To talk about Faust is to talk about one of the most influential formations
in avant-gardist music of the last forty years. Revolutionary explorers
of chaos and sonorous collage, transgressors of all labels, Faust has
always been an immense centrifuge of recycled "information" which is after
expulsed in the form of surreal audio, completely different to everything:
Stockhausen, Velvet Underground, dadaism, free jazz, technology, Frank
Zappa, concrete music, Tony Conrad, deconstruction rock, Sun Ra, La Monte
Young, electroindustrialism... and now in 2004 even hip-hop...; everything,
absolutely everything, digested and broken down by a free and anarchist
creativity, expansive to infinity in the objective of constructing sonic
tissues, audiocollages, which have influenced the experimental and electronic
music of the last decades.
An extensive need to explore characterises various of the more outstanding
names of German music during the seventies (the movement was baptized
as the Krautrock in accordance precisely with a theme of Faust that carries
the same title), which was headed -apart from Kraftwerk- by three notorious
and completely unique bands: Can, Neu! and Faust. Groups with completely
different styles but who shared a common attitude of transgression, experimentation
and creative freedom, being Faust by far the most radical regarding intentions
and sonorous results, leaving behind a legacy which has inspired the following
generations of unconformist musicians and no-musicians coming from punk,
rock, electronic, industrial music or noisy improvisation: Throbbing Gristle,
PIL, Swell Maps, Wire, The Fall, Cabaret Voltaire, Julian Cope, Sonic
Youth, Half Japanese, Jim O'Rourke, Spacemen 3, Loop, Pavement, Stereolab,
Tortoise, Cul De Sac, Kreidler, To Rococo Rot, etc, etc.
Nowadays the members of Faust are still true to themselves. They are more
independent than ever, working for their own firm Klangbad, opening their
music to the manipulation by remix done by artists such as the Residents,
Kreidler, Dave Ball & Ingo Vauk, Howie B., Daniel Miller & Gareth Jones,
Mathias Schaffhäuser, etc (the remixes CD "Freispiel", Klangbad, 2002),
and editing surprising and unpredictable CDs such as their recent "Derbe
Respect, Alder" (Staubgold/Klangbad, 2004): a joint album by Faust and
the North American industrial hip-hop threesome Dälek. Besides, they've
been able to reinvent themselves as a live group, with a show that can
only be seen occasionally at festivals and special events. The actual
members of Faust are: Hans-Joachim Irmler (organ, electronic), Lars Paukstat
(percussion), Michael Stoll (bass), Steven Wray Lobdell (guitar) and Werner
"Zappi" Diermaier (drums).
Friday 8th October - 22 h
Photos Faust (live Experimentaclub'04)
27 years have gone by since the creation of Tuxedomoon in San Francisco.
27 years since this collective of unique artists gave its first musical
steps, able to create a strictly personal sonorous language, magical and
hypnotic, easily recognized as it is endowed with a profound fascinating
effect, achieved through the mixture and experimentation with eclectic
references as the no-wave, punk, classical music, electronic, jazz, funk...
Combination and conjunction of references influenced by the view and attitude
of the post-punk, all wrapped up in live performances in a significant
multimedia concept where films, video, light and scenography always form
part of the final musical message.
Futurist, romantic, poetic, visionary, electronic and acoustic, using
rhythm boxes, violin, sax, minimal keyboards… Dark, surprising, endowed
with a huge inventive, Tuxedomoon has been since its birth towards the
end of the seventies, created by Steven Brown and Blaine Reininger, who
were soon joined by Peter Principle and Winston Tong, a group of cult
amongst the experimentation, the riskiest electronic and the less conventional
and unlabeled music circles. Since their first singles and maxis (like
that unforgettable "No Tears" of 1978), their first and mythic LP "Half-Mute"
(edited in 1980 by Ralph Records, label of the Residents) until their
return in this 2004 with their new album "Cabin In The Sky" (Crammed),
which recovers their fantastic ability to create a personal and fresh
sound inspired by Miles Davis, German electronic, Paolo Conte, Radiohead,
Debussy or Velvet Underground. The original members Steven Brown, Peter
Principle and Blaine Reininger, plus Luc Van Lieshout (who became part
of the band in 1985) and Bruce Geduldig (in charge of the visual performance),
return now lucid and full of artistic maturity with "Cabin In The Sky",
enjoying in the album the collaboration of those contemporary artists
who had always been close to Tuxedomoon's music: Tarwater, John McEntire
(Tortoise), Juryman, Marc Collin, Aksak Maboul and DJ Hell.
