreak, rebirth and masochistic existential self reflection.
Recorded between Montreal and Berlin in the winter of 2012, the double LP is separated only by aesthetics, as they are tightly woven together thematically as one conceptual piece. If 2011?s Badlands was an exercise in exorcising past ghosts in a semi-fictional world, then Drifters/Love Is The Devil is a reflection on the fragility of reality. One, of the surface world in which he explores the night life of bright neon temptations dwelling in hedonistic irresponsible values, and the other of the inner world, one of remorse and lovelorn tragedies.
As stated by the artist himself, “the most honest piece of music I’ve ever written.” Drifters/Love Is The Devil is out May 21st, 2013 on ZOO MUSIC.
Infotext
His latest release, Drifters/Love Is The Devil, is a double LP that chronicles the musician’s life on the road over the past 2 years, as we follow him down the rabbit hole through the labyrinths of Berlin, Belgrade, Paris, and many other cities through heartbreak, rebirth and masochistic existential self reflection.
Recorded between Montreal and Berlin in the winter of 2012, the double LP is separated only by aesthetics, as they are tightly woven together thematically as one conceptual piece. If 2011?s Badlands was an exercise in exorcising past ghosts in a semi-fictional world, then Drifters/Love Is The Devil is a reflection on the fragility of reality. One, of the surface world in which he explores the night life of bright neon temptations dwelling in hedonistic irresponsible values, and the other of the inner world, one of remorse and lovelorn tragedies.
As stated by the artist himself, “the most honest piece of music I’ve ever written.” Drifters/Love Is The Devil is out May 21st, 2013 on ZOO MUSIC.
ZEBRA KATZ & NJENA REDD FOXX http://zebrakatz.com/
Fresh on the scene and he’s already taken the fashion and hip hop worlds by storm! Pulling from a multimedia and performance art background, Zebra Katz brings a slo-mo dark delivery to his rhymes, which are set over a minimal, unencumbered beat on his highly acclaimed first single “IMA READ” (Mad Decent/Jeffrrees). “IMA READ” was heralded as the “Official Song of Paris Fashion Week” after Rick Owens personally chose it to score his Fall/Winter Womenswear runway show. Since its release three months ago, the hauntingly sexy video has been viewed on YouTube nearly a million times (as of October 1 2012) and ZK has been featured in the NYTimes’ New Music and Fashion and Style sections, Pitchfork, Vogue, Interview Magazine, and myriad other magazines and blogs.
Zebra Katz is the capstone creation of 25 year old New York multidisciplinary artist Ojay Morgan. Inspired by Nina Simone, Andre 3000, Missy Elliot, James Blake, and Lauryn Hill.,Morgan has cultivated a signature and unique presence all his own. Having shared the stage with artists from Diplo to The Scissor Sisters, Lana Del Ray and Azealia Banks, his lives shows are not to be missed, and have been enjoyed by audiences worldwide.
Infotext
Zebra Katz is the capstone creation of 25 year old New York multidisciplinary artist Ojay Morgan. Inspired by Nina Simone, Andre 3000, Missy Elliot, James Blake, and Lauryn Hill.,Morgan has cultivated a signature and unique presence all his own. Having shared the stage with artists from Diplo to The Scissor Sisters, Lana Del Ray and Azealia Banks, his lives shows are not to be missed, and have been enjoyed by audiences worldwide.
STATION 17 http://station17.17rec.de/neues.php
Station 17 is a project founded in 1988 in Hamburg and is made up of handicapped and non handicapped musicians. Even though the plan was to only produce one album initially the band is still going strong and over the years has worked with many notable producers such as Holger Czukay from Can, FM Einheit from Einstürzende Neubauten, Thomas Fehlmann from Palais Schaumburg as well as DJ Koze.
Starting out as somewhat of an outsider version of the Hamburger Schule the band collaborated with diverse musicians from different scenes such as hip hop or electronic backgrounds. Nowadays they are following the footsteps of Kraftwerk, Neu! and Can pounding out their very own version of what Krautrock can be: "It's all about the individual artists and how the group can use the individual strenghts of each member. We are a heterogenic group – we differ in our tastes or ideas. This gives rise to a variety of acoustic colours and hues impossible to find in any other band."
Infotext
Starting out as somewhat of an outsider version of the Hamburger Schule the band collaborated with diverse musicians from different scenes such as hip hop or electronic backgrounds. Nowadays they are following the footsteps of Kraftwerk, Neu! and Can pounding out their very own version of what Krautrock can be: "It's all about the individual artists and how the group can use the individual strenghts of each member. We are a heterogenic group – we differ in our tastes or ideas. This gives rise to a variety of acoustic colours and hues impossible to find in any other band."
Fuck Buttons´ Andrew Hung presents: DAWN HUNGER http://dawnhunger.tumblr.com/
“Dawn Hunger was written for a vocalist and multi-instrumentalist to perform. I was interested in the concept of composing for musicians and not being involved in the live performance.” - Andrew Hung//Fuck Buttons
With DAWN HUNGER, Andrew heads down a new Svengali-like path, where he writes, records and produces music and then collaborates with a series of new musicians. To begin this infinite electronic odyssey, DAWN HUNGER is interpreted and performed live by Claire Inglis and Matthew de Pulford. Throughout this collaborative process we see the generation of identity an interpretation of self. Actions become objects and being gives way to a newfound sense of soul.
This is music that is both turbulent and disconcerting. Bereft of excess jagged components are given space to breathe and move, attracting each other into unsettling frenzy. Groove is redefined by unhinged yet locked drums. The female voice screeches and wails to disturb, and compel in equal measures.
Infotext
With DAWN HUNGER, Andrew heads down a new Svengali-like path, where he writes, records and produces music and then collaborates with a series of new musicians. To begin this infinite electronic odyssey, DAWN HUNGER is interpreted and performed live by Claire Inglis and Matthew de Pulford. Throughout this collaborative process we see the generation of identity an interpretation of self. Actions become objects and being gives way to a newfound sense of soul.
This is music that is both turbulent and disconcerting. Bereft of excess jagged components are given space to breathe and move, attracting each other into unsettling frenzy. Groove is redefined by unhinged yet locked drums. The female voice screeches and wails to disturb, and compel in equal measures.
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31.05
@ Monarch TEENITUS - Bratwurst im Exil! http://www.eineweltaushack.com/
EINE WELT AUS HACK + FESTSAAL KREUZBERG present: TEENITUS - Bratwurst im Exil
LineUp:
MOUSE ON MARS // DIRTY 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/
Infotext
LineUp:
MOUSE ON MARS // DIRTY 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/
AFROBEAT PARTY w/ DJ TEAM No1: JIMMY TRASH + J-DU
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01.06
Tickets online kaufenFAVOURITE SONGS http://www.karreraklub.de/karrera/home
CUT RIBBONS (LIVE) http://cutribbons.co.uk/
Thanks for coming to say hi. Fünf schneidig aussehende Musiker aus der beliebten Urlaubsregion Llanelli in Wales, wie sie sich selbst beschreiben, sind gerade dabei einer der spannendsten walisischen Musik-Exporte zu werden. Wagemutiger, inspirierender Indie-Pop mit einem großen Gespür für Melodrama und epische Klangwelten und dem markanten mehrstimmigen Gesang von Sängerin Anna Griffiths und Sänger Aled Reess lässt auf eine große Zukunft hoffen. Der britische Radiosender BBC1 hat sich schon in die charmante Band verliebt, die aktuell bei dem Label Kissability unter Vertrag ist, das sich neben digitalen Releases auf die Veröffentlichung von Kassetten (!) spezialisiert hat. Die aktuelle Single "Luna" ist der Vorbote eines hoffentlich bald erscheinenden Albums. Ein tadellos geformter Pop Nugget mit sich erhebenden Vocals, die einem Arcade Fire oder auch Springsteen in den Sinn kommen und einfach nur ins Schwärmen geraten lassen.
Infotext
Karrera Klub Djs: Tim, Christian & Spencer http://www.karreraklub.de/karrera/home
Young And Lost / indiepop.indietronic http://www.youngandlost.de/
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02.06
Tickets online kaufenCOME (US//Matador Rec) https://www.facebook.com/ComeElevenEleven?group_id=0
COME are Thalia Zedek (Guitar Vocals), Chris Brokaw (Guitar Vocals), Arthur Johnson (Drums) and Sean O’Brien (Bass). They came into being after a mutual acquaintance invited Brokaw, O’Brien, and Johnson to play with him. Brokaw was playing drums with Codeine, Johnson had previously drummed for Athens, GA band, Bar-B-Q Killers, and O’Brien had played with two other 1980s Athens bands, Kilkenny Cats and Fashion Battery. After playing one show together, Brokaw, O’Brien, and Johnson decided to split off into their own project and invited Thalia Zedek to join them. Zedek had played in the bands Uzi and Dangerous Birds. Her most recent band at the time, the post-no wave New York band Live Skull, had disbanded in 1990 and Brokaw and Zedek had been talking about playing together.
After a year of jamming together, Come released the 12-inch single “Car” on Sub Pop in 1991. The song, a seven-minute epic in the blues-noir style of The Birthday Party encapsulated what was to become Come’s trademark style: dark, intense and lengthy songs marked by Zedek’s emotional and distressed vocals, abrupt rhythms, and the tension-filled guitar interplay between Zedek and Brokaw, both extraordinarily accomplished guitarists.
In 1992, Come released their debut album, 11:11, on Matador Records. 11:11 received acclaim from both the independent and established media. After the release of 11:11, Brokaw left Codeine, devoting himself full-time to Come. Already after the release of the debut album, Come received praise from Dinosaur Jr.’s lead singer J. Mascis, Hüsker Dü’s Bob Mould, and Nirvana’s frontman Kurt Cobain.
Johnson and O’Brien left the band after Don’t Ask Don’t Tell to pursue other careers. The following album, the short Near-Life Experience, was recorded with a number of different musicians, including drummer Mac McNeilly of the Jesus Lizard and Bundy K. Brown of Tortoise.
In 1998, Come released the 66-minute tour de force Gently, Down The Stream, which took its cue from Near Life Experience, but featured a more fluent integrated sound-scape. The band took an indefinite pause as solo albums from Brokaw and Zedek were produced.
After a handful of reunion shows in 2010 and 2011, Come’s original lineup will be playing selected shows in Europe in May and June 2013.
Infotext
After a year of jamming together, Come released the 12-inch single “Car” on Sub Pop in 1991. The song, a seven-minute epic in the blues-noir style of The Birthday Party encapsulated what was to become Come’s trademark style: dark, intense and lengthy songs marked by Zedek’s emotional and distressed vocals, abrupt rhythms, and the tension-filled guitar interplay between Zedek and Brokaw, both extraordinarily accomplished guitarists.
In 1992, Come released their debut album, 11:11, on Matador Records. 11:11 received acclaim from both the independent and established media. After the release of 11:11, Brokaw left Codeine, devoting himself full-time to Come. Already after the release of the debut album, Come received praise from Dinosaur Jr.’s lead singer J. Mascis, Hüsker Dü’s Bob Mould, and Nirvana’s frontman Kurt Cobain.
Johnson and O’Brien left the band after Don’t Ask Don’t Tell to pursue other careers. The following album, the short Near-Life Experience, was recorded with a number of different musicians, including drummer Mac McNeilly of the Jesus Lizard and Bundy K. Brown of Tortoise.
In 1998, Come released the 66-minute tour de force Gently, Down The Stream, which took its cue from Near Life Experience, but featured a more fluent integrated sound-scape. The band took an indefinite pause as solo albums from Brokaw and Zedek were produced.
After a handful of reunion shows in 2010 and 2011, Come’s original lineup will be playing selected shows in Europe in May and June 2013.
BLEACHED (US//Dead Oceans) http://hellobleached.tumblr.com/
On the heels of three well-received singles comes Ride Your Heart, the bombastic debut album by LA band Bleached. Sisters Jennifer and Jessie Clavin match their ability to blend a mix of freewheeling '77 punk with vintage sunny Southern California melodic rock and roll creating blindingly bright hooks and dark heartfelt lyrics about love, loss, and the crazy fun moments in between. That's the goal: the sugary and sour, repurposed by two aggressively harmonic musicians and songwriters. Their first single "Next Stop" epitomizes this movement - fun, raw, adventurous and free. Tossing you out onto the dance floor, hair mussed from make-outs, cigarette still dangling from your fingertips.
Raised up deep in the San Fernando Valley, their suburban isolation nurtured the girls creativity, as they started making their own music at a young age. Sneaking into punk shows over the hill in Hollywood, they grew up to become teenaged underground staples at all-ages Downtown DIY venue, The Smell. "Me and Jen were punk kids who weren't taught how to play instruments," says Jessie. We taught ourselves how to play, out in the garage." Eventually signing to Kill Rock Stars and Post Present Medium, their all-girl punk band Mika Miko drew international acclaim, landing slots on tours with No Age, Black Lips, and The Gossip.
Bleached originally formed when the Clavin sisters resolved to continue working with each other upon the break up of Mika Miko. Plans were postponed when the sisters joined other bands. Jennifer relocated to New York and toured extensively. With Jennifer away, Jessie began to play with various bands in LA. But in the fleeting moments they found together back home, the songs that became Bleached's early 7" singles came together. Since Jennifer moved back to her hometown, Bleached now serves as both girls' chief creative outlet. "I was going crazy being in someone else's band," remarked Jennifer. "Me and Jessie are so proud and happy to be able to focus on our own music, together."
As a whole, the twelve tracks on Ride Your Heart reveal the many facets of Bleached's music in a delicious vortex of playful harmonies, tangled guitars, and golden noise. Each song brings a new element, while also imbibing the classic moods of bands as varied and iconic in nature as The Ramones and The Cars to The Rolling Stones and Fleetwood Mac. From the syncopated backbeat and two-part chorus of "Dead In Your Head,", the rolling riffs and sparkling melodies of "Searching Through The Past" and the pulsating energy and urgency of "Dreaming Without You" and "Outta My Mind", Bleached take you on a sweeping emotional roller coaster that churns and burns. Ride Your Heart is a thrilling, beating, glorious wall of sound strong enough to withstand its own impact.
