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Paradox – und seine Berlin Kidz Crew | TRACKS

Franco-german TV channel arte runs a short documentary about Paradox from Berlin Kidz with large excerpts from the DVD “Fuck the System” as well as new footage from recent actions, an interview about the pixaçao style, the motivations behind all the risk-taking, and future art projects.

The limited edition screen print “Change Your Frequency” is available in our webshop here as well as the last copies of the DVD “Fuck the System”.

 

 



Martha Cooper’s interview on Tracks

arte/Tracks was at the Opening of Martha Cooper’s exhibition “One Week with 1UP” at Urban Spree Galerie, documenting the Berlin 1UP Crew. They have now released a 6′ portrait of Martha Cooper with images from the show as well as some historical perspective and of course an interview about her Berlin experience.

It is available in French hereabove and in German as well (https://www.youtube.com/watch?v=TQFXFGLG6b4).



Christopher Stead: Acid Reign

Urban Spree Galerie presents “Acid Reign“, the first solo show in Germany of the British visual artist Christopher Stead.

Acid Reign is the culmination of a long-term residency at Lab Kalkhost in North Germany. Christopher Stead produced on the shores of the Baltic Sea several large format works, using a process mixing graffiti techniques and natural elements.

Cans of paint are burst with nails, sand and mud is flung. An alchemy between the paint and the land turns into a painterly concrete, cementing ideas, solidifying a tangible truth. The paintings are stuffed into rucksacks and returned to the studio where Ikea bags full of previous endeavours lie dormant ready to rework. A fecund process is born.

The fences used in the supports of the pieces are taken from decaying plots on the train lines.

Rusty fences, transgressed and twisted by nature are transported to the studio. The erosion of the metal emasculates the sterile man-made purity of the material. This gives each painting a story and a history. Every fence painting starts at night on the train tracks with a pair of bolt cutters and finds its way into the light of the studio and finally into the gaze of the public domain.

Artist Statement:

“Once upon a time, on a small island called Great Britain, there lived a lady called Margaret Thatcher. Margaret along with her Tory Party ruled the land with an iron fist and squeezed the living life out of its people. Fed up of a decade of draconian rule, the people began to gather and dance their woes away at their own party. They called this the Acid House party.

Race and class barriers were dissolved as the people united and raved as one big family. The Tory party didn’t like this as they weren’t invited, so they invented a law to stop the gathering of 20 or more people, dancing to the sounds of repetitive beats. Techno, Jungle, call it what you want. It had to stop. Whilst this may sound like a children’s horror story, it was in fact or certainly a young adults nightmare. 30 years on, the nightmare continues. Britain is again been torn apart by the right.

The paintings in Acid Reign were made on the beaches of former East Germany. 30 years ago these beaches were patrolled by the military to stop East Germans defecting to the west. Cans of paint were popped and squeezed upon the sand soaked canvas to create the acid rain.

The works seeks new places to hang. Inspired by Foucault’s concept of heterotopia, it finds solace in spaces of otherness. Informed by a youth growing up free, painting graffiti on the trains. Painting in the dark. Surrounded by fences, along the train tracks, in and on derelict buildings. Buildings which housed these parties. Places of abandon and neglect. Again, the work finds itself back in its familiar territory.

Acid Reign is emblematic of the freedom of movement in open spaces without borders. A freedom which is slowly being choked out of the people once again.”  Christopher Stead

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Christopher Stead (b. 1974, UK) lives and works in London.

Tangled, torn, popped, squeezed and then hung in spaces of other, the work exists to evade the paradigms of commercial obedience, white cube boredom, and the polarities regimented by cultural hegemony.

Informed by Thatchers dystopian Britain and her Acid House love child, the work explores free movement in spaces without borders. 