Saturday 9th October - 22 h
The Germans Kreidler have created step by step a personal sound that goes
far beyond their initial works in the orbit of post-rock. Their emotional
electronic, touched by that pop fibre so common in the German scene of
Cologne and, in their case, Düsseldorf, has evolved during these last
years into the creation of sonorous landscapes, cinematographic atmospheres
of baroque air.
With one foot in minimalism and the other in electronic pop, the threesome
formed by Thomas Klein, Andreas Reihse and Detlef Weinrich (remember that
the original bass player Stefan Schneider -To Rococo Rot- left the group),
has never ceased to explore new creative channels, presenting in each
new CD a constant need to enrich their music. That is the distance which
separates "Weekend" (1996) from "Eve Future" (2002): from German abstraction,
assimilating as pop the equation Can, Faust, Neu!, to elegant and poetic
Kreidler was born in Düsseldorf in 1994 combining conventional and electronic
instruments: Klein (drums), Reihse (keyboards, electronic), Weinrich (electronic)
and Schneider (bass, keyboards). Their first album, the already mentioned
"Weekend" (Kiff SM, 1996), presented them as a lucid revision of the Krautrock
legacy, updated and remodelled by the pop aspect of German electronic
music of the nineties. The truth is that being closer to Mouse On Mars
than to Tortoise, Kreidler created with "Weekend" a logic origin which
later on evolved with the pop-technologic progression of their second
CD "Appearance And The Park" (Kiff SM, 1998): the existing demonstration
which proves that sonorous investigation and experimentation are compatible
with functionality and concretion, in a parallel path of that taken by
groups such as Stereolab and in Germany, Mouse On Mars or Tarwater.
After the bass player Stefan Schneider (To Rococo Rot) left the group,
Alex Paulick took his place at the bass, and Kreidler re-evolve with the
edition of their third album: "Kreidler" (Wonder, 2000). Minimalism, ambient-pop,
repetitive and hypnotic melodies and some of the best themes they've ever
done are present in it, forming one of their best CDs.
After their collaboration with Chicks On Speed in the joint EP "Sessions"
(from 2000 although it was published in 2001), Kreidler edited in 2002
"Eve Future" (Wonder): or how the music of Bach and Kraftwerk, for example,
can be heard behind the organic sonorous plasma of static melodies as
beautiful as those in "Solaris" and "Circulus" or of compositions as cinematographic
and baroques as "Reflectuum".
Thursday 7th October - 22 h
Photos Kreidler (live
Born December 8th 1965 in Springfield, Massachusetts. At the age of about
five he moved to Indianapolis, Indiana. From 82-84 David Shea studied
composition and theory at the school of performing arts in Indianapolis
and at the Oberlin Conservatory from 84-85. Relocating to New York in
the mid 80's to perform and compose, he was drawn to the downtown scene,
improvising and collaborating and throughout the eighties worked as a
turntablist, vocal improviser, tape collager, club Dj and composer in
many ensembles and collaborations as well as performing solo multimedia
concerts. He most prominently became known for his work with John Zorn's
ensembles between 1986 and 1996. Writing extensively for dance and performance
projects he has worked with many choreographers such as Davis Freeman,
Maria Voortmans & Robert De Jong but most visibly with the work of Karole
Since 1990 he has concentrated on composed works for a variety of ensembles
and switched to electronics to focus on samplers and sampler based ensemble
works. Projects and performances have ranged from The Monte Carlo Ballet
to the Brooklyn Academy, The Spoleto Festival and The Rossini Festival
and productions for the Florence Opera Ballet, the BBC film "Wild
Ballerina", the film "Hall of Mirrors", etc.
