Chat Noir – Hyperuranion Live
Hyperuranion pushes further the boundaries of Chat Noir’s cross-genre journey to reshape their signature electro-acoustic sound into a sophisticated punchy music that borrows from the club culture as much as from the alternative rock and ambient traditions.
Chat Noir :
Luca Fogagnolo – Bass
Michele Cavallari – Keys
Daniel Calvi – Guitar/Synth
Giuliano Ferrari – Drums
Moved from April 18th to Dec 9th.
+++ Tickets remain valid! +++
Doors: 20h, Start: 20h45.
“Devour” marks the fourth full-length record from New York City based artist Margaret Chardiet’s project Pharmakon and the most intense output of her 12 plus years creating industrial noise. Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony.
The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game.
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New album All Or Nothing out on 7th February 2020
The DIY ‘supergroup’ Shopping formed in 2012, respected players on a young, queer, East London scene that counted basement venue Power Lunches (RIP) as its hub. Their sound – kinetic, minimalist dance-punk inspired by the likes of ESG, Gang of Four, Slits and Au Pairs – has won them glowing press from all quarters (NME, Pitchfork, NPR), impressive co-signs (Sleater-Kinney’s Corin Tucker is a fan) and a loyal, cross-continent following accrued over three, acclaimed albums: self-released debut Consumer Complaints , a short-run, DIY-distributed release that sold out in a matter of months and was subsequently reissued by FatCat; Why Choose [2015, FatCat], which saw the band touring the States for the first time; and The Official Body [2018, FatCat] – produced by indie pop legend Edwyn Collins.
Along with cleaner, new production values, their brand new album “All Or Nothing” (out on February 7th, 2020 on FatCat) sees Shopping experiment further with the sonic additions that coloured The Official Body. Jubilantly ‘80s synths and electronic percussion add new textures to their signature minimalist dynamic, flourishes that show up on the accelerating zooms of ‘Follow Me’ and the frenetic, propulsive robotics of ‘For Your Pleasure’. “We introduced both of these sounds on the last album and just decided to be more liberal with them this time,” explains Easter. Aggs – feted for her dexterous, Highlife-inspired fret work – went so far as to down guitars for a number of tracks (‘For Your Pleasure’, ‘Follow Me’, ‘Lies’). “It’s been so fun developing quite a specific guitar style within Shopping, but I think we were all getting a little sick of it to be honest! It felt very stale to just have every song be the same formula so I’m glad we did away with the guitar for a few songs.”
🔻Bad Stream #live
🔻Konkrit – Dj-Set
🔻Elliver – Dj-Set
Bad Stream is the solo project of the Berlin-based musician and Antime label founder Martin Steer, who is currently working on his second album due to be released in early 2020. Having released his eponymous debut in April 2018 through his own imprint, his new audio-visual live set »Homo Suizidalis Vol. 1 (Metamodern Cybertime Holes)« sees him explore a very different side of his varied musical interests while staying true to the original concept of the Bad Stream project.
As already indicated by the first single »Zombies«, Steer draws on rhythmically intricate techno that incorporates elements of IDM, jungle, breakbeat and acid. Thematically however, »Homo Suizidalis Vol. 1 (Metamodern Cybertime Holes)« picks up seamlessly where the eleven songs on »Bad Stream« left off. In shortly under 70 minutes, Steer’s driving experiments with dance floor-oriented music create disorienting effects thanks to a rich tapestry of samples and effects. The chants of Kenji Kawai’s iconic »Akira« soundtrack blend with spoken word bits from Mark Fisher to Jean Baudrillard or Greta Thunberg while the beats emerging from Steer’s Tempest drum machine never cease. There’s no time for breathers here, just an overwhelming sense of urgency that mirrors the quotidian experience of having run out of time.
More than a method, the sensory overload evoked by »Homo Suizidalis Vol. 1« is essentially its very message: much like the more rock-leaning songwriting on »Bad Stream,« Steer’s furious take on post-techno music is dedicated to the reciprocal effects of cognitive capitalism, a life spent in cyberspace, and the continuous dissolution of our subjectivity. What’s depression in an age where simulations have become our first nature? How can we overcome our paranoia if the only way out seems to be the path of sheer panic? Is something like solidarity under these conditions even a possibility, if only for 70 minutes on the dancefloor, sweating away to the incessant beats while staring saucer-eyedly at the flickering images on the screen?
As an overwhelming yet coherent whole, »Homo Suizidalis Vol. 1 (Metamodern Cybertime Holes)« does not provide answers. As the first in a trilogy of audio-visual Bad Stream live concepts however, it poses exactly the right questions.