Infotext
Raised up deep in the San Fernando Valley, their suburban isolation nurtured the girls creativity, as they started making their own music at a young age. Sneaking into punk shows over the hill in Hollywood, they grew up to become teenaged underground staples at all-ages Downtown DIY venue, The Smell. "Me and Jen were punk kids who weren't taught how to play instruments," says Jessie. We taught ourselves how to play, out in the garage." Eventually signing to Kill Rock Stars and Post Present Medium, their all-girl punk band Mika Miko drew international acclaim, landing slots on tours with No Age, Black Lips, and The Gossip.
Bleached originally formed when the Clavin sisters resolved to continue working with each other upon the break up of Mika Miko. Plans were postponed when the sisters joined other bands. Jennifer relocated to New York and toured extensively. With Jennifer away, Jessie began to play with various bands in LA. But in the fleeting moments they found together back home, the songs that became Bleached's early 7" singles came together. Since Jennifer moved back to her hometown, Bleached now serves as both girls' chief creative outlet. "I was going crazy being in someone else's band," remarked Jennifer. "Me and Jessie are so proud and happy to be able to focus on our own music, together."
As a whole, the twelve tracks on Ride Your Heart reveal the many facets of Bleached's music in a delicious vortex of playful harmonies, tangled guitars, and golden noise. Each song brings a new element, while also imbibing the classic moods of bands as varied and iconic in nature as The Ramones and The Cars to The Rolling Stones and Fleetwood Mac. From the syncopated backbeat and two-part chorus of "Dead In Your Head,", the rolling riffs and sparkling melodies of "Searching Through The Past" and the pulsating energy and urgency of "Dreaming Without You" and "Outta My Mind", Bleached take you on a sweeping emotional roller coaster that churns and burns. Ride Your Heart is a thrilling, beating, glorious wall of sound strong enough to withstand its own impact.
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02.06
@ Monarch Tickets online kaufenSEAPONY (Hardly Art) http://hardlyart.com/seapony.html
In just over a year, Seapony have gone from buzzed-about Midwest transplants to reliable dream pop purveyors, with fans from the shores of the Pacific Northwest to the neon-dappled wards of Japan. The September release date for their sophomore LP Falling heralds, appropriately, the onset of fall. It’s an album primed for autumnal enjoyment, handily conjuring the placid atmosphere of a Northwest summer’s twilight days. This is fitting, as the band is entering a new and more ambitious period in their career, with a sharper-than-ever live show and a fanbase that grows by the day.
Formed in 2010, Seapony is bassist Ian Brewer and core songwriting duo—and longtime couple—Jen Weidl (guitars, vocals, lyrics) and Danny Rowland (guitar, lyrics), who met in Ohio in the early 2000s. Their coastal relocation has served them well their debut LP Go With Me was rife with humbly infectious shoreside ebullience.
Falling sees Weidl and Rowland incorporating some of their live show’s palpable rock energy into Seapony’s patented sun-kissed sound. With guitars engaged in a delicate, complex pa-de-deux, and fuller, less-rigid percussion, Falling is a record of disarming grace. Fans of the economic, winsome lyrics of Go With Me will be pleased to hear similarly relatable poesies set against a richer sonic palette, one that’s been blessed with a vivid and audible warmth from the engineers at Olympia’s renowned Dub Narcotic Studios.
Six seasons have passed since Hardly Art re-released the band’s acclaimed “Dreaming” single, but those intervening months have felt like one long, idyllic summer. This is the trick of their expertly-crafted pop: to still time, to make moments feel everlasting and indelible. Now, at last, the fall is here, and Seapony are here to make it just as unforgettable.
Infotext
Formed in 2010, Seapony is bassist Ian Brewer and core songwriting duo—and longtime couple—Jen Weidl (guitars, vocals, lyrics) and Danny Rowland (guitar, lyrics), who met in Ohio in the early 2000s. Their coastal relocation has served them well their debut LP Go With Me was rife with humbly infectious shoreside ebullience.
Falling sees Weidl and Rowland incorporating some of their live show’s palpable rock energy into Seapony’s patented sun-kissed sound. With guitars engaged in a delicate, complex pa-de-deux, and fuller, less-rigid percussion, Falling is a record of disarming grace. Fans of the economic, winsome lyrics of Go With Me will be pleased to hear similarly relatable poesies set against a richer sonic palette, one that’s been blessed with a vivid and audible warmth from the engineers at Olympia’s renowned Dub Narcotic Studios.
Six seasons have passed since Hardly Art re-released the band’s acclaimed “Dreaming” single, but those intervening months have felt like one long, idyllic summer. This is the trick of their expertly-crafted pop: to still time, to make moments feel everlasting and indelible. Now, at last, the fall is here, and Seapony are here to make it just as unforgettable.
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03.06
@ Monarch HIGH WOLF (Not Not Fun) http://highwolf.bandcamp.com
In between Herzog's Aguirre and Levi Strauss' Sad Tropics, mysterious and psychoactive, High Wolf's music mixes cosmic loops, fuzzy guitars, droney synths, mystic vocals and tribal percussions, inspired by primitive and ritual music as well as adventurous modern music.
Hyperactive and globalized artist, continuously on the move all around the globe, High Wolf never stops to produce and collaborate from the beginning, in 2009. Revealed with the release of his first tape on the californian label Not Not Fun, starting point of a long term relationship with this influent label (another tape in 2011, 7" and debut LP in 2010, another LP planned for 2012). In 2011another american label, Holy Mountain (Om, James Ferraro) released his second Lp album entitled "Atlas Nation".
High Wolf has many different projects, including Iibiis Rooge, dark duo close to a techno ambient harsher than his usual music, with Neil Campbell (Astral Social Club, Vibracathedral Orchestra). Iibiis Rooge has two LP albums out, self titled in 2010 on Dekorder (nominated for the Qwartz Electronic Awards) and "Hespherides" in 2012.
He also collaborated, either live or on record, with many emblematic artists from the new underground psych scene: Sun Araw, Gnod, Sylvester Anfang II, Eternal Tapestry, Topping Bottoms…
High Wolf frequently performs live all around Europe since 2009 and has toured Japan in 2010 and USA in 2011 and 2012. High Wolf globalization continues with tours in China, Australia and USA planned for the second half of 2012. He's now invited to play in some of the most prestigious festivals like the Austin Psych Fest or Hopscotch Festival.
In the same spirit than Sun Araw, some of the Sublime Frequencies artists and classic Krautrock legends High Wolf opens a mental and synaesthesic window with his equatorial electronic psychedelia.
Infotext
Hyperactive and globalized artist, continuously on the move all around the globe, High Wolf never stops to produce and collaborate from the beginning, in 2009. Revealed with the release of his first tape on the californian label Not Not Fun, starting point of a long term relationship with this influent label (another tape in 2011, 7" and debut LP in 2010, another LP planned for 2012). In 2011another american label, Holy Mountain (Om, James Ferraro) released his second Lp album entitled "Atlas Nation".
High Wolf has many different projects, including Iibiis Rooge, dark duo close to a techno ambient harsher than his usual music, with Neil Campbell (Astral Social Club, Vibracathedral Orchestra). Iibiis Rooge has two LP albums out, self titled in 2010 on Dekorder (nominated for the Qwartz Electronic Awards) and "Hespherides" in 2012.
He also collaborated, either live or on record, with many emblematic artists from the new underground psych scene: Sun Araw, Gnod, Sylvester Anfang II, Eternal Tapestry, Topping Bottoms…
High Wolf frequently performs live all around Europe since 2009 and has toured Japan in 2010 and USA in 2011 and 2012. High Wolf globalization continues with tours in China, Australia and USA planned for the second half of 2012. He's now invited to play in some of the most prestigious festivals like the Austin Psych Fest or Hopscotch Festival.
In the same spirit than Sun Araw, some of the Sublime Frequencies artists and classic Krautrock legends High Wolf opens a mental and synaesthesic window with his equatorial electronic psychedelia.
AIDAN BAKER http://aidanbaker.org
Aidan Baker is a multi-instrumentalist, classically-trained in flute, but best known as a guitarist. Using various electronic effects combined with prepared and/or alternate methods of playing the guitar, he creates music which generally falls within the ambient/experimental genres but draws on influences from shoegaze and post-rock, contemporary classical and jazz. Over the course of the last decade, Baker has released numerous recorded works, both solo and with his duo Nadja, plus various other musical projects, on such labels as Alien8 Recordings, Important Records, Die Stadt Musik, and Broken Spine Productions. He is also the author of several books of poetry.
Baker has collaborated in-studio and live with such artists as Tim Hecker, Carla Bozulich, Jessica Baillif, Noveller, OvO, members of The Jesus Lizard, and members of Swans. He has also composed for and performed with such contemporary classical ensembles as The Penderecki Quartet, The Riga Sifonietta, and The Monday Morning Singers. Baker has toured extensively around the world and appeared at such international festivals as FIMAV, SXSW, Incubate, and Mutek.
Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.
Infotext
Baker has collaborated in-studio and live with such artists as Tim Hecker, Carla Bozulich, Jessica Baillif, Noveller, OvO, members of The Jesus Lizard, and members of Swans. He has also composed for and performed with such contemporary classical ensembles as The Penderecki Quartet, The Riga Sifonietta, and The Monday Morning Singers. Baker has toured extensively around the world and appeared at such international festivals as FIMAV, SXSW, Incubate, and Mutek.
Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.
JOE LE TAXI https://soundcloud.com/joe-le-taxi
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06.06
@ Monarch MOLOCH
4 Leute, 3 Tage lang Aufnahmen, ein unbeheizter Raum in Berlin. Das Ergebnis: LEGUAN.
Mit großer Vorfreude dürfen wir mitteilen: Es ist soweit! Die Berliner Punk-Band Moloch bringt ihr erstes Album heraus. Die 12 Tracks erscheinen auf Tape (incl. Download) als erstes Release des Labels „Random Events in a dying Universe“. Es gibt also gleich 2 Gründe zum Feiern.
In diesem Sinne, tragt es in die Welt, aber vor allem kommt vorbei und genießt zusammen mit uns die Nacht des Leguans.
Infotext
Mit großer Vorfreude dürfen wir mitteilen: Es ist soweit! Die Berliner Punk-Band Moloch bringt ihr erstes Album heraus. Die 12 Tracks erscheinen auf Tape (incl. Download) als erstes Release des Labels „Random Events in a dying Universe“. Es gibt also gleich 2 Gründe zum Feiern.
In diesem Sinne, tragt es in die Welt, aber vor allem kommt vorbei und genießt zusammen mit uns die Nacht des Leguans.
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07.06
@ Monarch Tickets online kaufenTHE BABIES (Woodsist) http://thebabiesband.tumblr.com/
After their first full length album on Shrimper Records, a demos e.p. on New Images and scores of singles on U.S. and international record labels, The Babies second album “Our House on the Hill” is their Woodsist Records debut and the first with new bassist, Brian Schleyer.
While the band was originally conceived as a side-project outlet for Kevin Morby and Cassie Ramone – along with drummer Justin Sullivan – to trade song ideas and play house parties, 2011 saw the project grow into a full time affair. The band spent much of the year touring the U.S. and abroad, all the while writing new material, both in their home of Brooklyn and during a two-month sojourn in Los Angeles.
In February 2012, the band swapped their usual environs of Brooklyn’s Rear House recording studio and spent two weeks in Los Angeles working with Producer Rob Barbato (Darker My Love, The Fall, Cass McCombs). The increased time and focus allowed them to explore musical directions only hinted at on their first album. Thus, “Our House on the Hill” features hushed dirges, melancholic traveling odes and squealing rave-ups, all made cohesive by Kevin and Cassie’s captivating songwriting and lyrical themes. Organ, piano, saxophone and even strings play a supporting role in enhancing the aural atmosphere, which finds the band finally realizing a sound that can be called their own. Simple yet thoughtful familiar yet haunting. Sweet but somber.
“The set opener "Alligator" is conversational in tone and acts to disarm the hardened listener with its pop confection and curve ball time change signatures on a check of solid Gang of Four gold. “Yo, I dig your hair, I gotta tell you about these holes in my pants, I would rather not hold yer hand. You get the drift." Cassie evokes Anna Karina if she were in The Shangri-La's instead of Godard films in "See the Country" and then married throughout the entire record are those otherworldly harmonized "oohs" "aahs" by Kevin Cassie that'll make the stubble on your spine take notice if you are still one of them folks in need of oxygen to breathe. The switchblade knives butterfly stitches that paint the heartache and conflict throughout this long player will sharpen you for your next lovelorn argument, stumbling bar brawl between you a reflection of your 17 year old self in the face of a tinfoil plated locket or for the working stiffs, that 3am Saturday drive home from the bad side of the tracks back to the sad side. Put the needle on the flip and throw that break up layer of tears away: we got a ride to catch to that house on the hill.”- Dennis Callaci
Infotext
While the band was originally conceived as a side-project outlet for Kevin Morby and Cassie Ramone – along with drummer Justin Sullivan – to trade song ideas and play house parties, 2011 saw the project grow into a full time affair. The band spent much of the year touring the U.S. and abroad, all the while writing new material, both in their home of Brooklyn and during a two-month sojourn in Los Angeles.