His first album, "Shock Corridor" (Avant), was edited in 1992 and since
then he has published an ample discography with as outstanding works as
"Tower Of Mirrors" (Sub Rosa, 1995), "Satyricon" (Sub Rosa, 1997) or "Classical
Works" (Tzadik, 1999). Also he has published with other artists as remarkable
records as "Free Chocolate Love" (Quatermass, 2000) with Scanner.
Between 1999-2001 he temporarily based himself in Brussels (Belgium),
creating and touring extensively. David now has residency in Melbourne
(Australia) and he has started the record label Metta Editions. He continues
composing, making soundtracks and working in new projects based on sampler
like sonorous tool, creating collages with acoustic and electronic elements,
sampled of old recordings and sound effects. His works continues to explore
interconnections between classical traditions both eastern and western,
film music, experimental and club dance traditions, time periods and levels
of technology and intuitive performance.
Saturday 9th October - 19'30 h
Photos David Shea
The style of Austrian Christian Fennesz, whose most recent CD "Venice"
will be presented now in Experimentaclub'04, is found at the boundary
of contemporary music: at one side his ability as a conceptual laptoper,
on the other side his expertise as a guitarist (but without the instrument
itself), constructing between them a digital link where the melody and
the distortion get filtered, melting them together in layers of processed
sound. Guitar and computer create like that a dense and new electronic
language, magnificent and rich, of a great musical complexity, in which
the guitar's physical limits disappear reconverting it into a new instrument
full of possibilities when managing sonorous textures. A formula which
has been used by other artists but that has found in Fennesz, without
doubt, its best exponent. Amongst other things, because he's always had
the talent of never falling for the obvious clichés of the easy
and typical computer experimentalism, instead he has provided his compositions
with a very special sensibility, a naturalist optic, organic and personal
when manipulating frequencies and sound sources.
His last CD with completely new material, "Venice" (Touch, 2004), is a
denser and more atmospheric work than his acclaimed "Endless Summer" (Mego,
2001), in which its luminosity is now transformed into a much darker and
introspective sound. "Venice" shines with David Sylvian's presence in
the theme "Transit" (Fennesz had worked before with Sylvian in his CD
"Blemish") and the Austrian Burkhard Stangl at the guitar in the themes
"Circassian" and "Laguna".
Apart from his career as a soloist, Fennesz has always taken part in many
projects with other artists, such as Fenn O'Berg, with Jim O'Rourke and
Peter Rehberg, with two CDs edited by Mego: "The Magic Sound Of Fenn O'Berg"
(1999) and "The Return Of Fenn O'Berg" (2002). He has also worked with
David Sylvian, Rosy Parlane, Sparklehorse or Keith Rowe (AMM).
Thursday 7th October - 19'30 h
Photos Fennesz (live
So is without a doubt one of the most gratifying and attractive musical
adventures offered by the recent electronic panorama. It's a revitalizing
breeze, with a radically free creativity, carrying a strange and surprising
seduction. So is a joint project of Markus Popp (Oval, Microstoria) and
the Japanese Eriko Toyoda, created in 2002 from the revision and reconstruction
of a large collection of songs recorded previously by her in Japan. Soon
this work procedure of manipulating records developed into a whole new
project, different to the sonic coordinates traced in Oval, in which the
subterranean melodies and the harmonic noise guide the voices and guitars
of Eri across Markus Popp's technologic chassis. They reach an organic
sound, free, dynamic and changing, surprisingly fluid considering the
"opposition" of their different musical planes. In reality, So functions
as a perfectly equilibrated group: Toyoda provides the emotional material
(of a fragility and delicacy that always seems on the verge of disintegrating),
whilst Popp filters and distorts it digitally and both of them process
and edit it.
