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Mouse on Mars formed in 1993 when Andi Toma, from Dusseldorf, and Jan St. Werner, from Cologne, met at a speed metal festival in Stockholm and decided to form a band.
With seven albums and nine e.p.'s Mouse On Mars have gained a reputation as one of the most innovative and productive bands of today's popular music scene. "the true inheritors of kraftwerk's mantle" (MUZAK Magazine). The band itself never encouraged this comparison. They rather consider their efforts as fragmented and always reforming ideas which are not after the clean design of pop aesthetics but offer a broken and profound criticism on a "one world one sound" equalisation.
Their first release in 1994 was a single: "Frosch". Their debut album "Vulvaland" went straight into the UK indie top 5.
Musically Mouse On Mars create densely layered tracks with the intended results being grounded between radical experimentalsism and timeless pop appeal. They have also produced records for Stereolab and members of Kraftwerk, they made music for an ill-fated Tony Danza film, and worked on remixes for the High Llamas, Cibo Matto, Pram, Anne Clark, the Pastels, Merz, Towa Tei, Oval and others. They recently worked together with house luminary Matthew Herbert and still find the time to let St.Werner work with Oval's Markus Popp on the digital off-shoot "Microstoria".
Mouse On Mars have paved the way for a continuously growing gang of German and international sound villains to weave analogue and digital, electronic and non-electronic sounds in a totally new, organic fabric. Not without reason have great swarms of independent and other tinkerers, post-, kraut- and general rockers, techno types and avant-garde scoundrels included this darned modern stuff in their daily menu.

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Mick joined Napalm Death in the 1980s, when he was still a teenager, recording some of their classic early albums including 'Scum' and 'From Enslavement To Obliteration'. His manic drumming style earned him the nickname 'Tornado'. Mick went through a few different line-up changes with Napalm Death before departingIn the early '90s Mick Harris formed Scorn with Nik Bullen. Together, they perfected a dark dub-influenced style, heavy on horror imagery and samples that could influenced later on Tricky. Around the same time, Mick joined a power trio with heavyweights Bill Laswell and John Zorn called Painkiller. Together, they released three studio albums and one live album. In the mid-90s, Mick assumed control of Scorn in total with Nik Bullen's departure. The style of Scorn has progressed into a somewhat minimalist electronic dub sound, with an extreme heavy beat and Mick's own bass sound.
His other two big initiatives were his project Lull, a study in so-called 'dark' ambient perfection, and his short lived label called Possible Recs. Now Mick is working on a new Lull album as well as new Scorn material, and has finished the stellar series of 12"s for Canada's Hushush/HedNod label called the Hed Nod sessions.

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Musician, writer, media critic, a minimalist anti-hero, and host of the monthly digital club, the Electronic Lounge, at the ICA in London since 1994, he is currently at work on a variety of projects. In 1996 he completed a lecture/performance tour of Australia at the invitation of ANAT (Australian Network for Art & Technology). 1997 took him all around Europe and the USA, composing the soundtrack to the Delta ballet at the Paris Opera House, touring the USA with Dj Spooky and performing with 100 violinists alongside Laurie Anderson, closing with a South Bank Show profile on British television. 1998 brought sound work on Bryan Ferry's new album.
1999 continues with a soundtrack commission, the Ways of Living, at the Metropolitan Museum in Korea, which Her Majesty the Queen will open in Seoul, Korea, The Shout, a collaboration with a 15 piece choir and BBC radio productions of Midsummer Nights Dream, Anne Michael's Fugitive Pieces and an extended feature on poet Sylvia Plath.
His most recent release is possibly his most elegiac CD to date. Entitled Lauwarm Instrumentals, it is released on his own label, Sulphur.
"He is very experimental because he is searching in a realm of sound which is not usually used for music...he has a good sense of atmosphere."
-Karlheinz Stockhausen - BBC Radio 3

