We found – 7 articles for The Art Union

Acid Mothers Temple • Sunn Trio • Stereocilia • Sturle Dagsland


Acid Mothers Temple & the Melting Paraiso Underground Freak Out (and subsequent offshoots) is a Japanese psychedelic space rock band, the core of which formed in 1995. The band is led by guitarist Kawabata Makoto and early in their career featured many musicians, but by 2004 the line-up had coalesced with only a few core members and frequent guest musicians.
The band has released albums frequently on a number of international record labels as well as the Acid Mothers Temple family record label, which was established in 1998 to document the activities of the whole collective.
“In a non-stop stream of thrilling noise, they segue from supercharged stomp-rock, through doomy choral chanting and frazzled go-go, to a thundering melee of atonal freakouts. Then on to a pulsating, echo-drenched disco-rock groove, which morphs into a motorik rhythm too rapid even for the autobahn, works itself into a squalling frenzy, breaks cover as a kind of galloping, syncopated, Underworld-with-rabies affair, and flows into a long, chiming trance number climaxing in a collective instrumental howl.” – David Bennun

(Phoenix – Arizona)
Described as deep spirited, Arabic-music-tinged free jazz-punk and harsh exotica, Sunn Trio’s ever-evolving ensemble digests a number of genres, spitting them back out in creative destruction. Carrying on a long tradition of sun-beaten Phoenix punk, Sunn Trio evokes the sweltering and hallucinatory Arizona desert. Echoes of Sonny Sharrock, John McLaughlin, and Sir Richard Bishop can be heard in Joel Robinson’s fiery blurs of guitar. Imagine the Thinking Fellers Union Local 282 in full force, echoing from behind a curtain of bitter haze. Founded by Robinson in 2010, the ever-changing band has been constantly recording and releasing material, with a recent LP, Fayrus, on Germany’s Unrock Records.
“Wielding Indo-Arabian saz and white lightning six-string shrapnel amidst an alligator snapping turtle’s rhythm section, this trio-quartet-sextet may also sprout horns, flutes, animal skins, or shadow gamelan to faithfully demolish that whiny and predictable listening experience of today’s tepidly lazy, underachieving experimental music scene. Not a ‘safe’ environment.” – Alan Bishop of Sun City Girls
« There’s a woozy, heatstroke feel to the band’s innovative blend of surf rock, free jazz, mystical drone, and world music. Consistently recording and releasing material via self-distributed cassettes, the Trio’s sound mutates in concert, with fantastic flurries of distorted guitars butting up against mantric psychedelic saxophone runs and looping bass. » – Jason Patrick Woodbury

(Bristol – Britain)
Stereocilia is Bristol based guitarist and composer, John Scott. John uses his guitar, analog synths and live looping techniques to create dense, rich layers of sound.
Over the past 10 years John has performed all over the UK and Europe with various projects. in the past he has shared a stage with acts including: Gnod, Daniel Lanois, Ex-Easter Island Head, White Hills, Acid Mothers Temple, Ben Frost, Josef Van Wissem, Yuri Landman, Mick Turner (The Dirty Three), Machinefabriek, ThisQuietArmy, Noveller, and performed in three of Rhys Chatham’s guitar Orchestras. He has also presented work for live radio broadcasts, and regularly composes for Short Film.
Spring of 2019 saw the release of Stereocilia’s 4th album, and second for Brighton label, Drone Rock Records.

(Stavanger – Norway)
Sturle Dagsland is a Norwegian artist and musical outfit from Stavanger, Norway, consisting of the brothers Sturle Dagsland and Sjur Dagsland, that play otherwordly experimental Avantgarde Neo-Classical Indie-Folk beyond any description.
They have toured extensively all across the world at festival’s such as Secret Solstice, Sled Island, Fiestas del Pilar, Tallinn Music Week, Fusion Festival, South by Southwest, Canadian Music Week, Oslo Jazzfestival, and more. In 2015, they made their North American debut at Sled Island in Canada.

presale (in 3 simple steps):
1. send 17€ 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 and print the paypal transaction
3. you can then enter the show by just showing the printed paypal transaction at the door

presale ends friday october 18th 18:00
limited to 250 spots!
20€ at the door

spread the gospel, invite your grannies, join the madness & turn off your mind!

⊙ 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 ⊙


GUO – Daniel Blumberg and Seymour Wright –


GUO is a multidisciplinary duo formed of Daniel Blumberg and Seymour Wright. Their third album ‘GUO4’ will be released in September on Mute Records.

GUO are due to perform on the occasion of the closing night of the super successful HYPER! A JOURNEY INTO ART AND MUSIC exhibition at Deichtorhallen Hamburg on August 4, 2019.

One day later, on August 5, 2019, GUO will give their FIRST EVER concert in Berlin at Urban Spree as part of situation 56, that will be embedded in a rare DJ set by Max Dax (Very Unimportant People Lounge / VUP Lounge).

Don’t you dare miss the hottest concert in town.

“Was passieren kann, wenn die Herangehensweise des Freejazz auf die Zugänglichkeit von Pop und eine an der bildenden Kunst geschulte Praxis treffen, dafür ist „Minus“ ein Fanal, eine regelrechte Markierung des Jahres 2018.“ – Spex

« Caustic, scratchy fire music » – The Wire

« Glorious slabs of noise“ — Victor Schonfield


Daniel Blumberg is an artist and musician from London. He is currently exhibiting at the Deichtorhallen in Hamburg and recently exhibited his debut solo show at Union Gallery in London. Blumberg’s acclaimed album on Mute, ‘Minus’, was released last year.