In February 2012, the band swapped their usual environs of Brooklyn’s Rear House recording studio and spent two weeks in Los Angeles working with Producer Rob Barbato (Darker My Love, The Fall, Cass McCombs). The increased time and focus allowed them to explore musical directions only hinted at on their first album. Thus, “Our House on the Hill” features hushed dirges, melancholic traveling odes and squealing rave-ups, all made cohesive by Kevin and Cassie’s captivating songwriting and lyrical themes. Organ, piano, saxophone and even strings play a supporting role in enhancing the aural atmosphere, which finds the band finally realizing a sound that can be called their own. Simple yet thoughtful familiar yet haunting. Sweet but somber.
“The set opener "Alligator" is conversational in tone and acts to disarm the hardened listener with its pop confection and curve ball time change signatures on a check of solid Gang of Four gold. “Yo, I dig your hair, I gotta tell you about these holes in my pants, I would rather not hold yer hand. You get the drift." Cassie evokes Anna Karina if she were in The Shangri-La's instead of Godard films in "See the Country" and then married throughout the entire record are those otherworldly harmonized "oohs" "aahs" by Kevin Cassie that'll make the stubble on your spine take notice if you are still one of them folks in need of oxygen to breathe. The switchblade knives butterfly stitches that paint the heartache and conflict throughout this long player will sharpen you for your next lovelorn argument, stumbling bar brawl between you a reflection of your 17 year old self in the face of a tinfoil plated locket or for the working stiffs, that 3am Saturday drive home from the bad side of the tracks back to the sad side. Put the needle on the flip and throw that break up layer of tears away: we got a ride to catch to that house on the hill.”- Dennis Callaci
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07.06
Tickets online kaufen8 JAHRE WALLCITYMUSIC BIRTHDAY BASH! http://www.wallcitymusic.com/
BERLIN BOOM ORCHESTRA (Reggae, Dancehall & Ska) http://berlinboomorchestra.de
DREADNUT INC. (Reggae, Dancehall / Münster - Paderborn) http://dreadnut.net/
GANJAMAN (Reggae / Berlin) http://www.ganjaman.info/
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08.06
CHEERS FOR TEARS 3 http://grundlos-gluecklich.blogspot.de/
AERA (LIVE) (ALEPH) http://www.alephmusic.net/
MEES DIERDORP (LIVE) (MEES REC.) http://www.meesdierdorp.com/
REZNIK (VICE) http://keinemusik.com/reznik
ARSY (LIEBE'DETAIL / GRUNDLOS GLÜCKLICH) http://arsyone.blogspot.de/
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08.06
NOVOCHILD - THE LAST SHOW http://www.novochild.com/
TRANSIT EXPRESS https://www.facebook.com/transitexpress
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09.06
Tickets online kaufenBLACK COBRA http://www.blackcobra.net/
BISON BC https://www.facebook.com/bisonbc
ARABROT http://www.fysiskformat.no/wp_ff/roster/arabrot/
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09.06
@ Monarch Tickets online kaufenTHE BESNARD LAKES http://www.facebook.com/thebesnardlakes
Mit ihrem Faible für die kleinsten Details und Nuancen produzierten und mischten die Gründungsmitglieder Jace Lasek und Olga Goreas das Album in den Breakglass Studios im kanadischen Montreal ab und erhielten dabei Unterstützung ihrer Bandkollegen Kevin Laing und Richard White.
Jeder der acht Tracks auf dem Album startet, gleitet und legt eine Punktlandung hin. Die Songs halten ihren eigenen Vorwärtsdrang zurück, um zum Ganzen beizutragen. The Besnard Lakes erschaffen eine definierte und verträumte Gedankenwelt.
"A magnificently oceanic meld of Beach Boys harmonies,My Bloody Valentine tidal waves and Phil Spector girl-group siren songs shot through with soaring guitar." - Rolling Stone "Right now no one is making music this grand, this big, this moving with so much assurance." - Chicago Tribune "Nothing short of beautiful."- NME
Infotext
Jeder der acht Tracks auf dem Album startet, gleitet und legt eine Punktlandung hin. Die Songs halten ihren eigenen Vorwärtsdrang zurück, um zum Ganzen beizutragen. The Besnard Lakes erschaffen eine definierte und verträumte Gedankenwelt.
"A magnificently oceanic meld of Beach Boys harmonies,My Bloody Valentine tidal waves and Phil Spector girl-group siren songs shot through with soaring guitar." - Rolling Stone "Right now no one is making music this grand, this big, this moving with so much assurance." - Chicago Tribune "Nothing short of beautiful."- NME
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11.06
ALLAH-LAS http://allah-las.com/
Greil Marcus liked to refer back to “The Old, Weird America” when discussing a certain famous set of recordings that emanated from a Woodstock cabin basement. ALLAH-LAS sound like the Old, Weird Los Angeles: Strains of true surfing music, American harmonies, Sunset Strip backbeat, desert ramble filtered through Goldstar Sessioneers That pre-fuzz pedal ‘electrified folk’ music and pop groups hitting that California sound with the tambourine on just the right beat. When you hear it, you see things — Venice’s arches lit at night with the ocean in the distance mid-century hamburger stands and slow-moving main drags in residential nights Teen-age revues at 400 person ballrooms Ferus Gallery beatniks bungalows in canyons hidden deco stairsteps peeking from leafy hillsides kustom kars and dovetails and chicks in OP shorts with long, long hair. Like a Dennis Hopper photo come to life. You look at their well worn Fender guitars, their real surfer tans, their dusty suede boots - and you see it’s a sound natural to them This isn’t an act. - Nick Waterhouse (PRES records)
Infotext
THE MOKKERS http://www.facebook.com/TheMokkers
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13.06 @ Monarch
Ein Abend zu 100 Jahren "Die Akkumulation des Kapitals" http://www.helle-panke.de/
Ein Abend zu 100 Jahren "Die Akkumulation des Kapitals"
Die Aktualität der Rosa Luxemburg
Junge Panke
Vor 100 Jahren, im Januar 1913, erschien Rosa Luxemburgs Hauptwerk “Die Akkumulation des Kapitals”. Als politische Ökonomin versuchte Rosa Luxemburg mit diesem Buch einen Beitrag zur ökonomischen Erklärung des Imperialismus, also der damals jüngsten Entwicklungen der kapitalistischen Weltwirtschaft zu geben. Sie stiess damit auf heftigen Widerstand und harte Kritik – die meisten ihrer marxistischen Zeitgenossen waren mit ihrer Theorie ganz und gar nicht einverstanden.
Heute, so scheint es, nähern wir uns jedoch einer Situation, wie sie Rosa Luxemburg in ihrem Buch vor 100 Jahren beschrieben und analysiert hat: Der Kapitalismus als Weltsystem stösst an seine Grenzen. Aber was folgt daraus?
Referent: Prof. Dr. Michael Krätke
Moderation: Frank Engster
Kosten: 2,00 Euro
Infotext
Die Aktualität der Rosa Luxemburg
Junge Panke
Vor 100 Jahren, im Januar 1913, erschien Rosa Luxemburgs Hauptwerk “Die Akkumulation des Kapitals”. Als politische Ökonomin versuchte Rosa Luxemburg mit diesem Buch einen Beitrag zur ökonomischen Erklärung des Imperialismus, also der damals jüngsten Entwicklungen der kapitalistischen Weltwirtschaft zu geben. Sie stiess damit auf heftigen Widerstand und harte Kritik – die meisten ihrer marxistischen Zeitgenossen waren mit ihrer Theorie ganz und gar nicht einverstanden.
Heute, so scheint es, nähern wir uns jedoch einer Situation, wie sie Rosa Luxemburg in ihrem Buch vor 100 Jahren beschrieben und analysiert hat: Der Kapitalismus als Weltsystem stösst an seine Grenzen. Aber was folgt daraus?
Referent: Prof. Dr. Michael Krätke
Moderation: Frank Engster
Kosten: 2,00 Euro
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13.06
Tickets online kaufenMARK ERNESTUS PRESENTS JERI-JERI - 800 °/o Ndagga (Dakar/Berlin) http://ndagga.com/
"Hugely influential Berlin lynchpin meets Afro-Futurist Dance-Pop" Boomkat
Jeri-Jeri is the spectacular collaboration between the renowned Berlin-based producer Mark Ernestus and a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, along with guest Mbalax musicians and vocalists - including many mainstays of the bands of Baaba Maal, Youssou N'Dour and other top Senegalese artists.
World music aficionados will have noted Ernestus' remixes of Afrobeat architect Tony Allen and Kinshasa rockers Konono No. 1, and his co-compilation (with Honest Jon's) of the critically acclaimed Shangaan Electro showcase. On the quiet, though, he has become increasingly hooked on Mbalax, with its hyper-vivid Sabar and talking-drum work-outs, and sick, sequencer-like marimba synths. In early 2011 he travelled to Senegal and the Gambia, in search of original recordings. Through an unlikely set of coincidences, he ended up working in the legendary Dakar studio formerly known as Xippi, with more than twenty of the finest musicians in the country. The results will be released in 2012 and 2013 and proliferate in a series of unmissable live performances throughout Europe.
Jeri-Jeri's style of Mbalax is swingingly masterful - heady and hard-grooving, with highly complex, fiercely succinct poly-rhythms - an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Sabar traditions are fused with furious Afro-Cubanismo, hard funk-rock, and shards of high-life.
Get ready to be knocked out.
MARK ERNESTUS
Mark Ernestus is the founder of the legendary Hard Wax record store, which in 1989 laid the foundation for Berlin's electronic club music scene. He played a key role in establishing the Berlin-Detroit nexus, and started creating music as one half of Basic Channel (aka Maurizio), with its deep, immeasurably influential hybrid of Dub and Techno.
As Rhythm & Sound, the duo refined this signature sound alongside a range of vocalists - most extensively Tikiman (aka Paul St. Hilaire), besides reggae legends like Cornel Campbell, Jennifer Lara, Willi Williams and Sugar Minott.
In the mid-nineties, BC set up Dubplates & Mastering, a mastering and vinyl cutting studio.
In recent years Mark has remixed Tony Allen, Tortoise, Friedman/Liebezeit, Konono No. 1 and Shangaan Electro, and developed an increasing interest in various areas of african music, particularly senegalese Mbalax, in which as he puts it he is hearing elements or attributes that he has always been excited about in any music - including electronic club music.
In Mbalax high polyrhythmic complexity meets merciless minimalism, self-reliant and strongly rooted in a rich, ancient musical heritage - mainly based on drum rhythms - yet very alive in the present. In 2011 Mark went to Dakar and recorded a studio session with Jeri-Jeri, a Griot family of Sabar drummers along with a number of guest musicians and vocalists.
presented by:
www.digitalinberlin.de/
www.byte.fm/
www.funkhauseuropa.de/
Infotext
Jeri-Jeri is the spectacular collaboration between the renowned Berlin-based producer Mark Ernestus and a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, along with guest Mbalax musicians and vocalists - including many mainstays of the bands of Baaba Maal, Youssou N'Dour and other top Senegalese artists.
World music aficionados will have noted Ernestus' remixes of Afrobeat architect Tony Allen and Kinshasa rockers Konono No. 1, and his co-compilation (with Honest Jon's) of the critically acclaimed Shangaan Electro showcase. On the quiet, though, he has become increasingly hooked on Mbalax, with its hyper-vivid Sabar and talking-drum work-outs, and sick, sequencer-like marimba synths. In early 2011 he travelled to Senegal and the Gambia, in search of original recordings. Through an unlikely set of coincidences, he ended up working in the legendary Dakar studio formerly known as Xippi, with more than twenty of the finest musicians in the country. The results will be released in 2012 and 2013 and proliferate in a series of unmissable live performances throughout Europe.
Jeri-Jeri's style of Mbalax is swingingly masterful - heady and hard-grooving, with highly complex, fiercely succinct poly-rhythms - an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Sabar traditions are fused with furious Afro-Cubanismo, hard funk-rock, and shards of high-life.
Get ready to be knocked out.
MARK ERNESTUS
Mark Ernestus is the founder of the legendary Hard Wax record store, which in 1989 laid the foundation for Berlin's electronic club music scene. He played a key role in establishing the Berlin-Detroit nexus, and started creating music as one half of Basic Channel (aka Maurizio), with its deep, immeasurably influential hybrid of Dub and Techno.
As Rhythm & Sound, the duo refined this signature sound alongside a range of vocalists - most extensively Tikiman (aka Paul St. Hilaire), besides reggae legends like Cornel Campbell, Jennifer Lara, Willi Williams and Sugar Minott.
In the mid-nineties, BC set up Dubplates & Mastering, a mastering and vinyl cutting studio.
In recent years Mark has remixed Tony Allen, Tortoise, Friedman/Liebezeit, Konono No. 1 and Shangaan Electro, and developed an increasing interest in various areas of african music, particularly senegalese Mbalax, in which as he puts it he is hearing elements or attributes that he has always been excited about in any music - including electronic club music.
In Mbalax high polyrhythmic complexity meets merciless minimalism, self-reliant and strongly rooted in a rich, ancient musical heritage - mainly based on drum rhythms - yet very alive in the present. In 2011 Mark went to Dakar and recorded a studio session with Jeri-Jeri, a Griot family of Sabar drummers along with a number of guest musicians and vocalists.
presented by:
www.digitalinberlin.de/
www.byte.fm/
www.funkhauseuropa.de/
KING AYISOBA + BAND (Ghana) http://www.myspace.com/kingayisoba
This is the traditional kologo music from the Upper East Region of Ghana brought with the energy and flavor of the twenty first century. King Ayisoba sings in Fra Fra, Twi and in English and is a big star in Ghana. There is a whole new scene now starting after King Ayisoba introduced the super catchy kologo beats to the bigger audiences in Ghana and abroad. The kologo is a two string guitar with a calabash gourd resonator, it is rhythmic and melodic at the same time. The King is bringing other musicians and dancers on this tour, dancing the traditional Frafra dia and kologo dances from the area of Bongo in Northern Ghana. The dance consists of very high jumbs and originates from hunting rituals. Aboku Adortanga (dancer and dorgo player)is King Ayisobas brother and is a master in playing the "Dorgo", a special horn from Northern Ghana used in the traditional Frafra tradition of music. The sound resembles a lamb calling out loud and was original used by the Frafra people in the forest to gather the village people to come and hunt. Gemeka Akligilalatanda Is an absolute master in playing the guluku, a local drum from Bolgatanga Soko.