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Norbert Möslang (Voice Crack member) and ErikM (who began his career playing guitar and now has became in a electronic devices master) will be togheter at Experimentaclub for a unique live act based in the electronic improvisation.
Norbert Möslang funded Voice Crack at 1972, then this duo played normal instruments like piano , saxophone, bass clarinet, contra bass and percussion. Andy played the bass, bass clarinet and percussion. They also played self-made instruments and used, everyday electronics. In 1983 the decided to only play thieir everyday cracked electronics. Since then they stopped playing normal instruments and made their own instruments using them for their improvisation live acts.
ErikM has played several times with Voice Crack, in his live acts the mix the rock energy with the experimental sound of the electronic devices.

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photo: Guy de Lacroix-Herpin

Pierre Bastien (born 1953, France), known as 'King of the toys', is a faithful John Cage fan who specialized in French and 18th century literature at the University of Sorbonne. He wrote his thesis on the pre-surrealist Raymond Roussel, in whose works the sounds of peculiar extra-human mechanical installations from a bizarre auditory universe. Bastien has composed music for Dominique Bagouet's ballets, and it was for her 'Tartine' production that he made his first musical machine, combining a record-player engine, a Meccano structure and a cymbal. The products of a strange cross between technology and ethnic folklore, his works are reminiscent of futurist primitivism and dadaism. In the words of Marc Gabriel Malfant, the music of Pierre Bastien has also rediscovered the pure charm of 'air', the easy-to-whistle genre pursued by Bach that has disappeared from the musical vocabulary: "We enter, through this music, into a forgotten world where tired machines slowly and obstinately repeat coagulated tunes. The tempo is heavy, decomposed. In this nocturnal milieu, apparitions have the mysterious walk of the ghosts and their power of fascination. These airs have the elegance of a remembrance... And sometimes, we surprise ourselves whistling an air of Pierre Bastien while we maintain fixed in our memory the sorrowful calm of Marimba Combo's cornet."
For the past twenty years, Pierre Bastien has been producing captivating sound loops with an invention he calls Mecanium. This ingenous, mechanised orchestra plays a wide array of instruments at once, from a thumb piano through to a drum and a violin. Activated by motor-driven gears and pulleys, it's bows and drumsticks can repeat the same violin arpeggio or drum sequences ad infinitum.
Out of this work, Bastien began experimenting with old record players, portable instruments that come complete with their own cases. A few singles are subjected to cursory treatment by several turntables that have been stripped of all their primary function, that of reading grooves. Instead of slowly spiralling inwards and towards the disc centers and the mechanism that cuts the motor, their arms ignore the laws of inertia and gravity. On top of these loops and grooves Bastien plays his fragile trumpet compositions.
Pierre Bastien has collaborated with other musicians: Pascal Comelade, Jac Berrocal, Frederic Le Junter, DJ Low, Jaki Liebezeit (Can) and many more.

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Iury Lech is a multidisciplinary artist of Ukrainian origin but established firstly in America, later in Barcelona and at present in the Empordà (Girona). His creativity includes music, writing or video-creation, always from an innovating and experimental viewpoint. His musical universe is placed over an electronic arsenal built with powerful rhythmic structures, sensual atmospheres and a dense timbric texture that, from his personal contribution to the latest tendencies, and, making use of the new technologies, brings us a sonorous combination based on inflammatory ambient, trance impressionism and hypnotic minimalism.
His records, particularly the double CD "Aspersions By Instinct", always surprise us because of their visionary and unusual atmospheres above the styles in which the music oscillates: tides of synthesizers and ambient sequences, cosmic psychedelics, trance, minimalism... Concerning the live performances, these are based on a multimedia staging that incorporates diverse treatments of image and advances in the interactive technology. Lastly, most of his audio-visual works and videoclips have been selected and have won prizes in festivals like Art Futura, Festival de Video de Navarra, Sonar, Ars Electrónica or ISEA.
Iury Lech is a provoking artist, who offers, with his renewing poetic-sonorous discourse, his most energetic, disconcerting, hypnotic and visionary side. His last album, "VICTIMa OF DUNCEing" (Insolit Records), introduces nine tracks close to some kind of mutating, electronic and floating jazz, full of escapist surroundings. A clearly different point of view in electronics' current scene.