In 2016 Stead graduated with a First Class BA Hons in Fine Art at the City and Guilds of London Art School, London, where he received the Painter – Stainers Scholarship Prize and Brian Till Art History Thesis Award. 

https://www.christopherstead.co.uk/


 

Christopher Stead

“Acid Reign”

Solo Show at Urban Spree Galerie

Vernissage: Thursday, May 23rd, from 19:00

Exhibition: 24.05.2019-09.06.2019

Opening Hours: Tu-Su 12:00-19:00

 

Urban Spree Galerie

Revaler Str. 99

10245 Berlin

Infos & Catalogue: pascal@urbanspree.com

 

 



Big ‡ Brave • My Disco • Nonn

 

obnoxious ouroboros presents

⊙ BIG ‡ BRAVE ⊙
Southern Lord Records
In existence since 2012 with members Robin Wattie, Mathieu Ball and Louis-Alexandre Beauregard spread across two guitars and drums respectively, BIG|BRAVE sound many magnitudes bigger than one would suspect a trio is capable of. Anticipation gracefully helps to build up every salvo launched by the band, assaulting the eardrum with incredible precision. Their compositions increasingly more refined, juxtaposing sparse minimalism with thunderous feedback, BIG|BRAVE strives to continue pushing the limits of what heavy experimental rock can sound like while maintaining a strong interest in reaching bliss.
Somewhere between the margins of a minimal rock band, experimental outfit and drone aficionados, BIG|BRAVE strives to never belong to anyone given classification. Utilising standard “band” tools such vocals, electric guitars, drums, feedback and amplifiers, B|B explores the possibilities of what a band can sound like while constantly resisting and deconstructing the archetypal characterisations of song structure and form.
Building spectacular, inverted rock constructions that sound many magnitudes bigger than one would suspect a trio was capable of, Montreal’s BIG|BRAVE has been in existence since 2012, with members spread across two guitars and drums respectively. Unhurried and untouchable, BIG|BRAVEpossess that same valued independent spirit which pervades their local contemporaries, and is at the root of their intense and exploratory musical offerings. Their sound lulls and lurches between passages of rhythmic noise pollution and vocal led awe, using considered juxtapositions of force and restraint to warp the senses. Remarkably quiet at times, their ambiance is not one of minimalism, but of dawning, foreboding power with the need to be vented, and when the hot flushes of blighted percussion and monochromatic guitar scrapes arrive, they arrive with triumphant force.
https://bigbrave.bandcamp.com
https://www.facebook.com/bigbravemusic/?ref=br_rs
http://www.bigbrave.ca/
https://www.instagram.com/big_brave_/
https://www.southernlord.com/bands/view/big-brave

⊙ MY DISCO ⊙
Temporary Residence / Downwards Records
MY DISCO is an Australian music group that was formed between long term 2018 collaborators, Rohan Rebeiro, Benjamin Andrews, and Liam Andrews in 2003.
In 2003, MY DISCO performed their first shows in unconventional all-ages venues in Melbourne.
Late 2003 saw the release of their debut 7″ and marked their first Australian tour. The band soon became renowned for their arduous tour ethic, demonstrated in extensive tours to often far to reach destinations that included remote areas of Australia, Southeast Asia and Mexico.
The release of their debut album ‘Cancer’ in late 2006 marked a new level of emphasis on minimalism. More international and national tours were undertaken, including additional tours to the United States, New Zealand and the United Kingdom.
Their second album ‘Paradise’ was recorded in Chicago, Illinois in 2007 with Steve Albini at his studio Electrical Audio. The album is noted as the band’s most refined and minimalist release, capturing their stentorian live sound, with several songs consisting of one note, repetitive single-sentence vocals and long- sustained guitar chords. Drum patterns, although minimal, still offer dance-like, disjointed beats.
2010 saw the release of a new single called “Young”, a limited edition 12″ released through Mistletone Records and re-issue through Blast First Petite, as a lead up to their third and forthcoming album.
2010 Saw the release of the band’s third and most diverse album, ‘Little Joy.’ Their first signing to NYC acclaimed label, Temporary Residence Limited.
2012 MY DISCO released another limited 12″, this time World Wide through Temporary Residence Ltd, entitled “Wrapped Coast.” The record features two extensive racks, with remixes by London’s Factory Floor, and Birmingham based noise-maker Justin Broadrick.
On International Record Store Day in 2013, the band put out a single on one of the World’s most acclaimed independent labels, Sub Pop records. It featured as the label’s 1000th release.
2014/15 saw the band put the finishing touches on their fourth studio album, entitled “Severe” and once again working with Producer and friend Cornel Wilzcek at Electric Dreams Studios in South Melbourne.
https://mydisco.bandcamp.com
https://www.facebook.com/MYDISCOMYDISCO/
https://soundcloud.com/MYDISCO
https://www.temporaryresidence.com/collections/my-disco