Traditionaly kologo performances occur at local bars, weddings, funerals, festivals or spontaneous jams on the street. Today we will see the force and spirit here, around the corner, and dig up the future.
Video:
www.youtube.com/watch?v=73Pd3zuKR2o
presented by:
www.facebook.com/pages/Since-the-Devil-is-Gone-I-Mostly-Feel-Lonely/202131299858336?ref=tsfref=ts
Infotext
Traditionaly kologo performances occur at local bars, weddings, funerals, festivals or spontaneous jams on the street. Today we will see the force and spirit here, around the corner, and dig up the future.
Video:
www.youtube.com/watch?v=73Pd3zuKR2o
presented by:
www.facebook.com/pages/Since-the-Devil-is-Gone-I-Mostly-Feel-Lonely/202131299858336?ref=tsfref=ts
ZEA (The-Ex) http://www.zea.dds.nl/
Solo performance from Arnold de Boer deploying guitar and sampler for an almighty bout of high energy songs. Urgent lyrics over guitar, roughshod beats and grimy bass lines. A deep blues overlaid with jaunty jive and bounce joyfully obstinate, wonderfully bonkers.
www.youtube.com/nowzea
www.facebook.com/zeamusic
Infotext
www.youtube.com/nowzea
www.facebook.com/zeamusic
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14.06
ELECTRO SWING CLUB https://www.facebook.com/pages/Electro-Swing-Club-Berlin/149759178417033
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15.06
LADY LESHURR (Gutter Strut//UK) http://progresslink.co.uk/LadyLeshurr/
A few months back, Lady Leshurr turned down a deal with Atlantic Records in the US because she didn't like the way it was pitched. This decision didn't harm the Birmingham-based Leshurr (Melesha O'Garro), whose name throbs like a belisha beacon in the world of UK grime and beyond. Her new single, "Blazin", has gone to No 1 on the MTV Base chart, knocking out Justin Timberlake.
Born in Solihull to Caribbean parents (she's now 24), O'Garro started in poetry but turned to music to reach a wider audience, and has guested on tracks by Tinie Tempah, and Bashy and performed with Wiley. Leshurr's material blends her unique sound with popular genres encompassing house, hip hop, dancehall and pop. Citing Lil Wayne as one of her key influences, Leshurr could already be his female equivalent. She loves to experiment and constantly seeks to further her vision to create a sound that takes music to a whole new level.
"It is one thing to hear Lady Leshurr spit a speedy verse like Busta Rhymes on some Red Bulls. It’s quite another to see it!" -Billboard
Infotext
Born in Solihull to Caribbean parents (she's now 24), O'Garro started in poetry but turned to music to reach a wider audience, and has guested on tracks by Tinie Tempah, and Bashy and performed with Wiley. Leshurr's material blends her unique sound with popular genres encompassing house, hip hop, dancehall and pop. Citing Lil Wayne as one of her key influences, Leshurr could already be his female equivalent. She loves to experiment and constantly seeks to further her vision to create a sound that takes music to a whole new level.
"It is one thing to hear Lady Leshurr spit a speedy verse like Busta Rhymes on some Red Bulls. It’s quite another to see it!" -Billboard
LADY BLACKTRONICA (US) http://www.residentadvisor.net/dj/ladyblacktronika
In 1997 Lady Blacktronica hooked up with DJ friend Mattski, who gave her first taste of music production doing vocals on numerous unreleased house tracks with him. Frustrated with "the boys not letting her play with their toys" she began trying her hand at house music and techno production in 2006 producing Beatdown tracks, inspired by ranging experiences from her past in gritty street life to the 90's era nightlife of San Jose, all while bringing a woman's sensitivity and emotion to the Beatdown genre and Chicago influenced House music.
Infotext
URBAN MUTATIONS http://urbanmutations.com/
Last time around with DJ MFK & DJ WEN tore Festsaal a new BH together with DJ Rashad. Be prepared for some bass heavy Acid, Jack, Juke and Trap Beats.
Infotext
PURITA D https://soundcloud.com/purita-d
Upcomming DJ Purita D a.k.a. MsX has already seduced many hearts, with her ghettotekky bootylicious blend of oldschool hiphop, miami bass, freestyle, acid, electro & P-funk stylings. Not afraid to mix provoking and explicit vocals on top of a freaky 303 or 808 beat together with street smart intelingent lyrics and funky breaks, to make you shake your thang and get the party started!
Infotext
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16.06 @ Monarch Tickets online kaufen
MARNIE STERN http://marniestern.net/
Es gibt keinen Zweifel daran, dass die New Yorkerin ihrem Ruf als "the lady who shreds" absolut gerecht wird, doch für sie ist bloßes Shreddern einfach nicht genug.
Nach drei gefeierten Alben wäre es ein Leichtes gewesen, eine weitere Platte mit ihrem dicht strukturierten Sound, dem frenetischen Fingertapping und philosophischen Texten zu füllen, doch Marnie Stern ist nicht zum Stillstehen gemacht. Auf ihrem neuen Album „The Chronicles Of Marnia" kriiert sie einen Sound, der zugleich neu und doch vertraut ist.
Während sich Marnie langsam von dem entfernt, was Pitchfork "art-metal math-rock bubblegum pop" nannte, werden sich Fans noch immer Hals über Kopf in dieses Album verlieben und sich in den Songs wiederfinden.
Infotext
Nach drei gefeierten Alben wäre es ein Leichtes gewesen, eine weitere Platte mit ihrem dicht strukturierten Sound, dem frenetischen Fingertapping und philosophischen Texten zu füllen, doch Marnie Stern ist nicht zum Stillstehen gemacht. Auf ihrem neuen Album „The Chronicles Of Marnia" kriiert sie einen Sound, der zugleich neu und doch vertraut ist.
Während sich Marnie langsam von dem entfernt, was Pitchfork "art-metal math-rock bubblegum pop" nannte, werden sich Fans noch immer Hals über Kopf in dieses Album verlieben und sich in den Songs wiederfinden.
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17.06
TARRUS RILEY http://tarrusriley.com/
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19.06
@ Monarch WAXAHATCHEE http://www.facebook.com/waxahatchee
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20.06
Tickets online kaufenSSION (NYC / Dovecote Records) http://www.ssion.com/
“campy, trashy music videos that would make John Waters smile elaborate stage shows involving garish sets and costumes and the kind of attitude-heavy electro pop that would go over equally well at the gay disco as the queercore dive bar.” –Pitchfork
“a DIY gesamtkunstwerk cobbled together on Final Cut Pro and construction paper.” –Interview
SSION is pronounced “shun”—as in 1 inspiration and 99 perspiration and !@# passion. Led by Cody Critcheloe, SSION is a visual art collective wearing pop music drag (or maybe the other way around), answering that rarely asked question, “What if Prince, Pet Shop Boys and Leigh Bowery started a riot grrrl band in Pee-Wee's Playhouse?” SSION's most recent album BENT was released as a free download along with a three-day run of performances at MoMA PS1, followed by a colorful onslaught of videos, finally eliciting enough global goosebumps to warrant a proper CD/LP release and full US tour last fall. Now, amidst a 20-date Euro tour, this is SSION's debut headlining concert in Berlin and first show since opening for Gossip in 2009 (of course, that's not counting Critcheloe's 2010 solo art exhibition at Peres Projects).
presented by:
www.expatriarch.com/
www.facebook.com/SlothCollective
Infotext
“a DIY gesamtkunstwerk cobbled together on Final Cut Pro and construction paper.” –Interview
SSION is pronounced “shun”—as in 1 inspiration and 99 perspiration and !@# passion. Led by Cody Critcheloe, SSION is a visual art collective wearing pop music drag (or maybe the other way around), answering that rarely asked question, “What if Prince, Pet Shop Boys and Leigh Bowery started a riot grrrl band in Pee-Wee's Playhouse?” SSION's most recent album BENT was released as a free download along with a three-day run of performances at MoMA PS1, followed by a colorful onslaught of videos, finally eliciting enough global goosebumps to warrant a proper CD/LP release and full US tour last fall. Now, amidst a 20-date Euro tour, this is SSION's debut headlining concert in Berlin and first show since opening for Gossip in 2009 (of course, that's not counting Critcheloe's 2010 solo art exhibition at Peres Projects).
presented by:
www.expatriarch.com/
www.facebook.com/SlothCollective
STEREOGAMOUS (Sydney / CockTail d'Amore Music)
Support comes from Australian duo Stereogamous, who, after a decade of building up a most impressive remix resume (LCD Soundsystem, Light Asylum, Kylie Minogue, George Michael), recently released their debut 12” single “Face Love Anew” featuring ex-Hercues & Love Affair vocalist Shaun J. Wright. Aside from their worldwide gigs (London's Horse Meat Disco, San Francisco's The End Up), they've been in the studio prepping more feel-good dance jams, which they're ready to share with you.
presented by:
www.expatriarch.com/
www.facebook.com/SlothCollective
Infotext
presented by:
www.expatriarch.com/
www.facebook.com/SlothCollective
DJs Joey Hansom & Sloth Collective
Before and after the live acts, locals DJs Joey Hansom and Sloth Collective will further soundtrack the evening, set to be one of this summer's most vivid musical experiences.
presented by:
www.expatriarch.com/
www.facebook.com/SlothCollective
Infotext
presented by:
www.expatriarch.com/
www.facebook.com/SlothCollective
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22.06
SOUL EXPLOSION http://www.soulexplosion.de/
Der Funk, den wir spielen, entstand 1966 - 72, bevor Disco Alles in billige Scheiße verwandelte. Der Höhepunkt der Periode 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.
Infotext
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26.06
@ Monarch Tickets online kaufenTHE FRESH + ONLYS (Souterrain Transmissions) http://thefreshandonlys.blogspot.de/
The latest of many marvels to come out of San Francisco, that inexhaustible source of bands that insists on reproducing almost all the aspects of pop and rock from times past, answers to the name of THE FRESH + ONLYS.
They have been invited to All Tomorrow’s Parties, joined Deerhunter for a UK tour and played standout performances at the Woodsist festivals in NY and Big Sur. Keeping with their notorious urgent pace THE FRESH + ONLYS have released seven-inches, tapes, LPs and EPs for labels like In The Red, Mexican Summer, Woodsist, Castle Face, Sacred Bones and Captured Tracks before coming out with their latest release called "LONG SLOW DANCE" on Souterrain Transmissions.
Infectious melodic hooks, led by singer Tim Cohen’s hazy romanticism, and the incessantly propulsive rhythms of Shayde Sartin and Kyle Gibson evoke moody swagger that jangles with 80’s guitar pop like the Go-Betweens, Jacobites, or early R.E.M. Guitarist Wymond Miles sonic textural sprawl full of desert guitar-noir phrases call to mind Morricone or The Bad Seeds hanging a dark cloud over the poppy catchiness of their songs. Joining San Franciscos garage pop circles together with Thee Oh Sees and Ty Segall THE FRESH + ONLYS may not be your favorite secret to keep much longer.
Press:
“The Fresh Onlys are set apart by an endearingly fussy devotion to songcraft and an understated and unfakeable weirdness... their possibly unhealthy familiarity with garage-rock arcana is balanced out by a keen songwriter’s eye, and their obsession with the past is elevated by genuine affection and love”
-Pitchfork
“While still jangly and poppy, it’s also a little gloomy, a lot new wave, with buzzy Joy Divison bass, squalls of wild psychedelic guitar, plenty of ooooh’s and aaaah’s, tribal drumming, angular riffing, a perfect mix of sixties jangle, and cold/new wave gloom. The production is lush, but also weird, and tripped out, ethereal and gauzy...definite contender for year ends best” -Aquarius Records
“These songs are straightforward, to the point, and fully endowed with the feelings engendered by decades of guitar rock. They’re powerful examples of not just the songwriting prowess of Tim Cohen and Shayde Sartin, but of a fundamental understanding for how a good guitar line is an elemental force” -Dusted
“San Francisco’s The Fresh Onlys stood out both onstage and off, looking like a nomadic weed tribe with dark secrets and sounding like wild evangelicals with deep musical gifts”
-FADER
Infotext
They have been invited to All Tomorrow’s Parties, joined Deerhunter for a UK tour and played standout performances at the Woodsist festivals in NY and Big Sur. Keeping with their notorious urgent pace THE FRESH + ONLYS have released seven-inches, tapes, LPs and EPs for labels like In The Red, Mexican Summer, Woodsist, Castle Face, Sacred Bones and Captured Tracks before coming out with their latest release called "LONG SLOW DANCE" on Souterrain Transmissions.
Infectious melodic hooks, led by singer Tim Cohen’s hazy romanticism, and the incessantly propulsive rhythms of Shayde Sartin and Kyle Gibson evoke moody swagger that jangles with 80’s guitar pop like the Go-Betweens, Jacobites, or early R.E.M. Guitarist Wymond Miles sonic textural sprawl full of desert guitar-noir phrases call to mind Morricone or The Bad Seeds hanging a dark cloud over the poppy catchiness of their songs. Joining San Franciscos garage pop circles together with Thee Oh Sees and Ty Segall THE FRESH + ONLYS may not be your favorite secret to keep much longer.