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Eduardo Polonio is born in Madrid the 5 of January of 1941. After studying the piano and composition at the Royal Conservatory of Madrid, he received his diploma allowing him to teach composition in 1968. The first step in his career was as composer and interpreter for the Grupo Koan (1967-1970). In 1969, he worked for the Alea Laboratory in Madrid and, between 1970 and 1972, he was a member of the Alea Música Electrónica Libre group, the first Spanish electroacoustic music group to play live. He was President of the Asociación de Música Electroacústica de España from 1988 to 1994 and is currently consultant to the International Confederation of Electroacoustic Music as well as a member of the International Academy of Electroacoustic Music. He received the Magisterium at the Grand Prix International de Musique Électroacoustique in Bourges, France in 1994. He is the author of two electroacoustic operas: "Uno es el Cubo" (1995) and "Dulce mal" (1999).
Eduardo Polonio is one of the pioneers of electroacoustic music in Spain. After thirty years of composition and presence, both national and international, on the scene of contemporary music, and specifically in the sphere of new technologies, it is time to recognize his role. He has composed over one hundred works which have been played all over the world. He has coauthored works with multimedia artists such as Eugeni Bonet, Pablo Monedero, Carles Pujol, Toni Rueda, Rafael Santamaría, Santiago Torralba; he has promoted creative groups (Obert-Art Actual, Multimúsica, A.M.E.E., TRIVIO, Diáfano, Cremunute), festivals and professional symposiums (Sis Dies dÕArt Actual, Punto de Encuentro, Ressò, Nuevas Propuestas Sonoras, Confluencias). He generally interprets his own work in concerts, combining pre-recorded pieces, keyboard and processors in real time, often combined with videos or other compositions in coordination with visual artists.
From many points of view the figure of Eduardo Polonio represents a particular case in the scene of the Spanish contemporary composition. In the Sixties and Seventies it has been an isolated precursor in the generalized use of the average electroacoustics. In the Eighties, its work has represented one of the few meeting points of true spread between contemporary music and the plastic arts. The essential opening to the world of the composer has given rise to a production in which it predominates the musical mestization of sorts and cultures. Deeply taken root in the world-wide conditions of the culture of century XX his music it knows like few to offer footpaths and passages between the multiplicity of our sonorous horizons.

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Agustí Fernández is one of the most important explorers of avant garde music in Spain. Agustí combines thorough knowledge of the 20th century modern classical piano with jazz free improvisation to a unique and powerful style. Agustí considers himself as a self trained musician, though he studied in Palma de Mallorca's Conservatory and extended his formation at the Darmstadt Summer Courses and with Iannis Xenakis or Carles Santos, among others, and he has recognized very often that in his music there are influences from Cecil Taylor in jazz and Iannis Xenakis in contemporary music. Two influences that helps him to developed in a unique style full of a pasion for explore new musical lenguages.
In 1985 he released his first recording, "Ardent", a solo piano, who marks the start of his career as a free improviser, where his has became in a knowledge master. In fact, in mid 90's he was director of the Orquestra del Caos (Barcelona) and founder member with Joan Saura and Liba Villavecchia of IBA (Improvisers of Barcelona Association) -collective of improvising musicians and dancers. He has been director of IBA until 2001.
His continuous colaborations with international free improvisers becomes fundamental for his maturity and progressions, as well as for a later recognition inside this scene. Among many others, Agustí has played with Tom Cora, Peter Kowlad, Carlos Zingaro or Marilyn Crispell.
Nowadays, in adition to his solo work, Agustí is maintaining several stable projects: Trío Local (with Joan Saura, sampler and Liba Villavecchia, saxophones); a duo with german violinist Christoph Irmer and a permanent collaboration with spanish Butoh dancer Andrés Corchero. He is member for the Butch Morris work in progress "Folding Spaces". In the summer of 2000 he received the "Altaveu 2000" award (Spain).
From 2001, he teaches Improvisation at the ESMUC (Escola Superior de Musica de Catalunya), becoming the first teacher of this subject in any official school or conservatory in Spain.