⊙ NONN ⊙
Fuzz Club Records
The debut from NONN was a stark collection of minimalistic post-punk that marked him as one of the most exciting outputs in the dark Scandinavian scene. After touring the record across Europe and recruiting a full band, the project is back with its second album, XVII, due for release December 7th on Fuzz Club.
Now more of a collaborative effort, with Hannes Nyling and Christian’s brother Alexander joining the fold, the new record deals in a fuller more refined sound and packs a far heftier punch. Where the self-titled debut was a restrained, minimalist affair, XVII opts for slabs of industrial electronics and hard-hitting percussion. The gloomy 80s sensibilities are still there – see the occasional Cure-esque guitars and morose gothic vocals – but on XVII, NONN turn their eyes more towards the electronic affliction of EBM and synth-punk than the polished, more-digestible post-punk that came reverberating out of the decade.
This shift in the band’s sound all boils down to having to reinvent the songs when taking them on the road following the release of their debut, which saw them tour the UK and mainland Europe and play at a number of festivals; from Liverpool Psych Fest and Fuzz Club Eindhoven to, more recently, Endless Daze in South Africa. “Since the last record we’ve been doing a lot of shows which gave us a lot of inspiration. We reworked the old songs to sound a bit fuller and more fun to play live. Having to reinvent all the sounds and instruments from the first album really inspired the direction on XVII,” Christian remarks.
It’s clear that taking the project on the road with a full-band has had a notable effect. Tracks like ‘Clear’, ‘Home’ and ‘Beyond’ see NONN shift their bleak, darkwave-inflected post-punk into something far richer. It’s still got that minimalistic feel and the ear-worm melodies are still there, but it’s more sinister and fleshed out. Though, what truly sets this album apart from the debut is where the band have delved deeper into their electronic side. The industrial stomp of album-opener ‘Pray’ declares the LP’s merciless intent without a guitar in sight; it’s a destructive cut of throbbing synths and desolate drum machine, underpinned by Christian’s monotonous vocals. Partner that with the sparse, haunting electronics of ‘Believe’ and the mechanical synth-punk of ‘Hide’ and it’s clear that NONN are at their best when truly embracing their deeply-cherished Moog Sub Phatty, using it to exorcise the many demons lurking beneath the noise.
https://fuzzclub.bandcamp.com/album/xvii
https://soundcloud.com/nonnband
https://www.facebook.com/nonnband

presale (in 3 simple steps):
1. send 15€ per person to obnoxiousouroboros@googlemail.com via paypal (AS FRIENDS!)
2. include the date of the show and the full name of each ticket purchaser as written on the ID and print the paypal transaction
3. you can then enter the show by just showing the printed paypal transaction and your ID at the door
18€ at the door

presale ends thursday may 16th 6pm.
limited to 250 spots!
18€ at the door

spread the gospel, invite your grannies & join the madness

⊙ smash racism, sexism, genderism, homophobia, nationalism, fascism, drugism, religionism, lookism, borders (on the maps & in the minds), genres, scenes, image, trend, hype & any other brainwashit ⊙

 

FB EVENT



Jakuzi

Jakuzi
support: ‘A Tribute to February Montaine’
08.05.2019 Berlin – Urban Spree
Einlass: 20:00 Uhr, Beginn: 21:00 Uhr
Tickets: https://bit.ly/2FT6zBS

Istanbul synthpop vanguards Jakuzi turned heads in 2017 with the release of their unique and exciting debut album ‘Fantezi Müzik’ which showcased modern Turkish underground music to the world. Two years later their new album, “Hata Payı” (meaning literally ‘’a part of the mistake”), brings a more refined and darker sound to their arsenal, exploring the depths of relationships and the human condition.