Press:
“The Fresh Onlys are set apart by an endearingly fussy devotion to songcraft and an understated and unfakeable weirdness... their possibly unhealthy familiarity with garage-rock arcana is balanced out by a keen songwriter’s eye, and their obsession with the past is elevated by genuine affection and love”
-Pitchfork
“While still jangly and poppy, it’s also a little gloomy, a lot new wave, with buzzy Joy Divison bass, squalls of wild psychedelic guitar, plenty of ooooh’s and aaaah’s, tribal drumming, angular riffing, a perfect mix of sixties jangle, and cold/new wave gloom. The production is lush, but also weird, and tripped out, ethereal and gauzy...definite contender for year ends best” -Aquarius Records
“These songs are straightforward, to the point, and fully endowed with the feelings engendered by decades of guitar rock. They’re powerful examples of not just the songwriting prowess of Tim Cohen and Shayde Sartin, but of a fundamental understanding for how a good guitar line is an elemental force” -Dusted
“San Francisco’s The Fresh Onlys stood out both onstage and off, looking like a nomadic weed tribe with dark secrets and sounding like wild evangelicals with deep musical gifts”
-FADER
CHUCK JOHNSON (Three Lobed Recordings) http://www.chuckjohnson.net/
Chuck Johnson is a composer and musician residing in Oakland, CA. He approaches his work with an ear towards finding faults and instabilities that might reveal latent beauty, with a focus on American Primitive fingerstyle guitar, experimental electronics, and minimalist composition. Recordings of his work have been published by Strange Attractors Audio House, Communion, Tompkins Square, Merge and Three Lobed.
Johnson has performed with Eugene Chadbourne, Frank Gratkowsi, Peter Kowald, Miya Masaoka, and Pauline Oliveros, among others. He has performed at the Hopscotch Music Festival (Raleigh, NC), the San Francisco Electronic Music Festival, Siren Fest (New York), BENT (New York), the Festival of New American Music (Sacramento), Music for People and Thingamajigs (San Francisco), and the San Francisco International Film Festival. Johnson’s credits as a film composer include scores for several feature-length films, such as Brett Ingram’s award-winning Monster Road and Cynthia Hill’s Guestworker. In 2009 he received an MFA in Electronic Music and Intermedia Art from Mills College.
Johnson views his current work – both electronic and acoustic – as folk minimalism. In addition to solo performance, Johnson collaborates with Danishta Rivero in the electroacoustic duo Blood Wedding, and he lectures in Computer Music and Music Technology at University of the Pacific.
On decks: FALKO TEICHMANN
Brought to you by:
SINCE THE DEVIL IS GONE I MOSTLY FEEL LONELY
Support by:
www.digitalinberlin.de/
www.blitzgigs.de/
Infotext
Johnson has performed with Eugene Chadbourne, Frank Gratkowsi, Peter Kowald, Miya Masaoka, and Pauline Oliveros, among others. He has performed at the Hopscotch Music Festival (Raleigh, NC), the San Francisco Electronic Music Festival, Siren Fest (New York), BENT (New York), the Festival of New American Music (Sacramento), Music for People and Thingamajigs (San Francisco), and the San Francisco International Film Festival. Johnson’s credits as a film composer include scores for several feature-length films, such as Brett Ingram’s award-winning Monster Road and Cynthia Hill’s Guestworker. In 2009 he received an MFA in Electronic Music and Intermedia Art from Mills College.
Johnson views his current work – both electronic and acoustic – as folk minimalism. In addition to solo performance, Johnson collaborates with Danishta Rivero in the electroacoustic duo Blood Wedding, and he lectures in Computer Music and Music Technology at University of the Pacific.
On decks: FALKO TEICHMANN
Brought to you by:
SINCE THE DEVIL IS GONE I MOSTLY FEEL LONELY
Support by:
www.digitalinberlin.de/
www.blitzgigs.de/
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27.06
Tickets online kaufenAUKTYON http://www.auktyon.com/
Auktyon (???????) - Russian legendary band after 10 years break in Berlin!
Celebrating 30 years anniversary.
Just about the only Russian rock band to nurse out a sound that resists an easy matchup with a Western source, Auktyon are consistently and wholly original. They are a legend in their homeland and a cult band in continental Europe. Their sound keeps changing all the time and now, complete with assorted percussion, multi-reed player, a trumpeter and a tubist, it approaches tight jazzy arrangements of Charles Mingus or Radiohead Kid A style. Sure, they've traveled from psycho theatrics to lo-fi trickery to Beck and back, but with the constants (vocalist Lenya Fedorov's crusted-molasses voice, the clearly relished fret buzz, the tragicomic horns, and the truly bizarre stage presence of clowning percussionist Garkusha) still in place after 20 or so years, they are quiet simply the best music out of today's Russia.
Auktyon is a unique phenomenon on the contemporary music scene in Russia. In contrast to the majority of genre-challenged and as a rule stylistically within the framework of contemporary canons, this group draws its inspiration from such remote sources as new-jazz, ethnic music of North Africa and Middle East, beat- and pop-music of the 60's in spite of the eternally present messianic idea in Russian rock and its inherited didacticism, this group did not teach as much as it entertained, which apparently resulted in it being the only representative of Russia on the European club scene. In different forms and under different names, the group has existed since approximately since 1978, and its current name, Auktyon, came into existence in May of 1983, when it was granted a membership in the Leningrad Rock Club. The members of the Russian band Auktyon have never lost sight of their musical mission since forming during the 1980s in the former Soviet Union.
"Legendary and undefinable, the veteran Russian alt-rock band Auktyon serves up a swinging, horn-driven skank that's drawn comparisons to Tom Waits and Beck – appropriate enough, but still short of describing the band's boundless, theatrical energy and instantly memorable melodic hooks."
-Time Out NY
www.morezvukov.nl/auktyon/
TICKETS:
www.auktyon.com/berlin2013.html
Infotext
Celebrating 30 years anniversary.
Just about the only Russian rock band to nurse out a sound that resists an easy matchup with a Western source, Auktyon are consistently and wholly original. They are a legend in their homeland and a cult band in continental Europe. Their sound keeps changing all the time and now, complete with assorted percussion, multi-reed player, a trumpeter and a tubist, it approaches tight jazzy arrangements of Charles Mingus or Radiohead Kid A style. Sure, they've traveled from psycho theatrics to lo-fi trickery to Beck and back, but with the constants (vocalist Lenya Fedorov's crusted-molasses voice, the clearly relished fret buzz, the tragicomic horns, and the truly bizarre stage presence of clowning percussionist Garkusha) still in place after 20 or so years, they are quiet simply the best music out of today's Russia.
Auktyon is a unique phenomenon on the contemporary music scene in Russia. In contrast to the majority of genre-challenged and as a rule stylistically within the framework of contemporary canons, this group draws its inspiration from such remote sources as new-jazz, ethnic music of North Africa and Middle East, beat- and pop-music of the 60's in spite of the eternally present messianic idea in Russian rock and its inherited didacticism, this group did not teach as much as it entertained, which apparently resulted in it being the only representative of Russia on the European club scene. In different forms and under different names, the group has existed since approximately since 1978, and its current name, Auktyon, came into existence in May of 1983, when it was granted a membership in the Leningrad Rock Club. The members of the Russian band Auktyon have never lost sight of their musical mission since forming during the 1980s in the former Soviet Union.
"Legendary and undefinable, the veteran Russian alt-rock band Auktyon serves up a swinging, horn-driven skank that's drawn comparisons to Tom Waits and Beck – appropriate enough, but still short of describing the band's boundless, theatrical energy and instantly memorable melodic hooks."
-Time Out NY
www.morezvukov.nl/auktyon/
TICKETS:
www.auktyon.com/berlin2013.html
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28.06
@ Monarch CHRIS MENIST (DJ//Finders Keepers) http://www.facebook.com/chris.menist
Since The Devil is Gone I Mostly Feel Lonely presents:
Chris Menist is a writer, DJ and musician who has been based in South Asia until last year. He currently resides in the UK.
Alongside his DJ partner Maft Sai (ZudRangMa Records) he has hosted the 'Paradise Bangkok' nights for the last 3 years, showcasing vintage Asian sounds as well as music from Africa and the Caribbean. The duo have also taken these nights to Japan., Germany, Switzerland, Austria and the UK to great acclaim. At their 3rd Anniversary in February, the duo launched their new 'Paradise Bangkok' imprint, which seeks to unearth little known musical gems from across Asia and Africa. Their 3rd release, has just come out.
www.youtube.com/watch?v=kWoQ3rYnZy4feature=youtu.be
In addition, he has co-curated the 'Sounds of Wonder' series with the Finders Keepers label in the UK, that focusses on reissuing gems from the EMI Pakistan archive, as well as compiling the 'Sound of Siam' (Soundway) and 'Thai? Dai!' (Finders Keepers) compilations of vintage Thai luk thung, molam and psych music. His recent project for Dust-To-Digital 'Qat, Coffee and Qambus: Raw 45s from Yemen' was listed in the 50 Best Archive Releases of 2012 in the latest issue of Wire magazine. More releases on Paradise Bangkok and Soundway beckon for 2013.
www.guardian.co.uk/music/2012/apr/08/record-hunting-yemen
Links:
Online mixes:
www.parisdjs.com/index.php/post/Chris-Menist-Paradise-Bangkok-Mix
thequietus.com/articles/07131-paradise-bangkok-soundway-mix
Infos:
www.cnngo.com/bangkok/play/dj-chris-menist-paradise-bangkok-sound-siam-896907
online.wsj.com/article/SB10001424052970204909104577238150381525404.html#slide/1
presented by:
www.facebook.com/pages/Since-the-Devil-is-Gone-I-Mostly-Feel-Lonely/202131299858336?ref=tsfref=ts
Infotext
Chris Menist is a writer, DJ and musician who has been based in South Asia until last year. He currently resides in the UK.
Alongside his DJ partner Maft Sai (ZudRangMa Records) he has hosted the 'Paradise Bangkok' nights for the last 3 years, showcasing vintage Asian sounds as well as music from Africa and the Caribbean. The duo have also taken these nights to Japan., Germany, Switzerland, Austria and the UK to great acclaim. At their 3rd Anniversary in February, the duo launched their new 'Paradise Bangkok' imprint, which seeks to unearth little known musical gems from across Asia and Africa. Their 3rd release, has just come out.
www.youtube.com/watch?v=kWoQ3rYnZy4feature=youtu.be
In addition, he has co-curated the 'Sounds of Wonder' series with the Finders Keepers label in the UK, that focusses on reissuing gems from the EMI Pakistan archive, as well as compiling the 'Sound of Siam' (Soundway) and 'Thai? Dai!' (Finders Keepers) compilations of vintage Thai luk thung, molam and psych music. His recent project for Dust-To-Digital 'Qat, Coffee and Qambus: Raw 45s from Yemen' was listed in the 50 Best Archive Releases of 2012 in the latest issue of Wire magazine. More releases on Paradise Bangkok and Soundway beckon for 2013.
www.guardian.co.uk/music/2012/apr/08/record-hunting-yemen
Links:
Online mixes:
www.parisdjs.com/index.php/post/Chris-Menist-Paradise-Bangkok-Mix
thequietus.com/articles/07131-paradise-bangkok-soundway-mix
Infos:
www.cnngo.com/bangkok/play/dj-chris-menist-paradise-bangkok-sound-siam-896907
online.wsj.com/article/SB10001424052970204909104577238150381525404.html#slide/1
presented by:
www.facebook.com/pages/Since-the-Devil-is-Gone-I-Mostly-Feel-Lonely/202131299858336?ref=tsfref=ts
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29.06
N. R. F. B. - nuclear raped fuck bomb http://www.flight13.com/details/90010/nrfb-nuclear-raped-fuck-bomb
Sind Menschen Blumen?
Es gibt es wohl kaum einen Menschen, der imstande wäre die Discographie von Jens Rachut auswendig aufzuzählen.
Von Angeschissen über Blumen am Arsch der Hölle, von Dackelblut bis Kommando-Sonne-Nmilch, mit Oma Hans durch das Moor und wieder zurück. Ständig wird das Pferd gewechselt, das eigentlich der immer gleiche störrische Esel ist: Jens Rachut. Jahrgang 1954, Dichter und Denker, Trinker und Henker. Wikipedia sagt: Eine Schlüsselfigur der deutschen Punkszene.
Jeder, der Rachut-Platten im Schrank stehen hat, weiss, das er mit seinen Bands schon immer weit über die musikalischen Genre-Grenzen hinausging und Punk schon immer eher als innere Einstellung und nicht als Musikfach gedacht hat. Anderes gefragt: Waren die Minutemen eine Punkband? Oder The Stranglers eine Popband? Und seit wann darf man in alternativen Rockbands eigentlich Synthesizer spielen?!
Dumme Fragen. Darauf gibt es auch hier keine Antworten.
Infotext
Es gibt es wohl kaum einen Menschen, der imstande wäre die Discographie von Jens Rachut auswendig aufzuzählen.
Von Angeschissen über Blumen am Arsch der Hölle, von Dackelblut bis Kommando-Sonne-Nmilch, mit Oma Hans durch das Moor und wieder zurück. Ständig wird das Pferd gewechselt, das eigentlich der immer gleiche störrische Esel ist: Jens Rachut. Jahrgang 1954, Dichter und Denker, Trinker und Henker. Wikipedia sagt: Eine Schlüsselfigur der deutschen Punkszene.
Jeder, der Rachut-Platten im Schrank stehen hat, weiss, das er mit seinen Bands schon immer weit über die musikalischen Genre-Grenzen hinausging und Punk schon immer eher als innere Einstellung und nicht als Musikfach gedacht hat. Anderes gefragt: Waren die Minutemen eine Punkband? Oder The Stranglers eine Popband? Und seit wann darf man in alternativen Rockbands eigentlich Synthesizer spielen?!
Dumme Fragen. Darauf gibt es auch hier keine Antworten.
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29.06
DER BASS MACHT DEN BEAT http://www.derbassmachtdenbeat.de/
Wer vermisst nicht die guten alten Zeiten wo Hip Hop noch gelebt wurde und mehr als nur ein Trend war? Genau diese Feeling wird an diesem Abend endlich wieder einmal aufleben wenn Der Bass macht den Beat den Festsaal im Herzen von Kreuzberg entert.
