We found – 20 articles for Sam Tse

Folgsamkeitfaktor Label Showcase #1

 

Wunderblock Records, in a partnership with Berlin-based ready made Distribution, would like to present its new vinyl sublabel Folgsamkeitfaktor [FSFR]. The new sublabel will be focused on heavy industrial and EBM-influenced technopunk sound.
With a first release scheduled for this spring, we plan series of the new label showcases in Berlin, Moscow and St.Petersburg.
The first Showcase is hosted by Berlin’s cult industrial and rock venue – Urban Spree.

Line up:

BLUSH_RESPONSE [Live] [Berlin DE / A+W / Sonic Groove / Ant-Zen]
Sirio Gry J [Berlin DE / Monolith Records / Liber Null]
Wunderblock [Moscow RU / Berlin DE / WR / FSFR]
t_error 404 [Live] [Moscow RU / WR / FSFR]
Red Nailmaker [Live] [Berlin DE / FSFR]

***
JOIN the event on RA: https://www.residentadvisor.net/events/1233089

 

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Der Ringer

DIFFUS Magazin & ByteFM präsentieren:

der Ringer
“Live 2019”

Support: Slimgirl Fat

09.05.2019
Berlin, Urban Spree
Einlass: 19:00 l Beginn: 20:00
VVK: 13,00€ zzgl. Gebühren
Tickets: https://www.landstreicher-konzerte.de/Tickets-DerRinger-B

‘HEART OF DARKNESS’

Das erste Fünftel des 21. Jahrhunderts ist bald vorbei, zu den bisherigen Gewinnern gehörten unter anderem: UMTS, Ethereum, totalitärer Individualismus, Fidget-Spinner und Donald Trump. Definitiv nicht unter Verdacht, zu den Gewinnern zu gehören: Die Jungs-Rock-Band als popkulturelle Formation der Stunde. Hier springen der Ringer aus Hamburg in die Bresche. Gefangen im Körper einer Band, sind sind sie doch keine Band im herkömmlichen Sinne. Der Ringer sind ein kollektives Bewusstsein, ein entindividualisierter stream-of-consciousness, eine sich morphende interstellare Kunstfigur, eine kultisch-kryptische Erscheinung, die sich nicht einfach einordnen lässt in die deutsche Indie-Landschaft: Sänger Jannik Schneider gibt den androgynen Crooner mit Undercut, die Band ist cybergoth, softpunk. Gäbe es einen dritten Blade Runner Teil, Jannik Schneider, Benito Pflüger, Jakob Hersch und David Schachtschneider wären die Idealbesetzung. Für alle Rollen. Und wenn sie schon einmal am Set sind, sollte man sie auch direkt für den Soundtrack verpflichten. Auto-Tune-Prog ist vielleicht ein (Scheiss-)Stichwort, aber alles, was es bei der Ringer zu hören gibt, ist seiner Zeit im schönsten Sinne weit voraus. Verschrobene Trap-Step-Beats treffen auf Post-Punk-Vibe, Vocalsamples auf verhallte Mandolingitarren und der Geist von Ian Curtis wabert als Hologramm durch die Raumstation, die dem Ringer als Proberaum dient.



Tutti Frutti Fest #4

– TUTTI FRUTTI FESTIVAL # 4 –

December is approaching and thus the fruity time of the year. At least in the house  pøj pøj , with its fourth edition of the Tutti Frutti Fest on 08.12. make the  Urban Spree  colorful again. Welcome to the Tutti Frutti Festival # 4.

OY  (DE / CH)
The two Swiss have been living and working in Berlin for several years, where their current album “Space Diaspora” (Crammed Discs) was created.
Avantgarde Electronica meets jazz, pop & world music – the album sees itself as a kind of “space opera”. The listener goes on a crazy journey to a planet between dream theater and future disco.
OY have already traveled to this place, discovering strange customs, interesting political processes, artistic practices, and never-heard sounds. https://www.oy-music.com

Sea Moya  (DE / CA).
Recently emigrated from Germany to Montreal, Sea Moya released their debut album in October 2018. After their EP “Baltic States” from 2016, songwriting and recording in the Italian Alps went wild with elements of funk, afrobeat, krautrock and electronic music. Now based in Montreal (CA) and after several North American tours including concerts at the SXSW in Austin and the Canadian Music Week in Toronto, she is leading her trip back to home in Europe this fall.
https://seamoya.bandcamp.com

Vague  (AT)
In June 2018 the Wiener Gruppe Vague presents their second album Land. The band plays dreamy, light-footed indie pop, sometimes the five in the arrangement to Jazz and Bossanova-Fusion.
Especially as their songs change between soft, complex soundscapes and subversive post-rock bonds.
An album that looks forward and thus expresses a self-conscious aging of the band.
https://vague1000.bandcamp.com