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photo: Kumi Sasaki

Koji Asano is creating an original world of music through his use of various instruments. This electroacoustic-music is distinguished by its lack of constraint and free style. 31 titles of CD works are so wide-ranged from Computers, Solo Piano, Guitar Bands, Experimental electronics to Strings, his group Koji Asano Ensemble in Tokyo. Besides album works, he also produces original sound tracks for dance performances, films, Video art. Collaborated with sculptors and painters for series exhibitions in Moscow, Puskin and Latvia in 1997, also composed the string quartet piece for Bruno Letort's project "Megapoles" performed by The Smith Quartet at Vingtieme theatre in Paris last June 1999. He is requested by Banda Municipal de Barcelona to compose new orchestra piece which will be shown at L'Espai in October 2001.
Over the past six years, composer Koji Asano has explored the beauty and the terror of experimental sound on 31 self-produced CDs for his Barcelona-based label Solstice. An adept pianist and guitarist, Koji Asano has improvised solo concerts and played noisy, altrock-ishi instrumental tunes in various combos throughout Europe. He's fond of interfacing new technology like computer-aided tone-generation/filtering and digital delay effects with traditional acoustic instruments such as piano, guitars and string quartets, and is equally attracted to pure improvisation and tightly structured pieces, in both acoustic or electronic formats.
Living in Barcelona now for more projects and concerts in all Europe.

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Behind the alias of Nad Spiro can be found Rosa Arruti, founder of the legendary MohoChemie project and constant reference in the most audacious edge of Barcelona's underground scene (Psicópatas del Norte, Tendre Tembles).
In recent times, she has recorded with Lars Müller and Krishna Goineau and has created the duet Setonil (tunnel-musik) which evolves the scenic and acoustic possibilities of the guitar in events they register in video. She keeps a collaboration with Alain Wergifosse on their live set SpecOp.
After several stays in Berlin, she initiates there new collaborations with international artists: in visuals, she has contributed with her sounds to animations of the artist Sofia Jack (the white zebra, 2000), videos (Looking, M Thereza Alves, Werkleitz Bienale 2002), and she has recorded with Marcin Dymiter of the Polish tandem MAPA. Other associations with other creators: soundtracks for documentary films (Domestic Bliss and Anastasis, of Mike Ibañez), theater (Gos Geometric, Teatre Kaddish) and installations like the exhibition of LL Duran (Joyas No Joyas, Periferias 2001) and one audio-installation of Xabi Erkizia (New Musics Festival of San Sebastián, 2002).
This year 2002 she has participated in a project of the prestigious American audiocreator Kim Cascone (founder of Silent Records, sound-designer of David Lynch) for DEADTECH (label of Chicago) and she has contributed with a theme to the compilation of anniversary of British label TECHNOH of Brian Lavelle.
Like Nad Spiro she presented at Sonar 2000 the CD "Nad Spiro vs. Enemigos de Helix" (produced by Victor Sol from New York) and in October of 2002 it will also present her following work "Nad Spiro's Fightclubbing" (Geometrik).
At the moment Rosa Arruti is centered in the activity in solitaire like Nad Spiro and also in her band pOp EyE sPY (project with Miguel Zap! Ibáñez), being an assiduous guest of the more innovator European circuit of live performances.