Seymour Wright is a musician and writer, currently working in London. Wright’s work is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique. Recent collaborations have included projects with footwork founder RPBoo and drummer Paul Abbott (as the XT duo)



Spanish Bombs Festival IX

**Spanish Bombs Festival IX

Freitag, 09.11.2018 (20.00 Uhr), Urban Spree (Revaler Straße 99/Ecke Warschauer Straße. 10245 Berlin). Vorverkauf: 15 €. Abendkasse: 20 €.
Papaya (www.jabalinamusica.com/papaya) (Tropical New Wave)
Alondra Bentley (www.alondrabentley.com) (Synth Pop Singer-Songwriter)
Anntona (www.anntona.bandcamp.com) (Weird Pop)
Nine Stories (www.ninestoriesband.com) (Emotional Pop)
MOBE (www.mobeonline.com) (Electro Rock)
+ Señor Pozo DJ

Kartenvorverkauf im Wowsville.

Anderer Name, gleiche Energie. Das Spanish Bombs Festival (bis 2017 bekannt als die Spanish Rock Invasion) kehrt zum neunten Mal zurück mit vielen spannenden Neuheiten. Wie jeder weiß, verhält es sich mit der Energie so, dass sie weder geschaffen, noch zerstört, sondern nur transformiert werden kann. Außer der Namensänderung, wechselt das Festival in diesem Jahr auch den Ort. Da unser geliebter Bassy Club leider nicht mehr existiert, findet das Festival nun im Urban Spree (www.urbanspree.com) statt. Des Weiteren erleben wir alle Konzerte geballt an einem Abend. Am Freitag, den 9. November werden uns fünf spanische Bands durch die Bandbreite des Pop, Rock, und der elektronischen Musik “made in Spain” führen.
Das Festival wird beginnen mit Mobe, einer Band, die akustisch spielt und mit elektronischen Bässen unterlegt ist. Ihre Songs haben eine hypnotische, intensive, sinnliche und schwungvolle Energie. Danach werden uns die Lieder von Nine Stories verzaubern: reiche Melodien voller kleiner Entdeckungen, die wirken wie Dream Pop, Gitarrenrock oder Psychedelic Electro.
An dritter Stelle, werden wir die Band Anntona hören, ein Soloprojekt, gegründet vom Gitarristen Manuel Sánchez von Los Punsets, einer der ausgefallensten und beliebtesten Indie-Bands Spaniens. Los Punsets sind 2016 bereits mit großem Erfolg im Rahmen des Festivals aufgetreten und 2018 wird Anntona an ihrer Stelle zurückkehren. Sie spielen Pop mit humorvollen Texten, eine Musik, die jeden mit sich reißt und nicht davor zurückschreckt, melodische Lieder mit Bossa Nova und synthetischen Rhythmen zu vermischen.
Später am Abend kommt Alondra Bentley an die Reihe, eine Künstlerin, die englische Wurzeln mütterlicherseits und spanische väterlicherseits hat. Ihre Musik setzt sich über jegliche musikalische Gattung hinweg und reicht von Pop, über Folk bis hin zu Elektro. Mit ihren fünf Platten, die sie u. a. mit Musikern und Produzenten wie Matthew E. White und Josh Rouse ist realisierte, ist sie zu einer der bedeutendsten Musikerinnen der spanischen Indie-Musik geworden.
Zum krönenden Abschluss des Spanish Bombs Festivals, werden wir Papaya live auf der Bühne erleben, mit der Kanarierin chilenischen Ursprungs und Bandleaderin Yanara Espinoza. Sie fesselt ihr Publikum mit ihrer eleganten und sinnlichen Art. Ihre Songs sind eine Mischung aus lateinamerikanischem Pop der 80er, New Wave, Beats aus den Sixties, Dance, Cumbia, Son, Country, Rock’n’Roll und orchestralen Arrangements des Yéyé-Sounds.
Nach dem Erfolg der acht vorangegangenen Auflagen des Festivals, kehrt das Spanish Bombs Festival wieder und präsentiert eine erfrischende Zusammenstellung von Bands, die sowohl das deutsche Publikum, wie auch die zahlreichen spanischen Berliner begeistern wird. Das Festival bleibt eine Bühne für die spanische Indie-Szene, die mit viel Leichtigkeit, guter Laune und ohne Kommerz versucht, die Klischees unserer Kultur zu brechen.
Schon in den vergangenen acht Jahren, von 2010 bis 2017, brachte das Spanish Bombs Festival einige der interessantesten spanischen Indie-Bands nach Berlin: Sidonie, Christina Rosenvinge, Los Punsetes, Guadalupe Plata, Los Coronas, Triángulo de Amor Bizarro, Arizona Baby, Vinila von Bismark & The Lucky Dados, Juanita y Los Feos, Los Chicos, Sex Museum, Los Mambo Jambo, Lidia Damunt, Aries, El Último Vecino, Capsula, Pablo und Destruktion, Bala, Los Tiki Phantoms, Mujeres, Doctor Explosión, The Imperial Surfers, Dolores o Pumuky, u. v. a. m. Nicht umsonst wurde das Festival 2012 als eines der besten nationalen Veranstalter für den Preis “Premios de la Música Independiente” nominiert.

Erst vor kurzem hat die Band ihr zweites Album “Corazón abierto” (2018) veröffentlicht, mit dem sie nun ihre derzeitige Besetzung etabliert haben. Bandleaderin ist die Kanarierin chilenischer Herkunft Yanara Espinoza mit ihren drei Mitspielern: Miguel Aguas, Andrés Morillo und Sebastián Litmanovich (Bandleader der fantastischen Gruppe Cineplexx). Der Erfolg ihres Debut-Albums ließ schon damals erahnen, welches Potential in ihnen steckt. “No me quiero enamorar” (2015) erhielt den Preis der Zeitschrift “El Ojo Crítico” (verliehen durch den spanischen Radiosender RNE) und den “Pop Eye-Preis” 2016. Von 2016 bis 2017 tourte das madrilenische Quartett in ganz Spanien, auch auf den Makrofestivals FIB, BBK, WOMAD, Contempopránea, Sonorama Ribera, Santander Music Festival und Tomavistas. Schon beim ersten Hören von Songs wie “No me quiero enamorar”, dem Album “¡Ay, mujer!” (2017) oder ihrer neuen Platte “Corazón abierto” ist man hingerissen von Yanara Espinozas einzigartiger Persönlichkeit. Sie fesselt ihr Publikum mit ihrer eleganten und sinnlichen Art. Ihre Songs sind eine Mischung aus lateinamerikanischem Pop der 80er, New Wave, Beats aus den Sixties, Dance, Cumbia, Son, Country, Rock’n’Roll und orchestralen Arrangements des Yéyé-Sounds. Zum Spanish Bombs Festival wird Papaya in diesem Jahr erstmals in Deutschland auftreten. Das sollte man sich nicht entgehen lassen!