Everything gets reflected with the freshness and vital sensation of the
"instant", in their magnificent and surprising debut CD: "So" (Thrill
Jockey, 2003). It started being recorded a year before and the material
finally found in the album is the momentary result of a continuous work
of re-recording, without an obvious end... Something like free pop...
Here, everything flows expanding without constraint: the melodic lines,
the voices (natural and processed) and the guitars that enter and exit
brushing the limits of the digital electronic, the harmonic layers of
noise... and they do it as the music becomes slower, with the cadence
of sound continuously decelerating.
The album, formed by ten themes lacking a title, with a CD cover created
by the Japanese designer Katsumi Yokota, presents Popp occupying the appropriate
role of artistic director. Maybe because he acts as an intuitive sonorous
manipulator, endowing each theme with a particular succession of always
unpredictable audiotreatments. In fact, each piece gets broken down into
several others, cutting it, going back to the starting point, retaking
the initial melody, dissolving in a mixture of noise, breaking down again…
With a convulse and chaotic beauty, strange and at the same time accessible,
which can without doubt be described as pop music: trash, distorted, brilliant,
delicate, anarchistic, static and dirtily surrounding...
Wednesday 6th October - 19'30 h
Photos So (live Experimentaclub'04)
jason forrest/donna summer
Jason Forrest (known as Donna Summer and forced to sign now as Jason Forrest
/ Donna Summer due to legal reasons which we can all imagine) is an absolutely
unique and unclassified character from New York. His sonic manoeuvres
come from a laptop, previously corrupted by the most incredible sample
selection one can imagine, they oscillate between pure sabotage, deconstruction,
free appropiation of everything which resembles the pop culture and a
perverse performing sense... With this attitude, connected to rock'n'roll
and to the less scrupulous terrorism, his live performances are impressive.
Forrest / Summer mixes most conventional rock (pure AOR to speak clearly),
disco music of the seventies, trash metal, electroacoustic experiments,
progressive rock, free jazz, classic rock, white noise... and the final
result of this cocktail is an electronic bulldozer without brakes banging
the brain of every member of the audience. Without mercy. With a maniacal
instinct. And the same occurs when listening to his last CD: "The Unrelenting
Songs Of The 1979 Post Disco Crash", edited in this 2004 spring by the
German label Sonig.
All this incredible sonorous lecture has been exposed throughout the last
three years in the form of singles and maxis ("Popxplostion", "Fluxus,
Inc.") and three CDs: "To All Methods Which Calculate Power" (Omeko, Japan,
2002), "This Needs To Be Your Style" (Irritant, United Kingdom, 2003)
and now, the CD mentioned above, "The Unrelenting Songs Of The 1979 Post
Disco Crash" (Sonig, Germany, 2004), in which samples of Talking Heads,
Who, Creedence Clearwater Revival and Elton John, amongst others, combine
with broken microsequences, various epilepsies, cuts, broken loops, accelerations,
noise, clicks... and, of course, guitar solos.
Wednesday 6th October - 22 h
Photos Jason Forrest
/ Donna Summer (live Experimentaclub'04)
chris clark (visuals
by matt burden)
The British Chris Clark (Warp Records) has proved with his last work "Empty
The Bones Of You" (2003) his position as one of the more creative and
eclectic figures of the recent electronic panorama. His combination of
digital clicksounds with a synthesizer's organic sounds, of abstraction
and darkness, with a melodic progressive treatment of his music, create
a tense and brilliant electronic mosaic that escapes every cliché: from
atmospheric to the denser rhythmical complexity, of environmental passages
full of dark beauty to fulminant spirals of metallic percussion…; everything
fits in the sonorous organic world of Chris Clark.