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Shantala began their work together at Buenos Aires in 1999. They use the sound like way of contecting with feelings. Shantala are: Roberto Kuczer (sitar), Guadalupe Tobarías (violín) and Vika Kleiman (tambura).
Kuczer studied clasical composition in Argentina, Venezuela and France and later he went to India for studing Ragas and sitar. Bhakti, India, Shakuntala y World Trip Tronic Dance Band (this one is a mix between electronic and etnic music) are some of the bands directed by Kuczer.
Gadalupe Tobarías studied clasical music when he began playing violin but afterwards she worked with diferent kind of bands (rock, tango or world music).

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Tribute to Peter Kowald


M. Breuss - P. Arrizabalaga


Peter Kowald was going to perform in Experimentaclub'02. His death the past 21th September has been a great commotion. From Experimentaclub we want to make a concert of tribute with some of the most prestigious names of spanish improvised music.

Markus Breuss (Switzerland) and Pelayo Arrizabalaga, with Justo Bagüeste, were the creators in 1984 of Clónicos: a poly-stylistic experience under the influence of K.H. Stockhausen, Edgar Varese, Fred Frith, John Zorn, The Art Ensemble of Chicago...
An eclectic and undoubtedly innovatory composer, trumpeter and investigator of electronics, Markus Breuss is an emblematic figure of the creative freedom. He combines, in his music, the remotest influences with a drastic review of popular music from electronics, collage and chamber music compositions. Breuss is one of the most singular composers and multi-instrumentalists of the European musical scene.
Pelayo Arrizabalaga is one of the most prestigious members of Madrid avant-garde scene. From the contemporary music to improvisation through electronic and free-jazz. He has collaborated with musicians such as Malcolm Goldstein, Llorenç Barber, J.A.Galicia, Sergi Jordà... Since 1993, he lives in Switzerland, where he studies and is guest composer at the electronic music Studio of the Bassel Conservatoire, directed by Thomas Kessler.
Breuss-Arrizabalaga Quintet is a formation specially created for this special occasion: Markus Breuss (trumpets, fliscorno), Pelayo Arrizabalaga (alto sax, bass clarinet), Tsukiko Amakawa (piano), Miguel Rodrigáñez (bass) and Javier Carmona (drums).

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Peter Kowald
photo: Willi Krüger


Peter Kowald (1944-2002) was a improvisation music master. He was one of the best XX century avant garde musicians. Their solo performances (with double bass and/or tuba) made evident his genius. The "Off the road" (Laurence Petit Jouvet documental film) soundtrack was one of his latest works.
Member of diferent ensembles (Globe Unity Orchestra, London Jazz Composers) he worked with Evan Parker, Irène Schweizer and Pierre Favre or Alexander von Schlippenbach. As well as dancers, writers or performers (Kazuo Ohno, creator of Butoh dance), Anne Martin (from Pina Bausch Ensemble) or the musicians Billy Bang, Konrad and Hannes Bauer, Marion Brown, Marilyn Crispell, Danny Davis, Bill Dixon, Charles Gayle, Barry Guy, Jeanne Lee, Robin Kenyatta, Toshinori Kondo, Takehisa Kosugi, Frank Lowe or Jimmy Lyons.

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For this Experimentaclub festival will play togheter three knowlege improvisation masters: Wade Matthews, Antonio Bravo and Nilo Gallego.
The North American composer and improviser Wade Matthews (winds, electro-acoustic instruments) who lives in Madrid from 1989, is a doctor in Musical Arts by New York Columbia University, where he wrote a thesis about musical improvisation guided by electronic sounds.
He has performed concerts as a soloist (London, Madrid, Barcelona, New York, Berlin, Tenerife, Palma de Majorca…etc) and also with his different groups, including, among those, his duets with the British violinist Phil Durrant, whom he performed in London and Madrid; the Spanish dancer Elena Alonso, whom he performed in Berlin, Madrid, Santiago de Compostela and Girona and the North American flautist Jane Rigler. He has also worked with many European improvisers such as Burkhard Beins, Michael Renkel and Peter Kowald (Germany), John Butcher, John Edwards or Steve Noble (United Kingdom), Butch Morris (USA), Agustí Fernandez (Spain)…etc
In the final 80's Matthews created the trio Zyklus (a name taken from a work by Stockhausen) together with the double-bassist Baldo Martínez and the drummer and percussionist Pedro López. In 1990, they recorded their first album, called "Interface" in which they melted jazz and improvised music with electro-acoustic instruments.
The guitar player Antonio Bravo has participated in several free improvisation bands, like Fundación Olivar de Castillejo Orchestra. Nilo Gallego is a improvisation musician and the works as well in street actions where he mix theater, visual acts and live music based at he electroacustic improvisation.