Alondra Bentley
“I was born with the gift of a golden voice”, sang Leonard Cohen in “Tower Of Song”. Er bezog sich auf ironische Art und Weise auf sich selbst, doch hätte er genau so gut von Alondra Bentley sprechen können, wäre diese zu jenem Zeitpunkt nicht noch ein Kind gewesen. Aber man kann es nicht abstreiten, dass Alondra mit dieser Gabe geboren wurde, denn sie hat in der Tat eine göttliche Stimme. Davon kann man sich nicht nur auf den fünf Alben, die sie bisher veröffentlicht hat überzeugen, sondern auch auf jedem einzelnen ihrer Konzerte und vor allem auf ihrem neuesten Album “Solar System” (2018), das ein neues Kapitel in ihrer Karriere eröffnet. Als Tochter einer englischen Mutter und eines spanischen Vaters, wurde sie Anfang der 80er in Lancaster (Großbritannien) geboren. Ihre Musik setzt sich über jegliche musikalische Gattungen hinweg und reicht von Pop, über Folk bis hin zu Elektro. Mit ihrem Debut “Ashfield Avenue” (2009) wurde sie zu einer Entdeckung der spanischen Indie-Musikszene und ging damit auf Welttournee, die sie von Spanien, England und Frankreich, über Mexiko und den USA, bis nach China verschlug. Drei Jahre später folgten weitere Alben. Zunächst “Alondra Bentley Sings For Children” (2012), eine Liedersammlung für Kinder von 0 bis 100 Jahren, wie sie es gern beschreibt. Ihre nächste Platte “The Garden Room” (2012), produziert von Josh Rouse, ist ein organisches, vielseitiges Werk mit sanften Klängen. Das vierte Album entstand in Zusammenarbeit mit Matthew E. White, in dem sie mit neuen Sounds experimentierten. Aufgenommen wurde es in den Spacebomb-Studios in Richmont (Virginia), zusammen mit ihrer Stammbesetzung (die in der Regel mit Natalie Press und Ryan Adams zusammenarbeiten). Was dabei herausgekommen ist, hört man auf der Platte “Resolutions” (2016), mit der sie etwas wirklich Neues entwickelt hat, indem sie impressionistische Streicher-Arrangements mit Synthesizern und Vocal-Loops zusammen bringt. Doch ihr jüngstes Album “Solar System” stellt alles auf den Kopf, was Alondra in ihrer bisherigen Karriere geschaffen hat. Nun schreibt sie Lieder, die eher in die Richtung Elektronische Musik gehen, zunehmend euphorischer sind, fast schon experimentell und dennoch durchaus tanzbar. Diese Melodien gehen ins Ohr und sind geschmückt mit Synthesizern und Shoegazing-Gitarren. Ihr erster Auftritt in Deutschland verspricht, in Erinnerung zu bleiben.

Manuel Sánchez ist der Gitarrist von Los Punsets, eine der originellsten und angesehensten Bands der spanischen Indie-Szene, die bei ihrem Auftritt auf dem Festival 2016 schon einmal das Berliner Publikum begeistern konnten. Mittlerweile hat Manuel mit seinem Soloprojekt Anntona zwei Platten und eine Auswahl an Demoaufnahmen herausgebracht, wie “Anntona es buena persona” (2007), “En la cama con Anntona” (2009) und “Grandes males, remedios regulares” (2011), für die er sowohl außergewöhnlich gute Kritik, als auch furchtbar schlechte bekommen hat. Nachdem er einige Jahre kaum etwas von sich hören lassen hat, brachte er 2017 sein viertes Album “Internacional” heraus, das er erstmals in Zusammenarbeit mit einem Produzenten (Sebastian Litmanovich, von Cineplexx und Papaya) aufnahm, was das Projekt einen enormen Schritt vorangebracht hat. Auf dieser Platte füttert er seine wilde Popmusik mit Bossa Nova (“Mi pequeño pene y yo”) und synthetischen Rhythmen (“Mi patria en mis gayumbos”). Doch das beste an allem sind seine super lustigen Texte, die sich einem Humor bedienen, der irgendwo zwischen Dreistigkeit und Surrealismus liegt (“Ich habe mehr Jahre auf dem Buckel als ich verdiene und wenig Lust, den Rest noch abzusitzen”, sagt er in “A ver qué pasa”; “Ich bereue es, auf den Rasen deines Herzens gepisst zu haben”, singt er bei “Plástico”). In seinem Album “Internacional” spricht er von vielen Dingen, doch im Grunde weitestgehend von sich selbst. Ob ein Mangel an Selbstwertschätzung der Weg ist, seinem inneren Frieden zu finden? Lasst es uns herausfinden, bei seinem nächsten Besuch in Berlin.

Nine Stories
Erfolg kommt nicht von ungefähr. Eine lange Karriere erarbeitet man sich in kleinen, konsequenten Schritten, zielgerichtet und ohne das Zulassen nostalgischer Gedanken. Die Karriere von Nine Stories, mit dem Madrilenen Nacho Ruiz als Bandleader, erfüllt genau diese Parameter. Jede einzelne ihrer Platten war ein Sprung nach vorn, was sich vor allem bei “Cinéma Vérite” (2017) bemerkbar macht, dem dritten Album der Band. Schon “Nine Stories” (2010) und “Trafalgar” (2013) wurden vom Publikum begeistert aufgenommen und von Kritikern hoch gelobt. Würde man die ersten beiden Platten als die zwei ersten Kapitel einer Erzählung beschreiben, wäre “Cinéma Vérité” definitiv der Kerngedanke der Geschichte. Dieses Album bietet eine breite Palette neuer Klänge. Streicher- und Bläser-Arrangements unterlegen sie mit Trommel-Synthesizern und Samples ihrer eigenen bekannten Melodien. Ihre Musik sehr facettenreich und steckt voller unerwarteter Überraschungen, in dem unterschiedliche Stile, wie Dream Pop, Gitarrenrock und Psychedelic Electro miteinander vereint werden. Nachdem sie 2017 mit über 20 Konzerten auf Tour in China waren, verschlägt es sie in diesem Jahr nach Deutschland. Ihr einziges Konzert in Berlin werden sie im Rahmen des Spanish Bombs Festivals geben.