Born in Bristol, but living now in Birmingham, Clark made his debut in
2001 in Warp Records with "Clarence Park", a CD full of cold rhythmic-synthetic
pulses in the orbit of the most abstract intelligent techno, but already
with differentiated melodic touches drawn over its complicated rhythmic
The EP "Ceramics Is The Bomb" (edited in May 2003) served as a bridge
previous to the definitive range of sonorous possibilities opened by Clark
with his magnificent "Empty The Bones Of You", in which themes such as
"Holiday As Brutality", "Early Moss" or "Tycan" are specially outstanding.
In between the electrocuted creak, the polyrhythmic earthquake and the
In Experimentaclub'04 Chris Clark will offer a live show with visuals
by Matt Burden.
Friday 8th October - 19'30 h
Photos Chris Clark
Günter Reznicek is Nova Huta. A unique character: he, his Casio keyboard
and what he defines as "datschadelic music". All in one. A showman and
at the same time a sonorous investigator. Creator of unstoppable, magnificent
and subversive songs that could be defined as gum-robot-pop-disco-electro-dada
and at the same time a musician with a long history in noisy experimentation
and in the most radical electroacoustic. In order to understand this properly
Hamburg's influences in Reznicek must be emphasised. Hamburg is a city
which has an important concentration of the freakiest electronic music
with a crazy micro-scene of pop retrofuturism and experimental sonorous
agitation which revolves around unique characters such as Felix Kubin,
the visual artist Mariola Brillowska, Gunter Adler, Tim Buhre (Klangkrieg,
duo with Felix Kubin), Reznicek himself or the labels Gagarin Records
(Kubin again) and Storage Records.
Before starting Nova Huta in 1998, Günter Reznicek already had a long
career, which started at the end of the eighties, working in the field
of concrete music, composing a great number of sonorous pieces and combining
acoustic instruments (he also plays the guitar) with electronic ones.
In 1996 he edits his first CD as Reznicek: "Stube" (Odd Size, 1996). That
same year he works with Klangkrieg in a joint LP, "Allergie und Gegenwelt"
(Wachsender Prozess, 1996). Since then he has collaborated actively with
Felix Kubin, Klangkrieg and Mariola Brillowska, painter and multimedia
artist with whom he has worked in montages such as "Las Vegas Show" or
"Grand Prix D'Amour" (porno karaoke show).
In 1998 he starts two new projects: Nova Huta (electropopshow lo-fi via
Casio) and Groenland Orchester, electronic duo with Jyrgen Hall, aka Gunter
Adler, with two published CDs: "Trigger Happiness" (Staubgold, 1999) and
"Nurobic" (Staubgold, 2001). Regarding Nova Huta, his first album as such
appeared in 1999 with the "eloquent" title of "At Bambji Robot«s Nonstop
Datscha" (Storage Records) containing eight pills of genuine "datschadelic
2004 has been the year of Nova Huta's return. His last record, "Here Comes
My Seltsam Voice" (edited by the Portuguese label Variz), is a fiesta,
a sonorous show with its dose of cosmopolitan glamour (sang in three different
languages, including Portuguese, by voices serving the "datschadelic"
universe), with the usual strokes of casiopop, robotic lounge and martian
Wednesday 6th October - 21'15 h
Photos Nova Huta (live
The Danish Jonas Munk (Manual) has already been several years manipulating
ethereal, gliding pop-electronic compositions. It was in 1992 when he,
along with Jess Kahr and Jakob Skøtt, created Limp (formation which includes
Rasmus Rasmussen as well). Limp, combining traditional instruments (bass,
guitar, percussion), keyboards and electronic (both analogue and digital),
inspired by Brian Eno and the post-rock scene generated halfway through
the nineties in Chicago by groups such as Tortoise, although they've also
gone through the filter of My Bloody Valentine and of ambient pop which
distinguishes a good part of the artists that have gone through Morr Music.
It was in this firm where they edited the CD "Orion" (2002): lo-fi rock
+ lo-fi electronic giving a very special sound to their expansive compositions.