When Jakuzi released their debut ‘’Fantezi Müzik“ as a cassette in 2016, no one expected that this would leave its circle in Istanbul. But the record was rereleased with new tracks in early 2017 via City Slang records and immediately became a favorite amongst critics and music fans alike. The band embraced a manifold of musical elements, layering pop fragments with slabs of Low-Fi, New Wave and Post Punk. They effortlessly created one of the most unique sounding albums of the year and gained attraction internationally.

The album is less heterogeneous than the debut but yet, the unique sounds stay intact. The first single “Süphe” (translates to “Doubt”) is the saddest track you can cry dance to since A Flock Of Seagulls “Wishing“. Then there’s “Yangın” (“Fire”) which writes synthpop history with its mad genius half-time / crescendo, or “Gördüğüm Rüya“ (“The Dream I See”) that starts with a very familiar guitar riff just to morph into an epic dreamwave anthem. “Toz” (“Dust”) recalls the lively experiments of a young Martin Gore, and it doesn’t’ stop there. “Hata Payı” is full of ideas and energy, the songs take well nuanced twists and turns and prove that even in the darkest hours, Jakuzi never shy away from glorious pop moments.



Double Release Concert: Tellavision “Add Land” + Alex St Joan “Kick & Rise”

TELLAVISION
“Add Land” Record Release show
12. April 2019 Bureau B

http://tellavisionmusic.com/
https://www.thelineofbestfit.com/new-music/discovery/tellavision-salty-man
https://nbhap.com/dailytune/tellavision-projector-running

ALEX ST JOAN
“Kick & Rise” EP Release show
3. Mai 2019 Zellephan Records

www.alexstjoan.com

Dj ALBERTINE SARGES
Itaca

For a decade TELLAVISION has been one of our most exciting sonic inventors, carving out her own inimitable style through her previous three albums, two EPs and countless tracks. New music abstractions echo against a backdrop of old Krautrock mechanical-motorik rhythms, allied to the physically gripping immediacy of techno and noise. Her concerts have consistently been nothing less than spectacular: she has sung and sampled beats from every imaginable and unimaginable variety of live percussion instruments; a loop station virtuoso, an engineer of a technically crafted musical “i” in which the innate and the alien mirror one another ad infinitum.
Tellavision has never sounded so immediate, so confident, so very much in the moment. This is her finest album to date:
“Drop utopia, / drop dystopia, / it’s all here”.

ALEX ST JOAN was born next to a flooded valley in Australia and raised on Greek myths and disco. Her debut EP “Kick & Rise” (Zellephan) features 4 distinctive songs that discard the posturing of youth and lay down what it is to be an adult; vulnerable and fully accountable. Whether using fractured synth-saxophones to hammer out a paean to self-determination or building a song around a heartbeat, ALEX ST JOAN is not taking the easy way out. “All of the things that you see as your failings are made up” is a contender for one of the most emotionally sharp lines of the year, yet it’s delivered with such hopeful romanticism one might be forgiven for not noticing the thorns amongst the flowers. These are adult dilemmas; not boy meets girl but woman meets morality, agency, self-actualisation. In merely 4 songs, ALEX ST JOAN builds a framework for us to face our fears, ask the tough questions and then let them go.

Presale

Koka
https://tinyurl.com/y4r5zfjp
Ticketbude
https://tinyurl.com/yxvzxjpk

präsentiert von
DIGITAL IN BERLIN und jungle.world

BERLINTOUCH no2
gefördert durch die Musicboard Berlin GmbH.
inklusives, barrierefreies Konzert

Gefördert durch die gigmit Initiative “Live Music Accelerator Berlin” (LMAB) mit Unterstützung durch Ticketmaster.