Modern floor coverings  (DE)
Modern floor coverings have been devised by Joshua Gottmanns and Niklas Wandt at the relevant Berlin corner counters and bulky waste collections.
The vinyl single “I never fall in love / care for myself” (Themes For Great Cities, 2018) was the first sign of life on four-track tape and musically sets the course towards synthpop, cool NDW and herb repeater. Drums heavy, dublastig and at the same time scary pop – sweeter the needs and crises were probably rarely heard.
https://www.facebook.com/neuzeitlicheb/

Bechamel  (DE)
Bechamel is a Europunk trio from Berlin, which was founded in 2017. With their new EP “Mucho” in their luggage, the band are currently touring Europe on a tireless basis.
Classic bass drum / guitar instrumentation creates a hybrid of bone-dry punk, garage rock and humorous psychedelics. https://bechamelband.bandcamp.com

CV Vision  (DE)
Odd Couple s Wüterich plays under his pseudonym CV Vision early electronic kraut-music (live)
https://www.facebook.com/cvvision.music/



Milk Me Presents: Crack Cloud

 

Crack Cloud is a multimedia collective, comprising members from different cities, ethnicities and origins, who contribute to the sound, visual aesthetic and beyond – but their latest release, Anchoring Point, is helmed by seven key members. Taking its sonic influence from the likes of Gang Of Four, Fela Kuti and Talking Heads, its visuals from hip hop and the found footage aesthetic of the ‘90s, and its political ethos from thinkers like Malcolm X and Lydia Lunch, Anchoring Point is a barbed, lurching thing, a cacophony of punchy fragments, funk-laced bass riffs and experimental soundscapes. “We wanted to be expressive in a way that could be erratic but cohesive at the same time,” explains Choy. “Emotionally, it zig-zags. We wanted it to take a life of its own; a life in flux.”

There’s a political undertone to much of Anchoring Point – its lyrics, its sound, even the EP’s artwork, which declares itself to be “how they refer to the latest vendible thing from Crack Cloud. For fun and profit!” But if there’s an agenda to their music, says Choy, “the agenda is humanity and compassion. We invite people to meditate openly about their privilege. Their vice. Their pride and their vulnerability.” Both he and partner Mohammad Ali Sharar are immigrants who struggled with addiction – Choy’s triggered by the death of his father, Mohammad Ali from the cultural turbulence that came from the racism he experienced from outside his community, and the rejection from within it when he started to question Islam. They’ve redefined themselves in sobriety and work together in the mental health industry, facilitating safe spaces based on the harm reduction model for vulnerable and marginalized people in Downtown Vancouver. Crack Cloud is informed by these experiences, past and present.

These experiences inform the work in ways Choy and the collective don’t always attempt to tame or control. ‘Empty Cell’, for example, is a “stream-of-consciousness piece,” made up of different voices from different angles. It follows EP opener ‘Graph Of Desire’, a punky duet of sorts, with shades of early Bowie, that comes in at just a minute and a half long, and precedes ‘Image Craft’, which has a melody like a ticking clock and a video that evokes Lynch’s Eraserhead. “Each song on Anchoring Point,” says Choy, “is one piece of the pie.”

And what does the pie as a whole look like? Choy’s not sure exactly. “It creates a messy picture. We hope people can resonate with its messiness. Thoughts and feelings are ephemeral and there is always a new insight to have and a new connection to be sought after, and it’s a celebration of that. Old and new. And the Anchoring Point in-between.”

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Julie’s Haircut + Mamuthones

Urban Spree & el borracho berlin gigs Present:
06.03.2018
Rocket Recordings Label Mates with:
Julie’s Haircut + Mamuthones


Einlass: 19:00 I Beginn: 20:00
10,00€

>> JULIE´S HAIRCUT (IT – Rocket Recordings)
Active since the late nineties, Julie’s Haircut is a band devoted to spacey, hypnotic sounds. The band’s music has evolved in time from the garage-rock soulful energy of their debut towards more experimental grounds, focusing on improv and sound research, without losing touch with the groove and melody that characterized their music since day one. They have been making music with Damo Suzuki, Sonic Boom, Philip Corner, Valerio Cosi and more. Their new album “Invocation And Ritual Dance Of My Demon Twin” is released 17 february 2017 by Rocket Recordings.

>> MAMUTHONES (IT – Rocket Recordings)
Mamuthones may have started as solo project of Alessio Gastaldello, founder and ex drummer of Jennifer Gentle (Italy’s psych pop mavericks signed to Sub Pop Records) but soon turned into something like a real band.

After leaving Jennifer Gentle in 2007, Alessio switched from drums to air-organ and voice to create his own kind of deep psychedelia. A ritual, esoteric atmosphere soaked his first two albums – The First Born (a collaborative effort with Fabio Orsi) and Sator, his proper first solo LP. To support these releases, Alessio was joined on stage by Marco Fasolo (Jennifer Gentle’s mastermind) on guitar and seasoned drummer Maurizio Boldrin – an almost 70-year old musician who has played since the early Sixties in countless beat and prog groups including Pino Donaggio’s band (the same Pino Donaggio who wrote You don’t have to say you love me and soundtracked multiple Brian De Palma, Nicholas Roeg and Joe Dante movies).