live: Lauren Ruth Ward
support: Emma Cole
doors: 7 pm show: 8 pm Urban Spree
Declared by music critics as a cross between Janis Joplin, Florence Welch and Courtney Barnett, Lauren Ruth Ward is a force of nature. Her lyrics are secrets to strangers, writing about her life’s trajectory sharing both vulnerability and strength delivered with grit and vibrato. Her band flirts with 1950-90’s rock and roll nuances, allowing Ward to release a powerhouse of raw, visceral emotion in their live show. Her critically acclaimed debut album Well, Hell introduced her too a worldwide audience, with accolades from NYLON, Noisey, Consequence of Sound, The Los Angeles Times, Indie Shuffle and more. She has played to sold out crowds in US and overseas, sharing stages with artists as diverse as Keith Urban, Shirley Manson, Eddie Vedder, Yeah Yeah Yeahs, Shakey Graves, LP and Liz Phair. Her band capped off last year with a cover of “White Rabbit” in celebration of Grace Slick’s birthday and paid the same respects for Jim Morrison’s 75th by releasing “Happy Birthday Jim”, a 7 song Doors tribute album which included music videos for all 7 tracks. Ward hit the ground running this year releasing 6 original singles and 3 music videos. This prolific catalog includes; “Valhalla”, “Hungry Barber”, “Pullstring”, “We Are Grown Ups”, “Wise Gal” and soon to be released “Super Bullshit”. “Same Soul”, a collaboration between Ward and Desi Valentine for Jack Daniels was also released. Ward is addicted to discovering herself. She joined forces with Chris Hess of SWIMM for their side project called Aging Actress, directed/produced a music video for Alicia Blue’s song “Incognito” and will be releasing a 12 track, 5 music video, body of work in the new year. She is inspired by everything and is most thankful for her guitarist / writing partner Eduardo Rivera for nurturing their creative process.
Now is the time for uncomfortable truths and Emma Cole will go where most artists play it safe.
Her voice is smooth as chocolate and bitter like coffee, having been both trained and tattered by life.
Her music is ornate psychedelic realism for a generation eager to go deeper, digging up the common connections within our human nature and delivering her intimate experiences with both ferocity and grace.
The paradox between a great time and music as medicine is ever-present at an Emma Cole show.
An electric performer, Emma will furrow your brow in angst until you release it in dance.
Her performance is loud, honest, and oh-so-groovy. Emma’s latest release, ‘Zachary’, was produced by Rollingchild and written for her late cousin, Zachary. Born less than 24 hours apart, Emma learned the hard way that bonds don’t break even in death and calls out to him:
“This song is a message of peace wrapped inside of the ambiance of life’s thrills.”
Emma Cole’s debut EP “If You Don’t Holler, No One Will Hear” (2018) is an autobiographical account of her struggles as a teenager and young woman.
There’s nothing comfortable about it, and the strength in that release is where true art is born.
That’s where Emma Cole finds her empowerment and boldly transfers it to you, the listener.
Emma’s debut includes a line of songs both energetic and slow burning, with “unimposing lyrics” allowing the listener to dive in and own the experience for themselves.
Iguana Death Cult
Special Guests: Tanning Bats
14.11.2019 | Berlin – Urban Spree
Doors: 8:00 p.m. Start: 9:00 p.m.
… presented by DIFFUS Magazine
The Rotterdam five-piece Iguana Death Cult first made a name for themselves with a twisted and hard-core garage punk including a hint of psychedelia, then the quintet grew into a band that incorporates post-punk, Krautrock, New Wave, soul and disco. Their second album “Nude Casino” will be released on October 25th on the label Innovative Leisure from LA. It shows the more top-heavy side of her songwriting and her sense for the absurd.
The frenzy of the early years can still be felt today: the band is a barely controllable force of nature. They have made their way from dark doldrums to the SXSW, and they prove that defiant dilettantism and real ability can be perfectly combined and lead to success. Opschoor used to play nimble flamenco ornaments on guitar, but would have broken his fingers on blues riffs. With Reek it was exactly the other way round: From wonderfully primitive punk rock he worked his way up to sophisticated retro soul, psychedelic rock and acid jazz à la Art Blakey. And so they meet in the middle, where Boer’s brawny bass competes against Van Opstal’s jazz-influenced licks.
Because the music scene in the Netherlands is very small and familiar, the rise of Iguana Death Cult to a legendary live act took place at an incredible pace. There is no difference for the band
between occupation and hobby, also because of that she was able to gain a big fanbase quickly. Her debut album “The First Stirring of Hideous Insect Life” was released in 2017.
In comparison, the successor “Nude Casino” sounds rather brittle and unembellished – a sceptical sound that also questions their own former hedonism. Jeroen Reek lets his neuroses run wild and oscillates between wild waking dreams and the narrow limits of reality. His lyrical abilities come to the fore on “Tuesday’s Lament”, the heart of the album: The song is a monologue in five parts, which self-confidently and in a good mood deals with such difficult topics as mortality and faith. The occasional seriousness that blends into the sound and lyrics doesn’t harm the daring of Iguana Death Cult, like the band that has grown into a quintet through Jimmy de Kok on keyboard.
from the first note on.
“Nude Casino” evokes claustrophobic and absurd moods and is dedicated to themes like sleep paralysis (“Half Frisian”) and lost innocence (“Castle in the Sky”). These songs are based on earthly fears like neuroses and conflicts. That’s why the album is permanently jerking with nervous energy, which also comes from the wilder songs dominated by heavy hooks like “Carnal Beat Machine” with its dry disco pulse. Iguana Death Cult celebrate the art of rocking the shit and turning everything on 11. They dig their claws into the music and don’t let go. And they also have fun.