Another Edition at the Best Bier Garden in Berlin, very nice Sound System , free entry
Hosted by DJ Hp76 with a 100% vinyl set.
Another Edition at the Best Bier Garden in Berlin, very nice Sound System , free entry
Hosted by DJ Hp76 with a 100% vinyl set.
The Berlin Risofest is the first event to bring together the city’s top Risograph printers, artists and studios, in a day of exhibitions, workshops, performances, booklaunches and parties.
– A showcase of the work of:
Lucky Punch Press / Die Brueder
PogoBooks / Outer Space Press
We make it
Penthaus für schöne Formate / Kunst Werk Stadt Berlin
Riso Club Leipzig
Inkwell Press (https://www.instagram.com/
The events confirmed so far include:
– the launch (at long last) of the English version of the book RISOMANIA, a project by Vetro Editions, published by Niggli Verlag
– a live mimeograph printing/poetry reading performance by poet Martin Jackson, among many other things the author of what may be the only poem ever written about the Riso
– Kunsthochschule Berlin Weißensee‘s mimeographed artworks
– DJs Stella Zekri and Dj Die Soon playing during the day and night, as well as more special guests. Live music performance by Infinite Livez (Big Dada). And we are delighted to have Flux FM on board!
14.00: LIVE VINYL SETS from Stella Zekri and LaGazo.
15.00: RISOGRAPH WORKSHOP 1 with Drucken 3000 and Colorama.
15.00: LIVE DRAWING from Guillaume Kashima, fusing illustration and Riso printing.
1600: RISO WALLPAPER INSTALLATION.
1700: LAUNCH of Spektrum Crush zine 2, a Riso-printed visual anthology of artists working with video games or digital garbage as a medium.
18.00: RISOGRAPH WORKSHOP 2 with Drucken 3000 and Colorama.
19.30: MIMEO/POETRY with live mimeograph printing and poetry reading performance by Martin Jackson.
20.00: RISO PRINT AUCTION, all proceeds going to The Source Berlin – Sustainable Food Projects.
21.00: LIVE MUSIC from the legendary Infinite Livez (Ninja Tune/Big Dada)
22.00: DJ SET from Dj Die Soon.
23.01: DJ SET from DJ Scotch Bonnet (Small But Hard)
Subscriptions for the Riso-printing workshop here:
“The trick is to avoid all the bands that are bragging about genre breaking or how mind blowing they are and just listen to Oranssi Pazuzu”. This quote from Fenriz’s radio show couldn’t have been a better spot on statement for the phenomenon that is Finland’s Oranssi Pazuzu.
Since their inception, Oranssi Pazuzu has never been satisfied to stick with a formula. Each album has seen the band expand upon its previous incarnation and then, like a supernova, blow it up and transform again into something recognizable but completely new. With their first two albums, they slowly built a fuzz for their unique take on black metal’s pscyhedelia and despite using this genre as a platform it was their third album, Valonielu (2013), that solidified the band’s position as one of the most forward-thinking and interesting metal bands and gave purists a ran for their money. With press and fans praising the brilliance of that album, their live shows established them even more to the point where their live experience could be compared to the ones of Pink Floyd, Swans and Neurosis. And that’s coming from everybody that witnessed them on their tours and festivals performances all around Europe.
Their return on 2016 with their fourth album, Värähtelijä, gives the band much more room to diverge and explore the vast regions of hypnotic progressive psychedelia and the nebulous outer limits of Scandinavian black metal. Songs explode with radiant ultraviolet color and plunge into the deep black darkness of innermost consciousness. If ‘Valonielu’ was the creation of a universe, ‘Värähtelijä’ is the magnification and expansion of its infinite boundaries. With the album ending up on many best albums of the year lists, and not only in the metal circles, 2017 will be the busiest year for the band on stage starting with the “Mental Possessed Tour” where the band brings with them 2 of their peers, Aluk Todolo and Cobalt (on their first European tour) on selected days and making this tour not to be missed!
The “Mental Possessed Tour” will also coincide with the reissues of Oranssi Pazuzu’s backcatalogue including their first 2 albums, which have been sold out since their release, an EP consisting of the band’s material from their 2010 split with Candy Cane and also a limited 10” vinyl with two unreleased songs, which will be sold only on their live dates!
Not meant for genre purists, Oranssi Pazuzu are on a trip all their own; modern electric pioneers on an expedition to unlock the keys to the hidden spaces all around and inside us.