After a handful of shows, the trio released in 2011 a self-titled album for Italian label Boring Machines. The band were heralded as prime movers of the so-called Italian Occult Psychedelia scene and the album itself got rave reviews on most music magazines and websites, even getting a 4-star review in The Times. Around the same time, Mamuthones opened the Italian tour of Hallogallo (the project comprising Neu! leader Michael Rother and Sonic Youth drummer Steve Shelley) and played their first London shows.

When Marco Fasolo went back to his Jennifer Gentle duties, Alessio recruited Matteo Polato (guitar) and Francesco Lovison (synth), both previously with Italian band Slumberwood. Alessio started immediately working on new material and the results were released in early 2015 as a 4-track side of a split album for the Collisions series by British label Rocket Recordings (Goat, Gnod, Josefin Ohrn, Julie’s Haircut, Teeth of the Sea, etc). The EP signaled a dramatic change in their sound, now a concoction of the dark alchemy of early Can, the sci-fi swagger of Chrome and the magpie spirit of Eno and Byrne’s My Life In The Bush Of Ghosts.
Soon after the release, Maurizio Boldrin split amicably and was replaced by Andrea Davì, a young drummer with a keen interest in jazz and Afrobeat. In September 2015 Mamuthones guested at the Liverpool Psychedelic Festival, while Rocket Recordings was releasing a new 12” limited edition titled Symphony For The Devil, featuring a kosmische-disco inflected cover of the Rolling Stones classic and an unreleased song.
With the new line-up alive and kicking, Mamuthones started working on a new album that will be released again by Rocket Recordings on February 23 2018 under the title Fear On The Corner.



Michael Schmidt’s “Waffenruhe” reprinted

30 years after its original and only release in 1987, Michael Schmidt’s legendary and long out-of-print photobook “Waffenruhe (“Ceasefire“) – considered as the best photobook about Berlin at the time of the Wall – is now being republished by Walther Koenig and Stiftung für Fotografie und Medienkunst.

The photographic series was originally exhibited in Berlin in 1987 at the Berlinische Galerie in GropiusBau. In Waffenruhe, Schmidt shows West Berlin shortly before the fall of the Wall by combining portraits of youths with images of anonymous sites bordering the Wall and the Wall itself. As is characteristic of his work, it is the arrangement of the individual photographs and the use of high contrasts — the interplay and dialogue between the multi-layered images — that gives the images their distinct meaning, revealing the correlation between historical events and individual biographies.

Schmidt evokes a world of ruptures and absences that eschews a confident, comprehensive point of view. The images work with Schleef’s text to create a brusque, entirely individual perspective on the fragility of human existence.

This artist’s book – often included on lists of the most influential photographic books of all time – is once again being made available. Two versions are available, german or english.

In addition to the book release, the Volksbühne theater in Berlin is projecting Waffenruhe’s photographs and text on its façade. Curated by Thomas Weski, the projection will be on display every night (from darkness to midnight) until 13.03.2008.

About the Photographer: 

Michael Schmidt was born in 1945 in Berlin, where he died in 2014. His works can be found in national and international collections and have been presented in numerous solo and group exhibitions.

In 1976, Michael Schmidt founded the Werkstatt für Fotografie at VHS Berlin-Kreuzberg, which became a major forum for international discussions on photography in (West) Berlin. In 1987 he exhibited Waffenruhe at Berlinische Galerie. In 1988 the Museum of Modern Art, New York presented the work in the exhibition „New Photography 4″. In 1996 Ein-heit was shown for the first time at MoMA, New York under its English title U-ni-ty. This was the first solo-exhibition of a German photographer at MoMA since decades. In the same year, Ein-heit was presented for the first time in Germany at Sprengel Museum Hanover. In 1995, a first survey exhibition of his work was on view at Museum Folkwang Essen. In 2010 Michael Schmidt presented his comprehensive survey exhibition “Grey as Colour. Photographs since 2009” at Haus der Kunst, Munich. Lebensmittel (Food) was presented in solo exhibitions at Museum Morsbroich, Leverkusen (2012), Galerie im Taxispalais, Innsbruck (2013) and at Martin-Gropius-Bau, Berlin (2013).

Michael Schmidt participated in the 55th Venice Biennial in 2013, and the Berlin Biennial in 2006 and 2010. In 2014 the artist was awarded with the Prix Pictet for his series “Lebensmittel”.

The Foundation for Photography and Media Art with the Michael Schmidt Archive was founded in 1999, and since the artist’s death is organising and preserving the artist’s archive (www.archivmichaelschmidt.de). Thomas Weski, curator of the Michael Schmidt Foundation, is currently working on a retrospective of the artist’s work at Nationalgalerie Berlin in 2020.