Infotext
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04.07
CHELSEA LIGHT MOVING (Ex-Sonic Youth) http://chelsealightmoving.blogspot.de/
CHELSEA LIGHT MOVING is the current group led by Sonic Youth founder Thurston Moore. He is the songwriter and plays over-amped hyper electric guitar and sings with raw-glam-destructo vocals. The band is a four piece featuring Samara Lubelski, who has played violin with TM on his last two solo LPs (Demolished Thoughts and Trees Outside The Academy) and with CHELSEA LIGHT MOVING plays deep psyche pop metal bass guitar. Keith Wood, who records under the aegis Hush Arbors, plays electric guitar with a pick forged from angel wing and John Moloney, aka “Pegasus”, approaches the drums like an asteroid hurtling toward Earth. The first CD self-titled was recorded in two spurious sessions with engineer Justin Pizzoferrato in Sone Lab, a killer studio in Easthampton MASSACHUSETTS. The band is ready to detonate any birthday party, wedding or hullaboo in any country, planet or stratosphere that doesn’t support right wing extremist NRA sucking bozo-ology.
Infotext
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06.07
FAVOURITE SONGS http://www.karreraklub.de/karrera/home
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09.07
THE BLACK SEEDS http://theblackseeds.com/dustanddirt/
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12.07
FROM THIS DAY ON http://fromthisdayonhc.tumblr.com/
PELICAN http://www.hydrahead.com/pelican/
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13.07
Tickets online kaufenSaalfest: CAKES DA KILLA (live//NYC//Mishka) https://soundcloud.com/cakesdakilla
Expatriarch presents: SAALFEST
Live:
CAKES DA KILLA (NYC / Mishka)
vimeo.com/63066689#at=0
Cakes Da Killa is a 22-year-old rapper from New York, full of spunk and turning heads thanks to his rapid-fire rhymes and witty edge. The fact that he's gay is simply the icing on the cake. Now queer music platform Expatriarch is teaming up with Festsaal Kreuzberg for the latest edition of SAALFEST, bringing you the debut Berlin show from this notorious F.A.G.—sweet and sharp like a Twinkie with razor-blade filling.
“Queer hip-hop” has been a popular tag in the music press over the past year or so, despite none of the associated artists latching on to that label. “The umbrella term of 'queer' isn't really a part of my vocabulary,” Cakes Da Killa recently told Buzzfeed. “But, you know, if that's how people want to label it, that's fine—as long as they're listening.” You could chalk up Cakes' popularity to growing acceptance from the mainstream, but his lyrics (sprinkled with rimjobs and cumshots) sure don't show a concern for such approval. Listen to his newest mixtape The Eulogy, and it's clearly the fact that he's damn talented—not just nasty but clever too. And you can't ignore his taste in producers, whose beats range from skittery mutant booty to sampled soul grooves to video-game bleeps.
“His writing is so densely packed with jokes and references that it takes several listens just to get a start on catching them all, and he's become a remarkably confident rapper, cramming bars full of syllables like E-40 and making enough unpredictable lateral moves (and using enough pitch-shifted voices) to ease the pain of Missy Elliott's ongoing absence for a second or two. Despite its bummer of a title, The Eulogy is actually a total blast.”
–Pitchfork
Download his mixtape The Eulogy for free:
www.mishkanyc.bandcamp.com/album/the-eulogy
Infotext
Live:
CAKES DA KILLA (NYC / Mishka)
vimeo.com/63066689#at=0
Cakes Da Killa is a 22-year-old rapper from New York, full of spunk and turning heads thanks to his rapid-fire rhymes and witty edge. The fact that he's gay is simply the icing on the cake. Now queer music platform Expatriarch is teaming up with Festsaal Kreuzberg for the latest edition of SAALFEST, bringing you the debut Berlin show from this notorious F.A.G.—sweet and sharp like a Twinkie with razor-blade filling.
“Queer hip-hop” has been a popular tag in the music press over the past year or so, despite none of the associated artists latching on to that label. “The umbrella term of 'queer' isn't really a part of my vocabulary,” Cakes Da Killa recently told Buzzfeed. “But, you know, if that's how people want to label it, that's fine—as long as they're listening.” You could chalk up Cakes' popularity to growing acceptance from the mainstream, but his lyrics (sprinkled with rimjobs and cumshots) sure don't show a concern for such approval. Listen to his newest mixtape The Eulogy, and it's clearly the fact that he's damn talented—not just nasty but clever too. And you can't ignore his taste in producers, whose beats range from skittery mutant booty to sampled soul grooves to video-game bleeps.
“His writing is so densely packed with jokes and references that it takes several listens just to get a start on catching them all, and he's become a remarkably confident rapper, cramming bars full of syllables like E-40 and making enough unpredictable lateral moves (and using enough pitch-shifted voices) to ease the pain of Missy Elliott's ongoing absence for a second or two. Despite its bummer of a title, The Eulogy is actually a total blast.”
–Pitchfork
Download his mixtape The Eulogy for free:
www.mishkanyc.bandcamp.com/album/the-eulogy
DJ's: SICK GIRLS (Revolution No5) // Lotic (Sci-Fi & Fantasy) // Bearcat (Expatriarch)
Before and after the show, several local DJs will prove that Berlin is not just stuck in a techno loop: the grimey Sick Girls embrace the bass, L?tic brings his hard and twerk-inducing arsenal, and Bearcat busts out her moombahton jams.
Sick Girls (Revolution No5)
www.soundcloud.com/sick-girls
Lotic (Sci-Fi & Fantasy)
www.soundcloud.com/lotic
Bearcat (Expatriarch)
www.soundcloud.com/bearcats_mixtapes
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Sick Girls (Revolution No5)
www.soundcloud.com/sick-girls
Lotic (Sci-Fi & Fantasy)
www.soundcloud.com/lotic
Bearcat (Expatriarch)
www.soundcloud.com/bearcats_mixtapes
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17.07
@ Monarch BIG HARP http://bigharp.com/
Big Harp released their sophomore album Chain Letters on January 22 via Saddle Creek. The album was recorded at Omaha's ARC studios with engineer Ben Brodin and partly at the band's Los Angeles home. Chain Letters was mixed by Mike Mogis (Bright Eyes, M Ward, First Aid Kit). On Chain Letters, the duo of Chris Senseney and Stefanie Drootin-Senseney is joined by their friend John Voris on drums. The album moves away from the rustic, pastoral sound of their debut and towards a truer union of their backgrounds (Chris grew up in Valentine, NE, an isolated cow town of 2,800 Stefanie is a native Angeleno). Built on a foundation of crackling fuzz bass and angular electric guitars and keyboards, the songs on Chain Letters play like a series of character sketches centered around escape and surrender, and the blurred borders where the two become indistinguishable.
Chris and Stefanie (The Good Life, Bright Eyes, She & Him) formed Big Harp in December 2010, after a three-year whirlwind that saw the two meet, have a baby, move halfway across the country, get married, move halfway across the country again, and have another baby. As Chris tells it, "I was playing in a band opening for The Good Life. Stef and I started hanging out, binge-smoking and chain-drinking, and we never stopped. Never stopped hanging out I mean. Within a few months Stef had a gut full of baby, and the bender came to a quick and bloody end." When the dust settled, they holed up in Stefanie's parents' spare bedroom, practiced for a week, and recorded their debut album White Hat, a collection of intimate, low-key folk-rock laced with subtle irony and dark humor that earned them comparisons to songwriters like Nick Cave, Tom Waits and Townes Van Zandt.
Understandably for a band that had only existed for a week before recording their first album, and had never played a show, their sound began to change almost immediately. They packed up the kids and hit the road, earning high praise for their energetic live shows, where the intimate acoustic-based arrangements they'd recorded gave way to something increasingly complex, ragged and dirty. Guitar World highlighted Stefanie's bass playing in their Best of SXSW 2012 feature. That March, they began recording Chain Letters.
Stefanie says, "The writing process wasn't that different. We still worked out the songs after the kids went to bed on the same dirty old couch, and we still practiced in my parents' guest bedroom. The only difference was this time we went in feeling a lot freer. I run Omaha Girls Rock in the summers, and we were just coming off our first year. Seeing those girls, I was reminded of when I first started playing, and how free and fun it can be. I think we were both inspired to try to get some of that back."
From the pained apathy of "You Can't Save 'Em All" to the cracked parade march of "Call Out the Cavalry, Strike Up the Band," Chain Letters finds the band enveloping and exploding their literate songs with fuzzed-out, needle-sharp textures. "We really built the songs around Stef's fuzz bass. It was kind of funny -- we were sitting around in a bedroom playing really loud with no drums, just kind of trusting that it was going to make sense once we put it all together. Hopefully we landed closer to mid-'70's Iggy Pop than Leonard Cohen this time. Really I'd like it to sound like Leonard Cohen fronting The Pixies. It doesn't though. Maybe a little. You tell us."
Infotext
Chris and Stefanie (The Good Life, Bright Eyes, She & Him) formed Big Harp in December 2010, after a three-year whirlwind that saw the two meet, have a baby, move halfway across the country, get married, move halfway across the country again, and have another baby. As Chris tells it, "I was playing in a band opening for The Good Life. Stef and I started hanging out, binge-smoking and chain-drinking, and we never stopped. Never stopped hanging out I mean. Within a few months Stef had a gut full of baby, and the bender came to a quick and bloody end." When the dust settled, they holed up in Stefanie's parents' spare bedroom, practiced for a week, and recorded their debut album White Hat, a collection of intimate, low-key folk-rock laced with subtle irony and dark humor that earned them comparisons to songwriters like Nick Cave, Tom Waits and Townes Van Zandt.
Understandably for a band that had only existed for a week before recording their first album, and had never played a show, their sound began to change almost immediately. They packed up the kids and hit the road, earning high praise for their energetic live shows, where the intimate acoustic-based arrangements they'd recorded gave way to something increasingly complex, ragged and dirty. Guitar World highlighted Stefanie's bass playing in their Best of SXSW 2012 feature. That March, they began recording Chain Letters.
Stefanie says, "The writing process wasn't that different. We still worked out the songs after the kids went to bed on the same dirty old couch, and we still practiced in my parents' guest bedroom. The only difference was this time we went in feeling a lot freer. I run Omaha Girls Rock in the summers, and we were just coming off our first year. Seeing those girls, I was reminded of when I first started playing, and how free and fun it can be. I think we were both inspired to try to get some of that back."
From the pained apathy of "You Can't Save 'Em All" to the cracked parade march of "Call Out the Cavalry, Strike Up the Band," Chain Letters finds the band enveloping and exploding their literate songs with fuzzed-out, needle-sharp textures. "We really built the songs around Stef's fuzz bass. It was kind of funny -- we were sitting around in a bedroom playing really loud with no drums, just kind of trusting that it was going to make sense once we put it all together. Hopefully we landed closer to mid-'70's Iggy Pop than Leonard Cohen this time. Really I'd like it to sound like Leonard Cohen fronting The Pixies. It doesn't though. Maybe a little. You tell us."
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18.07
Tickets online kaufenVALIENT THORR http://www.valientthorr.com/
Valient Thorr liefern den perfekten Soundtrack für eure Party: Eine Mischung aus Metal, Southern, Stoner und Classic Rock, gepaart mit einer Prise Grunge. Dabei ist die Liste ihrer Einflüsse lang und vielfältig. Die Fünf aus North Carolina haben in ihrer Jugend Größen wie Motörhead, Thin Lizzy, Black Sabbath, MC5, Lynyrd Skynyrd oder Nashville Pussy gelauscht. Dennoch sind Valient Thorr mehr als nur die Summe der einzelnen Teile: Fette Gitarren und catchy Riffs werden letztlich nur von Sänger Valients rauer, kratziger Stimme getoppt. Momentan arbeiten die feinen Herren unter Hochdruck am Nachfolger zum Album Stranger aus dem Jahr 2010. Dafür haben sie sich im Bundesstaat Athens mit dem Produzenten Kyle Spencer (Harvey Milk) eingeschlossen. Die insgesamt sechste Platte soll im Sommer erscheinen und wird dann auch im Festsaal Live vorgestellt werden!
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ACID KING http://www.acidking.com/
Noch länger dabei sind Acid King. Das 1993 gegründete Trio aus San Francisco wurde anfangs noch von Doom Metal und Psychedelic Rock beeinflusst. Mittlerweile haben sie ihren eigenen Signature-Sound entwickelt, der von scheppernden heruntergestimmten und stark verzerrten Gitarren Riffs dominiert und durch hypnotische weibliche Vocals vervollständigt wird. Durch ihre eigenständige Herangehensweise haben sie u?ber die Jahrzehnte eine ganze Generation neuer Doom Bands beeinflusst!
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GATES OF SLUMBER http://www.slumberingsouls.com/
Ihre eigenständige Marke im Doom-Universum haben auch The Gates Of Slumber hinterlassen. Angelehnt an den Sound von Black Sabbath und die melodio?sen Momente von Iron Maiden zieht das Trio aus Indianapolis seine Einflu?sse vor allem aus der Kraft des Heavy Metal. Und liefern trotzdem Doom in seiner reinsten Form.
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20.07
GOLDENE 90er - THE GOOD MOOD REVIVAL https://www.facebook.com/GOLDENE90er?ref=tsfref=ts
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23.07
Tickets online kaufenTHEE OH SEES http://www.theeohsees.com/
Thee Oh Sees are the latest incarnation of songwriter, singer, guitarist (and Castle Face fearless leader) John Dwyer’s ever-evolving pop-folk psychedelic group. Dwyer, who hails from Providence, RI, has been active on the San Francisco indie scene since the late ’90s, working with several bands, including the Coachwhips, Pink & Brown, Yikes, Up Its Alive, and Swords & Sandals, among others, and he formed OCS (which is an acronym for Orinoka Crash Suite, Orange County Sound, or whatever Dwyer decided it was on any given day) initially as a vehicle for the experimental instrumentals he was producing in his home studio.