Mobe wurde 2003 in Madrid gegründet, nachdem sich José Luis (Bass, elektronische Sounds und Gesang) und Nacho (Schlagzeug) zusammengeschlossen haben, um sich von Bands wie Usura und Venas Plutón unabhängig zu machen und ein neues Projekt zu starten. Sie spielen analog und verstärken ihren Band-Sound mit digitalen Bässen. Dadurch haben ihre Songs eine hypnotische, intensive und sinnliche Wirkung und einen treibenden Drive. Im Jahr 2009 schlossen sich ehemalige Mitglieder von Venas Plutón, Orlando und Germain Union der Band an und sie spielten auf den gleichen Bühnen wie Standstill, Aviador Deo, Ginfero, Humbert Humbert und Peluze. Außerdem gewannen sie 2005 den Wettbewerb Fortuna Sounds und zählten zu den Finalisten zahlreicher anderer Wettbewerbe, wie Proyecto Demo, Festival Contempopránea, Villa de Bilbao, Emergenza und Contraindicaciones.


**Spanish Bombs Festival IX

Viernes, 09.11.2018 (20.00 h.), Urban Spree (Revaler Straße 99, esquina Warschauer Straße. 10245 Berlín). Entrada anticipada: 15 €. En taquilla: 20 €.
Papaya (www.jabalinamusica.com/papaya) (Tropical New Wave)
Alondra Bentley (www.alondrabentley.com) (Synth Pop Singer-Songwriter)
Anntona (www.anntona.bandcamp.com) (Weird Pop)
Nine Stories (www.ninestoriesband.com) (Emotional Pop)
MOBE (www.mobeonline.com) (Electro Rock)
+ Señor Pozo DJ

Entradas anticipadas en Wowsville.

Diferente nombre, mismo espíritu. Spanish Bombs Festival (hasta 2017 conocido como Spanish Rock Invasion) llega a su novena edición cargado de novedades. Ya se sabe, la energía no se crea ni se destruye, sólo se transforma. Además del cambio de nombre, este año el festival varía su ubicación, pasando del desaparecido y añorado Bassy Club a la sala Urban Spree (www.urbanspree.com). Además, en esta edición todos los conciertos de los cinco grupos venidos desde España se concentran en una única jornada, el viernes 9 de noviembre, para mostrar en una sola noche toda la variedad del pop, el rock y la electrónica “made in Spain”.
El festival arrancará con Mobe, un grupo de estructura acústica soportada por bases electrónicas que consigue crear canciones llenas de hipnotismo, intensidad, sensualidad, energía y swing. A continuación llegarán las canciones de Nine Stories: melodías plagadas de detalles y pequeños hallazgos, en las que caben pop onírico, rock de guitarras o electrónica psicodélica.
El tercero en salir al escenario será Anntona, el nombre del proyecto en solitario de Manuel Sánchez, guitarrista de Los Punsetes, uno de los grupos más originales y respetados de la escena indie española. Los Punsetes ya actuaron en 2016 en el festival con gran éxito de público y en 2018 Anntona regresa con sus hilarantes letras y su pop omnívoro que se arrima sin prejuicios a la canción melódica, la bossa nova o los ritmos sintéticos.
Más tarde llegará el turno de Alondra Bentley. De madre inglesa y padre español, Alondra escribe canciones que trascienden géneros, ya sea pop, folk, rock o electrónica. Gracias a sus cinco discos (en los que ha trabajado con músicos y productores como Matthew E. White y Josh Rouse) se ha convertido en uno de los nombres imprescindibles de la música independiente española.
Spanish Bombs Festival terminará a lo grande con el show de Papaya, el proyecto encabezado por la canaria de ascendencia chilena Yanara Espinoza. Un torbellino escénico elegante y sensual que tiene como referentes el pop latinoamericano de los años 80, la new wave, el beat sixties, el dance, la cumbia, el son, el country, el rock’n’roll o los arreglos orquestales del sonido ye-yé.
Tras el éxito de sus ocho ediciones anteriores, Spanish Bombs Festival vuelve con un sugerente cartel, apto tanto para el público alemán como para los numerosos residentes españoles en Berlín. El festival continúa apostando por la escena independiente española de una manera divertida, evitando los estilos más comerciales y con la intención de romper los tópicos asociados a nuestra cultura.
Spanish Bombs Festival ya presentó en sus ocho anteriores ediciones (de 2010 a 2017) algunas de las bandas más interesantes que está produciendo la escena independiente española, con las actuaciones de Sidonie, Christina Rosenvinge, Los Punsetes, Guadalupe Plata, Los Coronas, Triángulo de Amor Bizarro, Arizona Baby, Vinila von Bismark & The Lucky Dados, Juanita y Los Feos, Los Chicos, Sex Museum, Los Mambo Jambo, Lidia Damunt, Aries, El Último Vecino, Capsula, Pablo und Destruktion, Bala, Los Tiki Phantoms, Mujeres, Doctor Explosión, The Imperial Surfers, Dolores o Pumuky, entre otros muchos. Una labor que llevó al festival a ser nominando en 2012 como uno de los mejores promotores nacionales en los Premios de la Música Independiente.