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Abril Padilla and Graciela López started playing together at 1999. They came from several french and Argentina free improvisation bands, like Tetsuo or Le Zhig. Together they experimented about mixing modified guitars, everyday objects, voices and flute.
This duo has played at experimental festivals and live acts, like Los Instants Chavirés, Le Studio des Islettes, L'Electron Libre and the electronic music festival Le Placard #4.
"Gendanken Experiment", their lastest work, is a compilation based in improvisation pieces recorded at Paris.

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Darío Moratilla (Games Addiction) started researching about sound mixes at the radio program No Frills, where he began working like disc jockey. He collaborates with the record company Plataforma LTW (Rec Overflow and Bleizes), where he publish some of his works, based on the musical abtraction, software and playstation sounds and everyday noises.
At 2001 he had (with the work Modo Aleatorio) the first place at the SGAE competition for iberoamerican composers during that year he was working like resident artist at Gracia Territori Sonor. Before, he was at the VII Electroacustic Music Simposium made by Orquesta del Caos and has plays at important festivals: LEM, l'Observatori, Confluencias (Huelva, May 2002), Clariaudiencias 4 (Barcelona, Macba, May 2002) or at Club Batofar (Paris, June 2002).

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This group from Madrid, constituted by Alicia H. Willen and Francisco Planellas, is, undoubtedly, one of the most solid proposals in national "hard" electronics' new scene. Proyecto Mirage, absorbing itself in noise, techno and gothic rock, evolves fromits incipient electropop towards some industrial abstracted suppositions which are confirmable to each and every "leading light" of intelligent electronics such as Pan Sonic or, above all, Aphex Twin, who share with them a taste for alarming atmospheres, broken melodies and distortioned rhythms. Despite they started creating music a long time ago, Proyecto Mirage has just started to be known (outside the habitual background of demos-tasters) two years ago, having "mouth-to-mouth" communication a fundamental role on its gradual aspect. The fact that they edit their second album for a German Company, as well as the confirmation of next concerts all through Europe, certificates that a prophet is without honour in his own country and that Proyecto Mirage is not just an illusion but a palpable reality.

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Andrés Noarbe participates in 1978 in first formacion of El Aviador Dro. After the split that gave rise to the birth of Esplendor Geométrico, he was manager of E.G., being in charge of the grafica part and design of the covers of his records. From 1985 he directs the first label specialized in electronic music in Spain: Discos Esplendor Geométrico -now Geometrik-. Noarbe also direct the Rotor distributor.
Its facet like Dj, frequently under the Dynamo name, begins accompanying to the performances of some groups of Geometrik: Esplendor Geométrico or Inducing the Pleasure Dreams (IPD). During the latest years he has performed in festivales like Sónar, La Mar de Músicas, Pirineos Sur, Festimad, Drum & Noise, L'Observatori, etc. The sessions of Dynamo include from the Industrial music to the experimental, passing through ambient or but innovating and dangerous electronic music.