ALUK TODOLO is an instrumental power trio performing Occult Rock since 2004. Their music is a methodical exploration of the powers of musical trance. Part occult black metal fiend and part snide kraut menace, the band conjures rabid obsessive rhythms and abyssal disharmonic guitars, subliminal spiritualist vibrations and bizarre, magick summonings. ALUK TODOLO reduces psychedelic improvisation to a bare, telluric instrumentation, in which dry, spare percussion grievously mines the scrapes, shrieks and shimmer of mutated guitar and bass. The band’s sound is monolithic and stabbing, hypnotic but unpredictable, minimalist yet teeming: a dangerous, noxious coil of all things black.
The name ALUK TODOLO was brought back from a mountainous region of South Sulawesi in Indonesia, it’s an ancient religion with animist beliefs meaning «the Way of the Ancestors». The band toured in USA in 2009 and 2012, Southern Europe in May 2010 (France, Switzerland, Spain, Portugal), Northern Europe in April 2011 with MENACE RUINE (France, UK, Belgium, Netherlands, Germany, Denmark, Sweden, Czech republik, Switzerland) and Eastern Europe in May 2013 with the one man band LUSSURIA from New York (Belgium, Netherlands, Czech Republik, Poland, Austria, Hungaria, Croatia, Solvenia, Italia, France), around the Alps in June 2016 with SUM OF R from Switzerland (France, Switzerland, Germany, Poland, Czech Republik, Hungary, Austria). ALUK TODOLO opened for FAUST (German krautrock pioneers) in New York in October 2009. They have been invited by SUNN O))) to play the Roadburn Festival 2011 in the Tilburg – Netherlands and opened for them in June 2012. They played festivals such as Incubate (Netherlands), Stella Natura (usa), Dark Bombastic Evening (Romania), Mega Therion (Finland), Colmar Jazz Off (France), Luff (Switzerland), le Guess Who ? (Netherlands), Sonic Protest (France), Funkelfug (Austria), Amplifest (Portugal), Chaos Descends (Germany), and will play in 2017 the Stardust IV (New York USA) and the Roadburn (Netherlands).
An archive collection of rare recordings from their first decade will be released in 2017 as well as the 4 albums on tape on Seratusribu records from Indonesia.
Bandcamp (online discography): http://
War Metal is the most fitting title Cobalt could choose to kick off their career. There is a deep sense of struggle and urgency, a devastating cause that left absolute carnage through its path that the band’s music radiated since the time of their inception. Cobalt, as nature, is red in tooth and claw, and there is no desire of hiding it.
This struggle, this unbroken will to battle and conflict was peaked with the genre-defining Eater of Birds, a testament to the spirit of the US black metal scene. Pouring with aggression and oozing with a primal energy, Cobalt showcased a unique blend of bitter black metal, a traditional approach that was rehashed and in turn rejuvenated. The additions of Americana, folk and noise do not necessarily provide an experimental approach to black metal, but rather a different interpretation of its historic, pure form. The imagery of Hemingway on the cover of Gin makes perfect sense, depicting the literary background of Gin and its influence on Cobalt’s ethos: the perfection of one’s craft, the certainty and conviction to one’s belief and the stoic perspective.
Hemingway’s famously writes: “The world breaks everyone, and afterward, some are strong at the broken places.” This could not be more true for Cobalt, who saw the departure of vocalist Phil McSorley in 2014. Mainman Erik Wunder did not allow this to become the end of the road for his black metal endeavors, and recruiting Charlie Fell (ex-Lord Mantis) has worked wonders for the band and the quality of their releases. In 2016 they proved that they belong at the very top of the food chain releasing what is their finest work in Slow Forever, a double album filled with all the elements that their glorious past has produced, but also with an eye staring at the future and the path that lays ahead. This is Cobalt at its best. Uncompromising, relentless, hungry, constantly hunting and out for blood.
RUSCONI sind Stefan Rusconi (piano, synth, vocals, space echo & sound preparations), Fabian Gisler (double bass, guitar, vocals) und Claudio Strüby (drums, percussion, vocals, glockenspiel & tape). Seit Ihrer Gründung in Zürich haben sie während über 300 Konzerten ein fast telepathisches Verständnis füreinander und die Kräfte der jeweiligen Musen entwickelt. Wild wird von Komposition zu Improvisation gewechselt, elektronische und analoge Instrumente durcheinander gemischt. Scheinbar divergente Einflüsse, wie Miles Davis und Aphex Twin, Radiohead und Paul Bley sowie Sonic Youth und Nils Wogram schmelzen zu einer Musik die ohne Zweifel ihre eigene ist.
„History Sugar Dream“ macht mächtig Freude und beweist (wenn man denn einen Beweis benötigt), dass Innovation und Experimentierfreudigkeit nicht nur zugänglich sondern geradezu wahrhaftig abenteuerlich sein kann.