In his role as Manual, Jonas Munk incorporates clicks, digital treatment
and minimalist rhythms to his guitar and to deep atmospheric sound. The
narcotic melodies placidly take place floating over fractured beats and
microelectronic structures. "Until Tomorrow" (2001), his first album,
edited in Morr Music, is a CD which captivates the listener with its static
melodies: from the initial "Nova" to "Tomorrow", including the rhythmic
complexity in which "It'll Be Fine" takes place or the multiform electropop
In his next CD, "Ascend" (Morr Music, 2002), Manual expands the themes
even more in great bags of reverberation and depth. There is a practically
monumental sound in "Astoria" or "Out For The Summer" and escapist in
"The Distance". With an incredible sense of space similar to the open
landscapes of the CD covers: skies, horizons, clouds, sunsets… Already
in 2003 "Into Forever" is released, discographic collaboration between
Icebreaker International (Alexander Perls) and Manual edited in Sound
Of A Handshake, subcompany of Morr Music. And, a new album by Manual is
also edited at the time, "Isares" (miniCD, Static Caravan, 2003), which
opens with the extensive ambient progression of "A Familiar Place".
"The North Shore: Bliss Out v.20", under the name of: Manual with Jess
Kahr (also from Limp), in Darla Records, is for the moment his last work.
Thursday 7th October - 21'15 h
Photos Manual (live Experimentaclub'04)
German Felix Kubin is a unique character in todays electronic scene. He
was the other half of the german duo Klangkrieg (noisy electroacoustic),
and has created a personal universe in the shape of pop and science-fiction,
manipulated noise, animation films, radio programs and any possible form
of visual-sonic experimentation. In 1998 he created his own label (Gagarin
Records) as a vehicle to extend his electroacoustic experiments and his
electronic martian Pop (that he had practiced in the eighties with his
group Die Egozentrischen Zwei).
Born in Hamburg in 1969, Kubin was very active from the beginning of the
eighties in the areas of music and experimental performing, comic, video,
animation films, etc. A natural born "mind shaker", Kubin was between
1992 and 1994 member of the Socialistic Dada Party KED (Kommunistische
He has published together with Günter Reznicek and Thomas Beck the magazine
Odradek dedicated to electroacoustic and electronic music; and he has
created a radio program ("Radio Gagarin") about experimental music.
His music produces a mixture of electronic rhythms, noises and sci-fi
pop melodies that combine old and modern technology. Mad while intelligent
retrofuturism with notable works such as "Filmmusik" (1998), his mini-CD
"Jet-Lag Disco" (2001) or his new album: "Matki Wandalki" (A-Musik, 2004).
Felix Kubin, who performed in Experimentaclub's last edition with an impressive
success, returns this year as a "martian" Dj to close the festival with
one of his abracadabra sessions... It can't be missed.
Sunday 10th October - Dj - 21 h
Photos Felix Kubin
The Argentinian Pablo Reche stands out for his extreme use of noise as
an aesthetic-expressive element, with a personal style that includes elements
from the environment and from post-industrial sound to reach isolationism.
The sonorous materials originate usually from recordings of natural environments,
and from synthesizers and short-range radios, to reach through the sampler,
processors and multitracks, to the desired "sonorous landscape".
As Victor Nubla says: "Pablo Reche's music explores the electronic
field from multiple perspectives: an emotional one, where the textures
and silences play the role of links with the listener's intimacy; another
where the disarticulation/articulation of noise as a living element, in
transformation; and another one, one more dynamic and surprising, where
a real composing talent can be found. With the work of this musician,
electronic music acquires the texture of other more physical styles of
music whilst it submerges in totally inedited universes".
Reche's first CD, "Gira" (Gracia Territori Sonor/Zanfonia, 2000), of Spanish
edition and presented in a live performance at Sonar festival, worked
as an exploration of electronic sounds oscillating between different planes
and exploiting freely between seas of silence. An introspective work,
full of dynamics and intensities in constant vibration.