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Fred Tassy is a unique disc jockey who has help to understand at Spain the chill out concept (a place of changing minds, to have a rest and the horizontal dance). His sessions mix classical music and ambient or noise and flamenco sounds.
He has plays at almost all the chill outs spaces in the spanish festivals (Sonar, Festimad, Espárrago Rock...), at hundred french raves and he has been resident dj at very special discos like Rachdingue (decorated by Dalí, 1991/92), La Sala del Cel (93/95), Cyberian Club (95/2002), Walden (97/98) and La Cova (last five years). His intention in the future immediate is to concentrate itself specially in internet mix sessions accompanied by visual elements.





"Life is a dream", said then Calderón de la Barca; however, for Justo Bagüeste, "life is a sound", and life, dreams and sounds are, exactly, what I.P.D. is about (I.P.D. stands for Inducing the Pleasure Dreams). This multitasked collective, established in Madrid, has in Justo its central piece, being DJ Morgana, DJ Dynamo and X Flash (the one in charge of the projections and showings) his satellites. Justo, a musician who works in a great deal of musical fields, comes from the conservatoire, and has developed works for cinema and ballet, played in so different groups such as Corcobado y los Chatarreros de Sangre y Cielo or Clónicos, and he has even remixed themes of Esplendor Geométrico. His first album, produced by Suso Sáiz, turned him in a classical of "chill-out": analogical electronics, with an evident Teutonic inspiration, always adorned with some good jazz' "brushstrokes". The "kosmische kurier" from Huesca injects street life's beating in glider music and gives birth a new gender: urban cosmic music, the one that glides at ground level. His last works introduced more ethnic elements and gave more power to the dance loading, getting, then, I.P.D. to give up their reputation of "just for listening in a horizontal position", without, however, having lost their hypnotist qualities.

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Blue begans in the music world with noise and crustcore bands, playing bass and drums. Later he started playing electronic devices and and mixing sound like disc jockey at 1999, this year he plays at Sonar and also at Ajaccio Festival with Víctor Nubla, Antón Ignorant and Io Casino. The use to play like disc jockey at G3G club (Barcelona) and LEM Festival.
Blue is member of M&D (industrial music band) as well he has another band (d_infection) with Ferrán Fages and Antón Ignorant, based on improvisation, collage and noise. He is into the concept of the disc jockeys that remixes their own work, like a different music art concept.





Cnoi is Radar bar's owner and alma mater. Radar (Electronic Sounds Bar) is one of the Madrid centers for the more experimental, avant garde and radical electronic music. Cnoi use to plays (like disc jockey) at Radar since 1997 but he has also plays at Benicassim Festival or Tendencias Post Digitales Festival.
The use to make Electronic Session at Radar Bar with live acts -Koji Asano (Japan), Andreas Tilliander (Sweden), Groof (Spain), Alain Wergifosse (Belgium), Most Significant Beat (Italy), Coeval (Spain), Cornucopia (Puerto Rico), Zan Hoffman (U.S.A.), Ilios (Greece), Druhb (Spain), Pablo Reche (Argentina) or Big Toxic (Spain)- and he has published some records like Radar Ballet, a Radar Bar tribute with themes created by Suso Sáiz, Tomás Garrido, Andreas Pieper, Francisco López, J.M.Costa, Morgana, Miguel A. Ruiz, Big Toxic, Guillermo Quero, HD Substance, Saverio Evangelista or Markus Breuss.

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Flossy use to show his avant garde electronic sessions at Gris club (Madrid) but he make his experimental and ambient sound sessions at Radar Bar.
This disc jockey has funded a electronic sounds record company Brainwaves two years ago, but he also has time for playing in some festivals like Benicassim (at 2000 and 2001) at this festival he plays under Rotor Dj, the name of the record shop where he has been working and giving musical advices at disc jockeys and electronic music fans during lot of years.