In time OCS morphed into an actual band, and worked under the usual flurry of names, most notably as the Oh Sees or the Ohsees , and eventually as Thee Oh Sees, featuring Dwyer on guitar and vocals, Brigid Dawson on vocals and tambourine, Petey Dammit (sometimes listed as Petey Dammit!) on guitar, and Mike Shoun on drums.
Thee Oh Sees' new album "Floating Coffin" has just been released on Castle Face Records.
Pitchfork on "Floating Coffin":
"Based on their output from the past two years alone, it's hard to fathom what “biggest triumph” would even look like for Thee Oh Sees at this point. Castlemania had Dwyer bleating “I Need Seed” in a strained toad voice the centerpiece of Carrion Crawler/The Dream was a blistering Krautrock masterwork “Goodnight Baby” from Putrifiers II was a Nuggets lullaby capped by field recordings of chirping birds. Each of those albums are triumphs, and picking the "best" one feels like an arbitrary decision-- they suit different moods, different purposes. In that tradition, Floating Coffin is another resounding success." 8/10
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In time OCS morphed into an actual band, and worked under the usual flurry of names, most notably as the Oh Sees or the Ohsees , and eventually as Thee Oh Sees, featuring Dwyer on guitar and vocals, Brigid Dawson on vocals and tambourine, Petey Dammit (sometimes listed as Petey Dammit!) on guitar, and Mike Shoun on drums.
Thee Oh Sees' new album "Floating Coffin" has just been released on Castle Face Records.
Pitchfork on "Floating Coffin":
"Based on their output from the past two years alone, it's hard to fathom what “biggest triumph” would even look like for Thee Oh Sees at this point. Castlemania had Dwyer bleating “I Need Seed” in a strained toad voice the centerpiece of Carrion Crawler/The Dream was a blistering Krautrock masterwork “Goodnight Baby” from Putrifiers II was a Nuggets lullaby capped by field recordings of chirping birds. Each of those albums are triumphs, and picking the "best" one feels like an arbitrary decision-- they suit different moods, different purposes. In that tradition, Floating Coffin is another resounding success." 8/10
DIE! DIE! DIE! http://facebook.com/diediedieband
Hailing from what is considered NZ’s iconic music city, Dunedin, founding members Andrew Wilson and Michael Prain cut their teeth in the live music scene by playing in noise bands around town. It wasn’t until 2003 that they formed Die! Die! Die!, but they already had the hard working DIY ethos that continues even now. Taking their inspiration from like minded artists Bailterspace and the Dead C, the band have always given their all at every show – the result being a band that brings persistent ferocity and energy to live performances and leaves the punters with an intense, euphoric feeling post show.Never a band to rest, Die! Die! Die! continue to live the true rock n roll lifestyle –touring extensively worldwide between albums.
This year, Die! Die! Die! release „Harmony“, their fourth studio album recorded at Blackbox Studios, France, being the best recording studio in the world if you ask Steve Albini. This album proves the band continue on their evolution to perfect their sound. Harmony brings together the raw energy and emotion from their live shows, encapsulating savant pop elements with their DIY punk philosophy. Produced by Chris Townend (Portishead, D12, Violent Femmes), and bringing back Shayne P. Carter on vocals, Harmony is set to be THE album of 2012.
Bringing on board bassist Michael Logie (The Mint Chicks, F In Math, Opossom), Die! Die! Die! will tour their face melting shows continuing to evoke fierce loyalty in fans and burn as many bridges as they cross.
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This year, Die! Die! Die! release „Harmony“, their fourth studio album recorded at Blackbox Studios, France, being the best recording studio in the world if you ask Steve Albini. This album proves the band continue on their evolution to perfect their sound. Harmony brings together the raw energy and emotion from their live shows, encapsulating savant pop elements with their DIY punk philosophy. Produced by Chris Townend (Portishead, D12, Violent Femmes), and bringing back Shayne P. Carter on vocals, Harmony is set to be THE album of 2012.
Bringing on board bassist Michael Logie (The Mint Chicks, F In Math, Opossom), Die! Die! Die! will tour their face melting shows continuing to evoke fierce loyalty in fans and burn as many bridges as they cross.
ZENTRALHEIZUNG OF DEATH DES TODES http://zentralheizungofdeath.blogspot.de
Die Rhythmus-Sektion ist über den Zusammenbruch des Bodens führen, und die Gitarren sind präzise und wild gefüllt alle Löcher in den Sound.. Die Menge an Energie, dass die Band warf sich vor den Verstärker Ich erinnerte mich an alles, was ich vermisse Klima in dieser aktuellen 'indie', 'retro', 'imojabakasadafurabraduiraybanice "Konzert. . Ich vermisse sie, nämlich die Bands, die von Bewegungen und das Spiel, anstatt Reflektoren Schweiß. . Nichts gegen indietastic alle Ihre Favoriten ... Ich denke, man fühlte man so früh im Jahrhundert Ksetu. Nein, ficken und lassen Sie uns beklagen die Band, deren Namen ich noch nicht kannte, aber ich wusste, dass sie absolut lieben. Roben und Musik haben mich Gläubigen. Dann begannen sie, die Instrumente zu ändern. Roze Strumpfhosen haben Gitarre und Bass gespielt. Bas spielte Schlagzeug. Jeder urlikali, und alles endete Timothy Learyjevskom Version von "They Don't Care About Us". Und das war das Ende. Unter all den Michael Jackson ging ich zum Chef und ihn bat, preentuzijasti?no leih mir 50 Kuna für eine Platte. Alle sahen mich erstaunt an und podsmjehivali zu piepen meine Stimme, die nicht von der Aufregung, was ich gerade gesehen und gehört wurde absteigen..
Außerhalb der Licht sprdali mit meiner Begeisterung, aber es hörte nicht auf mich zu cupka an Stelle fortsetzen und ihrer neuen Stück Vinyl. In diesem Augenblick fand zwei Dinge. Wichtige Dinge. Zuerst entdeckte ich, dass die Band Zentralheizung genannt ZHOD iltiga Of Death (Des Todes), die nur zementiert meiner Meinung nach, dass es um eine der besten Bands zunächst die ich hatte und die Gelegenheit, live Spiele. Zweitens habe ich zu ultra-Aktivist für die globale Erwärmung um so bald Ozean führte zu einer kleinen Thüringen, ein relativ kleiner Staat / Provinz, die ZHOD entstanden befindet sich im Herzen von Deutschland, wo es. Wenn Sie surfen können mitten in der so viele razvaljivat Švabije und di sind wird das Ende sein, wenn Sie ein Brett und Stiftung zu bekommen? Auch werde ich damit beschäftigt für die globale Erwärmung, weil es Skala ist Albert Gore šup?ina Deep Space Nine.
Wenn Sie jemals die Konzepte Abschaum Rock, Noise-Rock, Surf-Rock und Garage Rock haben geschätzt ZHOD die Band für Sie. Wenn Sie den Willen haben, wieder und wieder zu Ihnen zu hören Alben Pussy Galore und Mann oder Astroman? ZHOD die Band. Wenn Sie Abstrich Dukatelom jemals auf die gesamte, während Sie Vanja Rupeni und denke, es wäre cool, kommen Sie abholen Ausländer mit einer langen und klebrigen Zunge und lecken Sie steigen auf ihr Raumschiff, sodass Sie auf die Existenz von Ketten der kroatischen Top-Modell, wo man spielen Pong mit Bootsy Collins, ZHOD ist für Sie. Wenn Sie je an mir leihen 50 Kuna von Kopf zu tun, denn es macht Sie und beschreiben ihre Erfahrungen in der Toilette Spunk erkenne Google Thuring und dass Sie eine Episode des kroatischen Top-Modell beobachtet.
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Außerhalb der Licht sprdali mit meiner Begeisterung, aber es hörte nicht auf mich zu cupka an Stelle fortsetzen und ihrer neuen Stück Vinyl. In diesem Augenblick fand zwei Dinge. Wichtige Dinge. Zuerst entdeckte ich, dass die Band Zentralheizung genannt ZHOD iltiga Of Death (Des Todes), die nur zementiert meiner Meinung nach, dass es um eine der besten Bands zunächst die ich hatte und die Gelegenheit, live Spiele. Zweitens habe ich zu ultra-Aktivist für die globale Erwärmung um so bald Ozean führte zu einer kleinen Thüringen, ein relativ kleiner Staat / Provinz, die ZHOD entstanden befindet sich im Herzen von Deutschland, wo es. Wenn Sie surfen können mitten in der so viele razvaljivat Švabije und di sind wird das Ende sein, wenn Sie ein Brett und Stiftung zu bekommen? Auch werde ich damit beschäftigt für die globale Erwärmung, weil es Skala ist Albert Gore šup?ina Deep Space Nine.
Wenn Sie jemals die Konzepte Abschaum Rock, Noise-Rock, Surf-Rock und Garage Rock haben geschätzt ZHOD die Band für Sie. Wenn Sie den Willen haben, wieder und wieder zu Ihnen zu hören Alben Pussy Galore und Mann oder Astroman? ZHOD die Band. Wenn Sie Abstrich Dukatelom jemals auf die gesamte, während Sie Vanja Rupeni und denke, es wäre cool, kommen Sie abholen Ausländer mit einer langen und klebrigen Zunge und lecken Sie steigen auf ihr Raumschiff, sodass Sie auf die Existenz von Ketten der kroatischen Top-Modell, wo man spielen Pong mit Bootsy Collins, ZHOD ist für Sie. Wenn Sie je an mir leihen 50 Kuna von Kopf zu tun, denn es macht Sie und beschreiben ihre Erfahrungen in der Toilette Spunk erkenne Google Thuring und dass Sie eine Episode des kroatischen Top-Modell beobachtet.
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27.07
SOUL EXPLOSION http://soulexplosion.de/
Der Funk, den wir spielen, entstand 1966 - 72, bevor Disco Alles in billige Scheiße verwandelte. Der Höhepunkt der Periode 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.
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01.08 Tickets online kaufen
PUSCHENFEST! http://www.facebook.com/puschenpuschen
MOON DUO http://moonduo.org/
SUUNS http://secretlycanadian.com/artist.php?name=suuns
GENERATIONALS http://generationals.com/
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07.08
Tickets online kaufenTHE FLYING EYES http://www.theflyingeyes.com/
DEAN ALLEN FLOYS http://deanallenfoyd.com
Die schwedische Band DEAN ALLEN FOYD ist ohne Zweifel eine der besten zeitgenössischen Acid Rock Bands! Auf Platte, z.B. auf der neuen EP "The Road To Atlas", klingt das Quartett so originalgetreu, dass man denkt man hätte ein Album von 1968 auf dem Plattenteller zu liegen. Im Konzert sind DEAN ALLEN FOYD eine atemberaubende Psychedelic Rock Experience. Traumwandlerisch im Zusammenspiel und einzigartig im Sound, jammt sich die Band jeden Abend auf der Bühne in einen wahren Rausch aus 60s Rock, Delta Blues, Space Rock, Orgelimprovisationen, Gitarren Freak Outs und jazzigen Schlagzeugsolos!
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THE MAGNIFICENT BROTHERHOOD http://maghood.com/home.html
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12.08
Tickets online kaufenORANGE GOBLIN http://www.orange-goblin.com/
Beim Heavy Metal geht es nicht nur um Musik: Er ist eine Lebenseinstellung, eine positive Kraft und ein inspirierendes Glaubenssystem. Er ist die aufregendste Form der Musik auf unserem Planeten und Londons unbestreitbare Meister darin sind Orange Goblin. Dabei sind sie nicht nur Englands regierende Champions des biergetränkten Party-Metals, sondern auch eine der besten Livebands aller Zeiten. In den vergangenen 16 Jahren haben die allmächtigen Goblins bereits bewiesen, dass sie auch auf Platte zu den größten britischen Metalbands gehören. Bester Beleg dafür ist auch das siebte Studioalbum A Eulogy For The Damned: Eine gewaltige Tour-De-Force voller gigantischer Riffs, unterirdischem Grollen und mitreißender Energie.
Inspiriert von Hard Rock-, Heavy Metal- und Punk-Go?ttern von Black Sabbath, Motörhead, Thin Lizzy, bis hin zu Celtic Frost oder Danzig machten sich Orange Goblin Mitte der 90er Jahre ursprünglich auf, den vakanten Stoner Rock-Thron in ihrer Heimat zu besteigen. Schnell kristallisierte sich jedoch heraus, dass die Band mehr zu bieten hatte als rotäugigen Boogie. Dabei sind es vor allem die Live-Qualitäten, die der Band bei Fans und Kritikern Kultstatus bescheren. So schreibt das renomierte Kerrang Magazin äußerst treffend: „Orange Goblins Liveshows sind vorhersehbar. In dem Sinne, dass man weiß, wie brilliant sie werden, bevor sie überhaupt auf die Bühne gehen!“.
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Inspiriert von Hard Rock-, Heavy Metal- und Punk-Go?ttern von Black Sabbath, Motörhead, Thin Lizzy, bis hin zu Celtic Frost oder Danzig machten sich Orange Goblin Mitte der 90er Jahre ursprünglich auf, den vakanten Stoner Rock-Thron in ihrer Heimat zu besteigen. Schnell kristallisierte sich jedoch heraus, dass die Band mehr zu bieten hatte als rotäugigen Boogie. Dabei sind es vor allem die Live-Qualitäten, die der Band bei Fans und Kritikern Kultstatus bescheren. So schreibt das renomierte Kerrang Magazin äußerst treffend: „Orange Goblins Liveshows sind vorhersehbar. In dem Sinne, dass man weiß, wie brilliant sie werden, bevor sie überhaupt auf die Bühne gehen!“.