Since then he has published lots of sonorous material. On his own, quality
CDs such as "Constelación" (Ecodiscos, 2000), "Granular" (Frágil Discos,
2002), "Paisajes" (Aerodiscos, 2003) or "Navegando por el mar del ruido"
(Dreamland Recordings, of Australian edition, 2003). But he has also worked
with other artists such as Cornucopia ("Nebula 9.3", Testing Ground, 2003)
or Bokor (in his recent "Dialogue", Dreamland Recordings, 2004), besides
many themes included in compilations.
Friday 8th October - 21'15 h
Photos Pablo Reche
the evolution control committee
The Evolution Control Committee or the sonorous looting, the free appropiation
taken to the ultimate extreme and changed into a transgressor show. Since
Columbus (Ohio, USA) tradeMark Gunderson is transformed into a human sampler
to loot, mutilate, deprive, cut and paste decades and more decades of
"sonorous information". And he does it with the mentality of a lunatic
scientist locked up in his laboratory to create his particular Frankenstein.
In this case, the sonorous Frankenstein generated by Gunderson is much
more than a simple collage: it is an strategic shot to the heart of copyright.
With similar premises to those used by other appropiationists such as
Negativland or People Like Us, The ECC is a destabilizer, subversive and
creaking project, which also has a theoretical and practical sense of
humour, absolutely lethal.
The Evolution Control Committee (tradeMark Gunderson) is a "band" but
it is unlike any other. There are no drums, no guitar, no bass… there
is not even a synthesizer nor a sampler. The ECC play in its live shows
with an equipment created specially for their performance, with the purpose
of giving an original and unique experience to the audience. The equipment
is controlled by a new "instrument" patented by The ECC: the Thimbletron...
To imagine it, visualize a show created by the mad scientist mentioned
before, with eccentric gloves in his hands and ten thimbles (yes, the
ones used for sewing) in his fingers, connected through cables to a digital
interface so that they work by "shooting" the audio. A shocking image,
without doubt. In the purely musical, The ECC makes Public Enemy fight
against Herb Alpert and The Tijuana Brass.
Fun without being comic, electronic without being techno, intelligent
without being arty, really The ECC is a perfectly coherent madness whose
first big step was the release in 1994 of "Gunderphonic", a mythic cassette
now available in its integral version in MP3. Since then, 7" as "The Whipped
Cream Mixes" or "Rocked By Rape" and CD-Rs as "Unreleased Ambient Works",
besides a great number of themes included in compilations throughout the
world, have been aperitifs of their magnificent "Plagiarhythm Nation v2.0"
(Seeland / ECC, 2003), sonorous accident that will remain a classic of
the sabotage in form of cut-up.
Saturday 9th October - 21'15 h
Photos The Evolution
Control Committee (live Experimentaclub'04)
io casino & vj edrok
Born in Andorra but living in Barcelona, Io Casino, of autodidactic formation,
has dedicated herself to plastic art and to her voice since she was little.
Her first exposition as an artist took place when she was twelve. At sixteen
she worked with films as creator of special effects with make-up. She
worked in classic recording during two years with Manel Viusà (member
of Dau al Set). In 1996 she became part of the Gràcia Territori Sonor
team, which organizes the Festival LEM (Barcelona) and which she actually
Musically she has formed part of many projects such as the threesome Leonidas
(with Victor Nubla and Antón Ignorant), NublaFelizPezZush + Casino, Dedo
(with V. Nubla, which edited in 2003 its first CD called "Momento Cero"),
etc. Regarding her work as a soloist, Io Casino has already published
three CDs: "Io Casino" (CD, Zanfonia / Gràcia Territori Sonor, 1999),
"Mundo das ferramentas" (CD, Gràcia Territori Sonor, 2001; with the collaboration
of Kasper T. Toeplitz, Francisco López, Tibetan Red, Josep Gimenez and
Victor Nubla) and "Cicalà" (CD, Icones, 2003). The evolution of her sound,
exposed throughout her discography, has taken her from long evolutive
compositions to some form of post ambient-muzak zen of her first CD, based
in the electric bass, with a repetitive chain of paused sounds, buzzes
and scratches, to exploring the composition with a computer and to introducing
voice as a substantial element, already present in her third album "Cicalà",
made up of three sonorous creations that capture the profound listening
through hypnotic developments and some surprises.