Papaya acaban de publicar “Corazón abierto” (2018), su segundo álbum y la confirmación del proyecto encabezado por la canaria de ascendencia chilena Yanara Espinoza junto a sus tres compañeros de aventuras: Miguel Aguas, Andrés Morillo y Sebastián Litmanovich (líder de los fantásticos Cineplexx). “Corazón abierto” es la confirmación del potencial de Papaya que ya se intuía en su debut, “No me quiero enamorar” (2015), un elepé que fue reconocido con premios como El Ojo Crítico (entregado por RNE, la radio pública española) y Pop Eye. Durante 2016 y 2017, el cuarteto madrileño actuó en salas de toda España, además de conquistar macrofestivales como FIB, BBK, WOMAD, Contempopránea, Sonorama Ribera, Santander Music Festival o Tomavistas. Lo que nadie puede imaginar al escuchar por primera vez “No me quiero enamorar”, el EP “¡Ay, mujer!” (2017) o el reciente “Corazón abierto” es la personalidad arrolladora de Yanara Espinoza. Un torbellino escénico elegante y sensual que tiene como referentes el pop latinoamericano de los años 80, la new wave, el beat sixties, el dance, la cumbia, el son, el country, el rock’n’roll o los arreglos orquestales del sonido ye-yé. Esta es su primera actuación en Alemania: será una fecha para recordar.

Alondra Bentley
“Nací con el don de una voz divina”, cantaba Leonard Cohen en “Tower Of Song”. Se refería a sí mismo en tono jocoso, pero podría estar describiendo a Alondra Bentley, si no fuera porque ella tan sólo era una niña por aquel entonces. Pero lo cierto es que Alondra nació con un don: el de una voz divina. Se puede comprobar en los cinco discos que ha publicado, en cualquiera de sus conciertos y, por supuesto, en “Solar System” (2018), el álbum que abre un nuevo capítulo en su carrera. De madre inglesa y padre español, nacida a principios de los años 80 en Lancaster (Reino Unido), Alondra escribe canciones que trascienden géneros, ya sea pop, folk, rock o electrónica. Con “Ashfield Avenue” (2009), su debut, Alondra se convirtió en una de las revelaciones de la música independiente española y de inmediato se embarcó en una larga gira que la llevó por España, Reino Unido, México, Estados Unidos, Francia y China. Tres años después, llegaron dos elepés seguidos. El primero, “Alondra Bentley Sings For Children, It’s Holidays” (2012) es una colección de canciones pensadas para niños (“niños de 0 a 100 años”, le gusta explicar a Alondra). El siguiente, “The Garden Room” (2012), presentaba un sonido elegante, rico y orgánico, cortesía del productor Josh Rouse. Con ganas de probar nuevas sonoridades, Alondra y el músico Matthew E. White decidieron colaborar juntos. White no sólo produciría su cuarto álbum, sino que se grabaría en el estudio de Spacebomb, el colectivo que dirige en Richmond (Virginia) y contaría con sus músicos habituales (que también suelen acompañar a Natalie Prass y Ryan Adams). El resultado es “Resolutions” (2016), una evolución y una ruptura, con arreglos de cuerda impresionistas, sintetizadores y loops vocales. Pero el reciente “Solar System” da una vuelta de tuerca a todo lo que ha hecho hasta ahora la angloespañola, con canciones que se acercan a la electrónica, al pop más eufórico, a la experimentación y hasta al baile, con melodías infecciosas adornadas con sintetizadores y guitarras de inspiración shoegaze. Su debut en la capital alemana promete ser memorable.

Manuel Sánchez toca la guitarra en Los Punsetes, uno de los grupos más originales y respetados de la escena indie española, que ya actuó en 2016 en el festival con gran éxito de público. Como Anntona ha publicado dos discos y una recopilación de maquetas -“Anntona es buena persona” (2007), “En la cama con Anntona” (2009) y “Grandes males, remedios regulares” (2011)-, con los que se ha granjeado fantásticas críticas y también unos cuantos insultos. Después de varios años sin apenas actividad, la publicación de su cuarto álbum, “Internacional” (2017), supone su primera colaboración con un productor (Sebastián Litmanovich, de Cineplexx y Papaya) y todo un paso adelante para su proyecto en solitario. Aquí su pop omnívoro se arrima sin prejuicios a la canción melódica, la bossa nova (“Mi pequeño pene y yo”) o los ritmos sintéticos (“Mi patria en mis gayumbos”). Lo mejor son sus hilarantes letras plagadas de un humor entre lo descreído (“Tengo más años de los que merezco y muy pocas ganas de cumplir el resto”, afirma en “A ver qué pasa”) y lo surrealista (“Lamento haberme meado en el césped de tu corazón”, canta en “Plástico”). “Internacional” habla de muchas cosas, pero todas son pretextos para que Anntona se enfrente a sí mismo y se ponga en su sitio. ¿Faltarse al respeto a uno mismo es una manera de buscar la paz interior? Podremos descubrirlo en su primera visita a Berlín.

Nine Stories
Las carreras largas se construyen paso a paso, siempre con coherencia, sin atisbo de nostalgia y mirando hacia adelante. La de Nine Stories cumple estos parámetros. Cada disco ha sido un paso adelante, hecho que se certifica en “Cinéma Vérité” (2017), el tercer álbum de la formación liderada por el madrileño Nacho Ruiz. Si “Nine Stories” (2010) y “Trafalgar” (2013) fueron los dos primeros capítulos aclamados por crítica y público, “Cinéma Vérité” es el nudo central definitivo. El elepé presenta una perspectiva más contemporánea, añadiendo sintetizadores, arreglos de cuerda y viento, cajas de ritmos y samples a sus conocidas melodías plagadas de detalles y pequeños hallazgos. Una pequeña joya en la que caben pop onírico, rock de guitarras o electrónica psicodélica. Si en 2017 Nine Stories se embarcó en una gira por China con más de 20 conciertos, este año le toca debutar en Alemania, con una única fecha en Berlín.