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Dj, music producer and manager, Fernando Mástil is one of the first musicians who began playing chill out (ambient and freestyle) sounds in his sessions. He began his dj carreer in 1991, then he worked at Sol club in Madrid. He was disc jockey in Stella, Morocco, Bali Hai or Katmandú clubs.
In 1996 he managed and played in the chill out places of several festivals (Benicassim, Espárrago, Sónar or Festimad). Afterwards he arrived at Barcelona where he was disc jockey in another knowledge clubs like El Salero, Apollo or Fellini. Some years later he went back at Madrid, then he coordinated all the cultural events at Fuencarral Market and also he funded El Mercurio internet magazine.
Nowadays he is into a new electronical proyect called Mondocane (with the producer and musician Juanjo Valmorisco).




Constanza Brncic

Visual-Ex is an experimental cycle dedicated to the relation between the image and electronic music. Parallel to Experimentaclub'02, Visual-Ex will offer documentary on electronic music, programs of pieces of experimental cinema, video clips, pieces of flash, performances of video artists and an interesting experiment changing the sound track to a classic movie of the dumb cinema. This cycle tries to approach the electronic universe to the public of La Casa Encendida.
Sonic Acts (Frank Scheffer): this film contributes to information detailed on the evolution and the present state of electronic music. The borders between most popular and the most intellectual aspect of electronic experimental music are more and more fine and this film explores the intersections that are taking place between both. Karlheinz Stockhausen, Pierre Henry, John Cage, Michel Waisvisz, Merzbow, Squarepusher and Dj Spooky give their particular point of view and are the ones in charge to shell the relation of this type of music with the art and the technology.
Rhythm and abstractions: this program is going away to dedicate to the great figures of the abstract and experimental animation. Each piece explores the possibilities of the variation of the light, the colors and the forms accompanied by its original music creating a surrounding visual and sonorous universe. From the father of the abstract animation, Len Lye, through James Whitney, creator of the images of the principle of Vertigo of Alfred Hitchcock, to the trip in black and white and colour that propose Routemaster.
Technofilms: this program presents a series of pieces that explores the edition of old films and varied images using techno and industrial music.
The peace and the anxiety - Retrofuturism and Breaknoise: the program juxtaposes the calm of the retrofuturism with the violence of present noisy underground and breakcore.
Centrifugados ("Centrifuged") by Two In One: projection of images filmed and edited by "Two In One". Accompanied by a live soundtrack, the images will induce to a trip of experiences through a washing of white clothes. "Two In One" are Sergio Pellón and Angela Muñoz.
Noises, Pixels and Sounds: this program explores the new technologies in the processing of the image, offering pieces on which electronic music and the images generated by computer are blended on compositions full of rhythm and visual noises.
Videoclips of electronic music (selection): videos directed by Chris Cunningham, Johny Hardstaff and others.
Modulations-Cinema for the ears (Iara Lee, 1998): "Modulations" explores the evolution of electronic music like one of the deepest artistic developments of twenty century. By means of the analysis of the compositions avant-garde, the sounds of Kraftwerk synthesizers, euro-disco (Giorgio Moroder) and electro-funk (Africa Bambaatta), "Modulations" celebrates the nomadic impulse of techno music. "Modulations" presents an impressive collage of interviews, radical visuals and live concerts.
El Flash de OFFF - Héctor Ayuso (video), Constanza Brncic (dance), Oriol Rossell (audio) and Bárbara Brncic (poems): this group from Barcelona proposes an interchange of disciplines that includes the use of the new technologies (motion graphics, digital audio) with "analogical" formats and sorts like the contemporary dance or the phonetic poetry, with the improvisation understood like starting point of the common work. This interchange of disciplines is translated in the autonomy of several creative cells formed by the different members from the collective.
Cambia de Banda: a producer of experimental music recomposes the soundtrack of a classic of the silent cinema, creating a new sonorous atmosphere and images of undeniable force. We selected "The woman in the moon" (Fritz Lang, 1929) because is one of the first films of science fiction that combines the scientific precision and a beautiful geometric construction with a powerful poetic feeling. The musical producer is Akasha.
Akasha dj: producer and Dj. He also works in the postproduction of sound for soundtracks of films and tv series.