GRANDLOOM http://www.grandloom.de/
Three-piece heavy jamrock from Cottbus, Germany.
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24.08
SOUL EXPLOSION http://soulexplosion.de/
Der Funk, den wir spielen, entstand 1966 - 72, bevor Disco Alles in billige Scheiße verwandelte. Der Höhepunkt der Periode 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.
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04.09
DISCO ENSEMBLE http://discoensemble.com/
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23.09
@ Monarch SHANNON & THE CLAMS (Hardly Art) http://shannonandtheclams.com/
Calling all Hobos, Twisters, Freaks, and Geeks: pogo the crust out yr eyes, and marvel in this blindingly bright, full color 3-D world of ours. The sunsets are getting more beautiful 'ery damn day thanks to pollution. You can order some psilocybin on the internet and watch nukes explode online all from the comfort of your own bed! Get outdoors cuz life is beautiful and everything is terrible. It's so yo gabba great that God itself is here. Why not R-O-C-K in the USA? From yr Bedrock in Cali-forn-i-a! Do the Flintstone flop and go WAY OUT! Close yr eyes and pretend yr a cave person (like you really have to pretend) and yr riding Space Mountain at Disneyland for the 1st time. Yeah friend! 2001 is here again! Welcome back to the future!
I'm a (music) nut. What kind of music am I into? Everything on the menu with extras on it. I can only choose one? I'll take ROCK 'N' ROLL, then. Rock 'n' Roll, in all it's twisted gnarly rooted glory, is what SHANNON AND THE CLAMS (da) do (ron ron) heads and tails above and more importantly, BEYOND the other troglodytes and biscuit-heads out there. Can a group be a "girl group" if there is only one girl in the group? Can a modern working band be considered "oldies"? No silly, but the rules are none, and anything goes, and this is PUNK, punk. Or is it rock ‘n’ roll, or whatever? It is SHANNON AND THE CLAMS and they do what they want. Do yrself a favor and tune in yr tinfoil hat. From pop ballads to doo woppers, bomp stompers and punk rippers, country clippers and some psych-o trippers, it's all R’n’R and it's all right there in the Clams’ hooded velvet trick bag. Ya feel lucky, punk?
SHANNON AND THE CLAMS are rumored to be from NOW in Oakland California and comprised of Shannon Shaw (vocals, bass), Cody Blanchard (vocals, guitar), and Ian Amberson (drums, vocals). What started as an open mic project for a shy, young Shannon to try out some tunes ended with the Clams meeting and forming a band. Many have said to have been possessed by thee (eerily similar at times) haunted howls and beautiful growls of their two lead vocalists, hypnotized by their heavy heartbeats, and mesmerized by their magical music. This is a ride that contains both thrills and chills so hold on tight. Your ears may become infested with a real Buddy Holly jolly kinda joy (oh boy) while you stutter along to a hiccupy song. Take a scratch and a sniff at these stickers and get bit by their bad-brained snarls. It's always Christmas (if you want it). It's your party time, and it's excellent. Cry-yi-yi if you want to, but be sure to surf a splish-splash with a laugh later.
The reality is, these Three Little Rascals broke free of our gang and their time, stopped thru the decades, soaked up the sounds ‘n’ spuds…. and like the lady and gentlemen they are, gifted us with the honor to hear their soundtrack of their brains – and their wonderful rock ‘n’ rule of the now and forever. SHANNON AND THE CLAMS present to all of us the greatest present: their first LP for Hardly Art, Dreams in the Rat House.
--NOBUNNY, 2013
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I'm a (music) nut. What kind of music am I into? Everything on the menu with extras on it. I can only choose one? I'll take ROCK 'N' ROLL, then. Rock 'n' Roll, in all it's twisted gnarly rooted glory, is what SHANNON AND THE CLAMS (da) do (ron ron) heads and tails above and more importantly, BEYOND the other troglodytes and biscuit-heads out there. Can a group be a "girl group" if there is only one girl in the group? Can a modern working band be considered "oldies"? No silly, but the rules are none, and anything goes, and this is PUNK, punk. Or is it rock ‘n’ roll, or whatever? It is SHANNON AND THE CLAMS and they do what they want. Do yrself a favor and tune in yr tinfoil hat. From pop ballads to doo woppers, bomp stompers and punk rippers, country clippers and some psych-o trippers, it's all R’n’R and it's all right there in the Clams’ hooded velvet trick bag. Ya feel lucky, punk?
SHANNON AND THE CLAMS are rumored to be from NOW in Oakland California and comprised of Shannon Shaw (vocals, bass), Cody Blanchard (vocals, guitar), and Ian Amberson (drums, vocals). What started as an open mic project for a shy, young Shannon to try out some tunes ended with the Clams meeting and forming a band. Many have said to have been possessed by thee (eerily similar at times) haunted howls and beautiful growls of their two lead vocalists, hypnotized by their heavy heartbeats, and mesmerized by their magical music. This is a ride that contains both thrills and chills so hold on tight. Your ears may become infested with a real Buddy Holly jolly kinda joy (oh boy) while you stutter along to a hiccupy song. Take a scratch and a sniff at these stickers and get bit by their bad-brained snarls. It's always Christmas (if you want it). It's your party time, and it's excellent. Cry-yi-yi if you want to, but be sure to surf a splish-splash with a laugh later.
The reality is, these Three Little Rascals broke free of our gang and their time, stopped thru the decades, soaked up the sounds ‘n’ spuds…. and like the lady and gentlemen they are, gifted us with the honor to hear their soundtrack of their brains – and their wonderful rock ‘n’ rule of the now and forever. SHANNON AND THE CLAMS present to all of us the greatest present: their first LP for Hardly Art, Dreams in the Rat House.
--NOBUNNY, 2013
THE ANNA THOMPSONS https://www.facebook.com/TheAnnaThompsons
The Anna Thompsons are a Canadian/Spanish four scoop banana split topped with potato chips from Berlin. Inspired by a vast spectrum of music that ranges from Heart's Dreamboat Annie, to Dead Moon, to The Zit Remedy, their corpus touches on many themes that include Grace Jones, creepy guys, unicorns, and the economic crisis in Spain. They have a democratic approach to vocals and a totalitarian approach to having a good time.
It started with a rock n' roll choir that never was to be. Two Thompsons met and, since they knew how to manipulate stringed things, started carrying on and frolicking in a fancy way. Then two Annnas joined the mix and the two Annnas and the two Thompsons all scuttled off into a dark, windowless room, that always seemed to smell of man sweat, to hit things and tinker with tones and continued to carry on in an unruly fashion. And one day a cloud of smoke appeared and there was a Dalia, who exclaimed, "Man patinka muzika". And the carrying on got louder and more intense and exploded in everyone's faces.
Then one day, the cloud of smoke appeared again and took Dalia and one Anna away, leaving them short a Dalia, two "A"s, two "N"s, and with an immense hole in their hearts.
The one Ana, who had lost an "N" and the two Thompsons were left forlorn on the street corner with beers in their hands and songs in their hearts, and the only thing they could do, what they had to do was find a Kristen to join their merry troupe. And that's just exactly what they did.
And they lived happily ever after.
Infotext
It started with a rock n' roll choir that never was to be. Two Thompsons met and, since they knew how to manipulate stringed things, started carrying on and frolicking in a fancy way. Then two Annnas joined the mix and the two Annnas and the two Thompsons all scuttled off into a dark, windowless room, that always seemed to smell of man sweat, to hit things and tinker with tones and continued to carry on in an unruly fashion. And one day a cloud of smoke appeared and there was a Dalia, who exclaimed, "Man patinka muzika". And the carrying on got louder and more intense and exploded in everyone's faces.
Then one day, the cloud of smoke appeared again and took Dalia and one Anna away, leaving them short a Dalia, two "A"s, two "N"s, and with an immense hole in their hearts.
The one Ana, who had lost an "N" and the two Thompsons were left forlorn on the street corner with beers in their hands and songs in their hearts, and the only thing they could do, what they had to do was find a Kristen to join their merry troupe. And that's just exactly what they did.
And they lived happily ever after.
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27.09
BUILT TO SPILL http://www.builttospill.com/
Three and a half years in the making, the efforts of writing and recording THERE IS NO ENEMY led Built to Spill founder Doug Martsch to wonder whether this would be the last album he ever makes. As his wife, I watched him work, pouring hour after hour , day after day into writing. Song lyrics were labored over then thrown in the trash, guitar parts revised again (and again). A musician and artist like Doug edits far more than he keeps.
For over twenty years, Doug Martsch has been writing and recording music. Built to Spill members Brett Nelson (bass), Scott Plouf (drums) Jim Roth (guitar), and Brett Netson (guitar) have all been musicians for two decades. That adds up to more than a century. Doug’s strong aesthetic combines with the band members’ mix of approaches to create an aural topography. Doug sets course and navigates. Each member of Built to Spill comes to the music with a different set of expectations and ideals.
With the complexity and variety of music they have created, Built to Spill endeavors to make songs interesting to themselves and their audience. They hope that the band will remain special and that people will discover the music for themselves. Year after year, new fans show up. Just like the band members, listeners come to the music with expectations and ideals. They make up their own ideas about the songs.
I once overheard Doug on the phone being interviewed. He sounded almost stand-offish in not “telling” an interviewer the meaning of a song or describing its origin. Doug and I have speculated about this sometimes: meaning (whether intended or not )is not inherent in lyrics or in any art. Listening, looking closely, and responding with one’s feelings, thoughts, and senses transforms. Doug simply does wish to disrupt any meaning someone else has found.
I can barely repress the urge to tell you what THERE IS NO ENEMY means to me. When making the new record, Doug literally lived in the studio. To be able to work all day and all night. To spend hours and hours laying down guitar tracks he realized he couldn’t use since the first live takes had the best tone and feel. To undigitally remix the record. With so much work behind the band, the record is here. Now comes the album’s journey into the world. This venture Built to Spill does not map out. The record is yours to respond to.
When I listen to songs Doug writes and the whole band plays, I think, “How can people make music this good?” Even though I witness and minorly assist, I still do not understand how theirs or any beloved music comes into the world. To me, the process and result are magic.
BUILT TO SPILL:
Doug Martsch • guitars, vocals / Brett Netson • guitars / Jim Roth • guitars / Brett Nelson • bass / Scott Plouf • drums
Infotext
For over twenty years, Doug Martsch has been writing and recording music. Built to Spill members Brett Nelson (bass), Scott Plouf (drums) Jim Roth (guitar), and Brett Netson (guitar) have all been musicians for two decades. That adds up to more than a century. Doug’s strong aesthetic combines with the band members’ mix of approaches to create an aural topography. Doug sets course and navigates. Each member of Built to Spill comes to the music with a different set of expectations and ideals.
With the complexity and variety of music they have created, Built to Spill endeavors to make songs interesting to themselves and their audience. They hope that the band will remain special and that people will discover the music for themselves. Year after year, new fans show up. Just like the band members, listeners come to the music with expectations and ideals. They make up their own ideas about the songs.
I once overheard Doug on the phone being interviewed. He sounded almost stand-offish in not “telling” an interviewer the meaning of a song or describing its origin. Doug and I have speculated about this sometimes: meaning (whether intended or not )is not inherent in lyrics or in any art. Listening, looking closely, and responding with one’s feelings, thoughts, and senses transforms. Doug simply does wish to disrupt any meaning someone else has found.
I can barely repress the urge to tell you what THERE IS NO ENEMY means to me. When making the new record, Doug literally lived in the studio. To be able to work all day and all night. To spend hours and hours laying down guitar tracks he realized he couldn’t use since the first live takes had the best tone and feel. To undigitally remix the record. With so much work behind the band, the record is here. Now comes the album’s journey into the world. This venture Built to Spill does not map out. The record is yours to respond to.
When I listen to songs Doug writes and the whole band plays, I think, “How can people make music this good?” Even though I witness and minorly assist, I still do not understand how theirs or any beloved music comes into the world. To me, the process and result are magic.
BUILT TO SPILL:
Doug Martsch • guitars, vocals / Brett Netson • guitars / Jim Roth • guitars / Brett Nelson • bass / Scott Plouf • drums
DISCO DOOM http://www.discodoom.net/
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24.10
DEERHUNTER http://deerhuntertheband.blogspot.de/
After a brief hiatus, during which time Bradford Cox and Lockett Pundt released their own albums as Atlas Sound and Lotus Plaza respectively, a new Deerhunter line-up (with additions of bassist Josh Mckay and guitarist Frankie Broyles) reconvened in January 2013 at Rare Book Studio in Brooklyn, New York. Produced by Nicholas Vernhes and Bradford Cox and recorded in the dead of night, Deerhunter’s new longplayer Monomania finds the group recalling its scrappy punk aesthetic a perfect nocturnal garage rock album full of the layered and hazy vintage guitar sounds that define them.
Press Quotes
"It all sounds effortless… the results are propulsive and ecstatic." -The Observer (5/5)
"One of the great American rock 'n' roll bands"- NME (8/10)
"A delicious vision of pop." -Q (4/5)
"Thoroughly fresh and weirdly magnetic from start to finish." -Mojo (4/5)
Infotext
Press Quotes
"It all sounds effortless… the results are propulsive and ecstatic." -The Observer (5/5)
"One of the great American rock 'n' roll bands"- NME (8/10)
"A delicious vision of pop." -Q (4/5)
"Thoroughly fresh and weirdly magnetic from start to finish." -Mojo (4/5)
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26.10
KOMMANDO-SONNE NMILCH https://www.facebook.com/pages/KOMMANDO-SONNE-NMILCH/107187912661163 Infotext
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21.12
SMOKE BLOW + Special Guest http://www.smokeblow.de/