Mobe nace en Madrid en 2003 cuando José Luis (bajo, bases electrónicas y voces) y Nacho (batería) vuelven a reunirse para formar un nuevo proyecto, dejando atrás su experiencia en bandas como Usura o Venas Plutón. Un nuevo grupo de estructura acústica soportada por bases electrónicas que consigue crear canciones llenas de hipnotismo, intensidad, sensualidad, energía y swing. En 2009, Mobe se convierte en un proyecto abierto, al que se han unido antiguos miembros de Venas Plutón, Orlando o Mermaid Union. Mobe ha compartido escenario con bandas de la categoría de Standstill, Aviador Dro, Ginferno, Humbert Humbert o Peluze. Además, en 2005 ganó el concurso Fortuna Sounds y ha sido finalista de otros prestigiosos concursos como Proyecto Demo, Festival Contempopránea, Villa de Bilbao, Emergenza o Contraindicaciones.

Die Neuen Schweden 2018

DIE NEUEN SCHWEDEN returns this summer for the 4th time!
On Wednesday 29th of August, we are hosting a showcase at Urban Spree with three newcomer bands from Sweden.
The entrance is free for everyone.

20.00 DOORS
21.00 Queen C

22.00 OX

23.00 Melby

Together with Swedish educational institute Sensus Musik, we invite three Swedish up-and-coming bands to Berlin for three days at the end of August, take them on a fantastic and interesting music industry crawl through the city and as the absolute highlight, present a showcase evening with them.

DIE NEUEN SCHWEDEN will take a close look behind the scenes of the Berlin music industry and meet local tour operators, labels, agencies, radio stations, and journalists. As this is an educational project, the young musicians will also take part in workshops to learn useful tips & tricks regarding press work and profiling. The highlight of these exciting days is the showcase called DIE NEUEN SCHWEDEN, which the bands will play on August 29th as a free event at Urban Spree.

This year, for the first time, an exclusively for DIE NEUEN SCHWEDEN assembled booking group has selected the three Swedish artists out of 123 applicants. The booking group consists of:

Annett Scheffel (Musikexpress)
Melanie Gollin (FluxFM)
Daniel Gerhardt (SPEX)
Erin Coleman (Paper and Iron Booking)
Torben Hodan (Diffus Magazine)
Nina Howden & Steffi von Kannemann (Nordic by Nature)
Fabian Zwedberg & Johan Svanberg (Record Union)

We are looking forward to seeing you there!

FB Event

Royal Trux + Furious Few & Samara Lubelski

Support: Furious Few & Samara Lubelski

Doors: 8 pm Start: 9 pm
if it is nice weather Samara will do an Open Air Set in the garden. ♥

In the 1990’s Royal Trux established themselves as one of the greatest rock groups of that hallowed era. With albums of extrasensory scope ranging from 1990s Twin Infinitives (which belongs to the special category of albums whose impact may take decades to be measured), to 1993’s Cats and Dogs (with its seamless blend of classic roots, grunge, and punk) to 2000’s Pound for Pound (inhabiting a well-worn coat of southern hard-rock boogie), they reinvented the group concept born with the Rolling Stones (whose music inspired the duo with a definitive template with which to fuck), accepting nothing less than “The World’s Greatest Rock and Roll band” as an opening proposition!
Jennifer Herrema (vocals, moog, guitar, melodica, sticks and stones, pots and pans) and Neil Hagerty (vocals and guitarist) were both in the Washington, D.C. area where they met and, as teenagers, formed Royal Trux while living in an abandoned warehouse space near the New York Avenue bridge a few miles from Union Station. The name was an evocation of their omnidirectional headspace and abilities — plus, Jennifer grew up skateboarding, moving to roller skating after removing the trux and wheels off her board grafting them onto a pair of skates, giving her an unequaled ability to maneuver … even then, it was all about the TRUX.

The idea was to play with what little equipment and resources they had and make the most of it by starting musically with the simplicity of blues progressions. The blues also happened to fit the bill for a band called “Pussy Galore” that recruited Hagerty to fill the position of guitarist and tutor (teaching them all how to play the Rolling Stones’ Exile on Main Street album) in exchange for money, equipment and a place to stay in New York. The move to NYC (Jennifer into the YMCA, Neil with the band) was fortuitous, but the perceived similarities between the two acts weren’t much beyond initial chord progressions and of course the unmistakable sound of Hagerty’s unparalleled guitar style.

The Trux walked a different talk, one with a more elusive, at times counter-intuitive attitude. Hagerty and Herrema were by nature loners, drug abusers and intellectuals; they stood out among the many art school “bands” in NYC in the late 80s. Playing with a revolving cast of freaks, fellow-travelers, and influences allowed them to discard the tradition of a “band” with “members.” Listening to the records nobody else cared to play anymore, they chose to stake out a post no-wave stance shot through with aspects of classic New Yorkia — Godz, Lovin’ Spoonful, Lou Reed and Television all fit the bill — sifting it through in a personal manner that eventually became known as the “lo-fi” genre. In this tactile fashion, they gained notoriety for their unconventional music and ideas, presenting themselves at live shows and elsewhere with an aesthetic marked by indifference and debauchery.

Royal Trux’s first tangible music releases were a song credited to them on Pussy Galore’s Right Now LP (“Fix-It”) (1987) and two tracks, “Luminous Dolphin” and “Cut You Loose,” (1988) on a ROIR cassette compilation . . . but it was the end of 1988 that saw them release their own, self-titled LP for not much more than $500. With no label or distribution in place it was the music that propelled their trajectory (not money, nepotism, or connections) — this was what it took to launch new beginnings in the music world/landscape at that time. Not long after, Drag City and Domino came calling, and an attempt to dominate worldwide was undertaken. Up through 1995, via several records, tours, a film (What is Royal Trux?) and a relentless promotion campaign (including placing their “art” as TV adverts on the sci-fi network and others ), their portfolio expanded, leading to a contract with Virgin Records, who evaluated them to be necessary listening on a big-time level. It could only have been done with fresh eyes and ears and the understanding that new realms of possibility could be accessed by Truxian imagination and vision.