TEXT von Hanspeter ‚Düsi’ Künzler, Februar 2014, London
HILDEGARD LERNT FLIEGEN ist keine Band, sondern ein Sturm. Man kauft ein Ticket und erwartet ein Konzert, doch was man bekommt ist ein theatralischer Anschlag auf das Musikverständnis, eine Dada-Party, eine einzige Aufregung. Bandkopf Andreas Schaerer lässt seine sprudelnde Fantasie mit Vollgas aufs Publikum los, und das feiert das Schweizer Sextett wie die Rettung der Kunst vor sich selbst. Das namenlose Debütalbum schlug ein, der Nachfolger ebenso, und die Band tourte mit ihrer Mischung aus Jazzrock, Tarantella, Zirkus-Blues, Swing und Oper durch halb Europa, Russland und China. Der Drittling von Hildegard lernt fliegen “The fundamental rhythm of unpolished brains” setzt dort an wo die Band aufgehört hat. Gewitzt setzen die Schweizer ängstlichen Biedermeiern frische Ideen entgegen, stürzen sich als Sandkorn ins Getriebe des Gleichklangs. Die Band lässt Konventionen hinter sich, erhebt Nonkonformismus nicht zum Dogma und zeigt bei aller Präzision umwerfenden Witz. Für Hildegards hinreißende Frechheiten weiß Andreas Schaerer eine griffige Formel: „im Jazz gibt’s kein richtig oder falsch!“ Eine ewig zappende Gruppe – ein famoses Chaos!
Mehr Infos hier:
Influenced by 1960s South American psychedelic rock, Capsula’s sound is soaked with the raw edged darkness of The Stooges, The Cramps and The Who but with clear modern refinements not too distant from the garage of The White Stripes, Black Rebel Motorcycle Club or brooding psychedlica found in The Black Angels.
They recorded in 2013 their latest LP, ‘Solar Secrets’ which was produced by Tony Visconti.
With this LP under their belt, the power trio toured the US with influential Brazilian psychedelic rock Os Mutantes.
Since 2008 they played each year at the SXSW Music Festival and also performed to great acclaim at Austin Psych Fest 2013 with Black Rebel Motorcycle Club, Deerhunter and The Raveonettes.
This year they will tour again across Europe and head to take over Urban Spree’s stage for their first performance in Berlin.
“Capsula’s dark wave rock – surfing basslines, needling leads, and kit-crashing propulsion – pushes the motoring thrust of early Black Rebel Motorcycle Club with its own distinct pulse. These aren’t musicians playing at a band, they’re a fabulous gilded snake, writhing on a big stage while plying seismic garage rock.” The Austin Chronicle on Capsula’s live show at APF.
Pankow, founded in Florence back in 1981, are one of the very first electronic/industrial acts coming out from Italy. The founding member Maurizio FM Fasolo and his five co-band members at that time created sounds inspired by the likes of Throbbing Gristle, Cabaret Voltaire and early Kraftwerk.
After various line-up changes and the arrival of charismatic lead-singer and poet Alex Spalck, the project started to become noted also abroad and a first live-appearance in Berlin in 1984 marked the start of a long ongoing and successful career for the band.
Following a few cassette-releases and compilation appearances, Kindergarten Records – in collaboration with Polygram – released a first 4-tracks EP in 1984, that included the first more accessible, EBM-Electro-like tracks (even though the term ‘EBM’ was not ‘invented’ by that time…): songs like ‘God’s Deneuve’ and ‘Wodkachaos’ became major hits in Italy. The first LP came in 1987 on Contempo Records, and was produced by Adrian Sherwood.
Since 2016 Pankow started to collaborate with the Canadian label Artoffact by releasing their first official cassette (“Throw out Rite”, 1984) and a 10 “vinyl (Times) with the first songs released only in some Italian compilations before and a couple unpublished ones.
The band is currently active and based in France/Belgium with the frontman singer Bram Declercq.
TARA IN TIBET (IT)
Berlin-based Tara in Tibet is a project of Alessio de Felice, co-runner of label She Lost Kontrol records and owner of Last Europa Kiss records.
His perfomances are waving between noise and groovy industrial, with a touch of esoterism.
Highly recommended for fans of occult sex parties, Italian police movies and dirty raw esthetics.
TIQ is a minimal-synth party loved and supported by different alternative scenes. DJ-sets are rigid, cold, rough-edge, blind-alley and the drum machine beats always like a metronome. No matter if the sound comes from the past, the present or the future, we are more and more devoted to select the best minimal-synth-wave music, so called “quadratic wave”.
Quadratic-wave is a word game and a concept from sound physics too, but the best way to catch it is to dance it, and the best way to dance it is by being concentrated and confined in a quadrangle as Die Tödlich Doris sang in their song Tanz im Quadrat: “Wir tanzen im Viereck, wir tanzen konzentriert”.