After signing with Virgin in 1994 for a three-album stint, Royal Trux began calling themselves the “World’s Greatest Royal Trux Boogie Band.” Who could argue with that? Few even knew what it meant. After the Virgin albums they returned to Drag City with a diverse series of sounds on Accelerator, Veterans of Disorder and Pound for Pound. As always, they were open for business and taking offers, confronting the world from where they stood on the street, and seeking to jack it for all they could. Over a decade has passed and the pair’s music continues to sound just as progressive, vital, and confounding.

Beyond the genre-setting and -defying music and the genius of Hagerty’s playing, they were fronted by a willfully non-archetypal female singer whose stance became it’s own archetype over the years, as the world caught on to the need for a new breed. Subsequently, a generation of females looked to Jennifer Herrema for inspiration, emulation and commodification.
Royal Trux have done as much to define the look, attitude and sound of rock & roll as any other group in the rock & roll era. This is due to their Bitches Brew approach: “everything in the pot whether you like it or not,” deriving from world music, punk rock, jazz, metal, electronic, southern, teeny-bop and all the rest. In the tradition of the blues, through appropriation and evaluation, Royal Trux changed the way we think of music — it is no surprise that their Truxian language has been further absconded with and recited uncredited for years. Such organic perpetuation only happens with original thought worthy of its own definition. This was and is Royal Trux: innovators and dedicated lifers among the sounds they love. Odds are, whether you know it or not, if you find yourself reading this you’ve been touched by Royal Trux. But only in the right places!

Now you know a little — but Royal Trux got a lot of things to come, including the forthcoming upcoming fly-in tour of Euro and UK festivals, as well as a musical and journalistic trip back to Austin. Texas, where last year’s Psych-fest was cancelled by rising water, this time in the name of that which we call (the new) SXSW. They took to the stages and played with no more than a day to prepare, creating unhinged music from their the solid undercarriage of their songs. With more shows in the pipeline, all we can wonder is all we’ve ever wondered about Royal Trux — what’s next?

FB Event

Foto: © Jen Neil

Terms of use



The following General Terms and Conditions of Business shall be valid for the entire business relationship between Urban Spree GmbH (“Shop”) and the purchasing person (“Orderer”) regarding the online-shop under the domain of http://www.urbanspree.com (“the “Site”). Orderer acknowledges this said general terms and conditions shall be legally binding for the actual purchase and for all purchases in future. Amendments and/or modifications to these terms and conditions shall not be binding or effective until Shop’s written approval is made. Orderer voluntarily waives his right to use and/or to make effective its own general terms and conditions of business; same shall under no circumstance become subject to contract because of Shop’s silence and/ or delivery. Every correspondence and/ or shipping of goods shall made to and/or through the address in the Site’s imprint or to and/ or through the following E-Mail address: contact@urbanspree.com.


All offers on this internet site are not binding and are without commitment. They have to be understood as an invitation to Orderer to make an offer (so called invitation ad offerendum). In each case a valid contract shall only result and become effective by Shop’s written confirmation of the order through E-Mail, by mail or at the latest when  Shop performs the order. With regard to an ordered product which is not set out in the confirmation order, no sales contract shall be deemed to have been closed in this regard.


In the case that Orderer is a consumer (pursuant to § 13 BGB) it shall be entitled to withdraw from the contract. The right of withdrawal must be exercised in writing (E-Mail is sufficient) or by returning the item within 2 (two) weeks. In case that the value of ordered item is more than 100 (hundred) EUR, Shop will reimburse the costs of returning the item. There will be a separate information after each order on the conditions and procedures for exercising the right of withdrawal.
The right of withdrawal is excluded in agreements which deal with the delivery of goods, which as a result of their nature are not suited and/or suitable for return (i.e. e-books, downloads etc.); which deal with the delivery of newspapers and magazines ; which deal with the delivery of audio-only and/or audio-visual recordings and/or software, insofar as the wrapping and/or other protective covering of the applicable record and/or other applicable data carrier has been opened and/or otherwise disposed of; the immediately aforesaid shall also be applicable to any other goods or products to which audio-only and/or audio-visual recordings and/or software are added (i.e. included with such other goods), insofar as the wrapping and/or other protective covering of such other applicable goods and/or products shall have been opened and/or otherwise disposed of. which deal with the delivery of goods, which goods have been manufactured and/or made pursuant to the individual specifications of a client(s) (e.g. personal books);
which deal with special offers as duly mentioned on the order page and the special mention « sales are final » that may arise from time to time and duly mentioned on the order page.
Paragraph 312(d)(4) of the German Civil Code (“BGB”) is otherwise applicable.


The item will be delivered from Shop to the address which Orderer provided in his order if not agreed otherwise. Any information in connection with the period required for delivery is without guarantee unless Shop has expressly assured a certain date of delivery to Orderer.
In case that Shop’s contractor supplier does not supply Shop with the ordered item, Shop shall be entitled to withdraw from contract with Orderer. In this case, Shop will notify Orderer immediately that the ordered item is not available. Shop will reimburse any sums paid by the consumer to consumer immediately.
Shop shall be entitled to make reasonable partial deliveries of ordered items in particular but not limited to the case where some item can only be delivered by Shop at a later period of time.


All prices are quoted in EURO (€) including added value tax (VAT).
The amounts payable mentioned in the confirmation notice subject to paragraph § 2 is/ are due with the receipt of said confirmation.
Payment can only be made through credit card, paypal or giropay, an invoice purchase is not possible.
If Orderer defaults with payment, Shop is entitled to claim interest at a rate of 5 (five) per cent up to the base rate published by the European Central Bank (ECB) per anno. Shop shall however be entitled to claim higher damages caused by delay if same should be applicable.
If Orderer defaults with payment of an order Shop is entitled to withhold further orders. Shop will not be in default of delivery in such event. It is not necessary that Shop expressly exercises announces its said right to so withhold orders.


Shop is entitled to revoke contract in the event that given purchase price of an item is higher than Shop’s stated price because of wrong information by our contractor and that said contractor is not liable Shop for breach of contract.
Shop shall also be entitled to revoke contract in the event that the correct purchase price of an item is higher than Shop’s stated price as a result of a computer error and that the applicable software manufacturer  or the applicable software contractor is not liable for the incurred loss.
Shop’s right to void the contract as a result of an error remains unaffected.
In case of sub paragraph 1-3, Shop will inform Orderer immediately. Shop will also reimburse Orderer the paid purchased prices immediately.


Shop will package the item according to custom and usage, usually within 3 business days.
Shop is entitled to choose route and means of transport if not otherwise expressly agreed with Orderer. All our prices are inclusive of added value taxes (VAT 7% on books and 19% on other products).

Shipping costs are indicated before the order is placed.
Shipment inside Germany shall cost between € 3,90 and € 8,90 depending on the weight (up to 10kg) unless otherwise stated in the order page and must be duly approved by Orderer at the time of confirming its Order.
Shipment to other European Union countries shall cost between € 8,90 and € 22,00 depending on the weight (up to 10kg) unless otherwise stated in the order page and must be duly approved by Orderer at the time of confirming its Order.

Shipment to the Rest of the World shall cost between € 15,90 and a maximum of € 59,00 depending on the weight (up to 10kg) unless otherwise stated in the order page and must be duly approved by Orderer at the time of confirming its Order.


The risk of accidental loss, destruction or deterioration passes to Orderer at the beginning of the shipment and at the latest by transfer to carrier. This also applies for partial deliveries.
Orderer must notify Shop if the delivery is fake or defective: If Orderer fails to do so it shall bear the risk of accidental loss, destruction or deterioration for the returning of the item.


The product delivered remains our property (reserved product) until full payment of all (including future) claims resulting from our contractual relationship with the Orderer; included in these claims are also conditional as well as claims which have been included by us in a current account (in German “Kontokorrent” pursuant to paragraph 355 of the German Commercial Code “HGB”). Extended reservation of title (verlängerter Eigentumsvorbehalt) is hereby granted to us so that any and all claims resulting from a resale are hereby transferred to us in the amount required to cover our own claim.
Insurance and/or damage claims which the Orderer has in connection with loss or damage to the reserved product are hereby assigned to Shop in full.
In the event that the Orderer should be in default of payment, it is obliged, upon Shop’s and/or its affilitiates demand, to allow us to repossess the reserved product still in Orderer’s possession, to provide Shop with a detailed list of the said product(s), to isolate the applicable product(s) and to return/transfer same to us.


The item will be delivered with the characteristics and quality which are customary for manufacturer at the time of delivery, if this is reasonable for Orderer in consideration of Shop’s interests.
A certain qualities shall only deemed to be assured if Shop and Orderer agrees same in writing.
Shop is not liable if any delivered item which might infringe foreign copyrights or other foreign industrial property rights of third parties.
Orderer is obliged to check the delivered item after receipt to verify if same is free from faults. Orderer is obliged to notify Shop in writing within 7 (seven) working days after receipt of the item if the item is apparently faulty. This written notice must contain the exact description of the default and the order number. To proof that notification shall have been sent in due time shall be the date of postmark or any other provable date specification.
The commercial requirement to notify defects pursuant to paragraph §§ 377, 378 of the German Commercial Code “HGB”) remains unaffected.
In case that a purchased item is faulty, Orderer shall be entitled to ask for supplementary/ complementary performance. If this supplementary/ complementary performance also fails, Orderer shall then be entitled to revoke the contract or claim damages. Diminution shall be excluded.
Any further claims of Orderer shall be excluded if not otherwise mentioned below. Shop is therefore not liable for damage to other things than the applicable item, including but not limited to lost of profit or other financial  losses Orderer might have.
This limitation of liability shall apply also for our employees, representatives and any person employed by Shop in the performance its obligations.
Notwithstanding the foregoing, this limitation shall not be applicable in case that the damage was caused by Shop or its employees, representatives or persons employed by Shop in performance of its obligations by an act of gross negligence or with intent. This limitations furthermore shall not be applicable for claims resulting from the German Product Liability Law “Produkthaftungsgesetz”.
In case that Shop negligently breaches a duty which  is essential for the contract the replacement liability of Shop for property damage shall be limited to losses which typically results from such damage.


Orderer can only enforce a right of retention if it results from the same contractual relationship. Orderer is only entitled to set off if the counter demand if accepted by Shop or if it has been recognized by declaratory judgement.
If Orderer is a merchant pursuant to §§ 1 ff. of the German Commercial Code “HGB” any right of retention shall be excluded.


This agreement shall be construed under the laws of Germany applicable to agreements to be performed therein. The terms and conditions of the United Nations Convention on Contracts for the International Sale of Goods (CISG) shall not be applicable.


If any part of this conditions of use shall violate applicable laws and/or treaties or shall be declared invalid or unenforceable by a court of competent jurisdiction, then the balance of this conditions of use shall not be affected and parties hereto shall thereupon enter into good faith negotiations to appropriately replace the hereof through a provision which is the closest and in the spirit of the purpose of the present contract.


For all rights and duties resulting of this business relationship our residence shall be place of performance.
If Orderer is a merchant pursuing to §§ 1 ff. of the German Commercial Code “HGB”, the courts of our residence shall have jurisdiction over any controversies arising of the business relationship. Shop`s right to raise any claim against a merchant at any different venue shall remain unaffected.
Shop is entitled to raise any claim at its residence against Orderer who is not merchant according to §§ 1 ff. of the German Commercial Code “HGB”, if Orderer does not have a general venue in the Federal Republic of Germany, or if it changes residence after conclusion of contract. Shop is entitled to raise any claim at its residence against Orderer who is not merchant according to §§ 1 ff. of the German Commercial Code “HGB” if the residence of Orderer is unknown at the time of first taking the claim judicially.


Please find information about the type, amount and purpose of the storage, usage and handling of personal data necessary for the purchasing process in Shop’s Privacy Policy.