In 2004 she has done a tour through alternative places in Switzerland
and Germany, joined by RealJesus and Krankenzimmer204.
In Experimentaclub'04 Io Casino will perform with Vj Edrok, videojockey
member of the Rotok collective.
data - www.rotok.com
Friday 8th October - 20'30 h
Io Casino & Vj Edrok (live Experimentaclub'04)
The music of Strand (Miguel Gil, Madrid) is the result of audio manipulations,
produced mainly by real instruments (guitars, wind instruments, violins…),
processing them digitally and placing them is software surroundings such
as Reaktor or Max/Msp. All of it is considered a process of search where
the possibilities of the software to create emotions and beauty from the
materials and tools of the riskiest music is explored.
Besides the material included in diverse compilations ("Upload Folda"
and "Download Folda" from the Plataforma-ltw, Sónar 2003, Zona de Obras
nº36 or "POPvolume#4" of Popnews), Foehn Records edited in 2002 the CD
"Domestica_04", signed jointly by Polaröide_Strand, a surprising work
of sonorous minimalism and melody, complex and fascinating.
His first CD as Strand is "Paz" (Foehn Records, 2003), a brilliant exercise
of risk where digital elements and nature coexist, along with acoustic
instruments and programming, in order to endow content and conscience
to the purely synthetic. The result is a juxtaposition of opposite environments
that meet and separate, in between calmness and sonorous hostility, creating
an organic album full of different shades and pop-experimental orientation,
which places him amongst the most interesting artists of the electronic
Strand works as well in the visual field with similar arguments to the
ones included in his music, manipulating real images with modular programming
languages such as Jitter and creating like that a visual synchronized
with sound response.
Wednesday 6th October - 20'30 h
Photos Strand (live Experimentaclub'04)
An autodidact multi-artist, Eli Gras (Barcelona, 1971) is founder and
editor of La Olla Expréss (an editorial and of artistic production project)
and she has always combined her literary abilities with her musical ones.
Under the first, she has published two books: "Cuentos de la Olla Expréss"
and "Queridos Objetos y otras Poeprosas". In the world of music, she has
walked a long way through experimental music, rock, minimalism and electronic.
She has formed part of OBMUZ (with Alain Wergifosse and Quico Samsó),
Elio (with Io Casino), the improvisation group Sant Bonobo Orquesta (with
Wergifosse, Rosa Arruti, Ferran Fages, Miguel Ibáñez, Alfredo Costa Monteiro,
Jakob Draminsky, etc) and has taken part in several projects of Alain
Wergifosse. Actually she is part of the Laptopless Orquestra and the electronic
duo Motor Combo (with Florenci Salesas). As Eli Gras she has published
her first CD: "Baranda" (La Olla Expréss, 2003).
Her music plays with improvisation and with the use of electronic instruments
combined with instruments invented by herself, toys, prepared guitars,
diverse artefacts and other instruments such as the bass or flutes. Like
she herself explains, her music has a nearly animistic philosophy, using
materials which gain life and express themselves with their own language,
all this through her hands and using electronics as a sound processor.
Thursday 7th October - 20'30 h
Photos Eli Gras (live
les moines frères
LMF (Les Moines Frères) is a duet formed by the French Ibongo and K.oz'n.
This last one, as Mxr Koz'n, forms part as well of Mafucage (Paris), a
musical collective of women grouped with the idea of breaking the limits
of styles, such as the electroacoustic, dub, breakbeat, techno, industrial
and experimental, with many participations in festivals and free parties.
Also Mafucage created in 1997 the association "Le Cri du Silence", sonorous
study and laboratory for female composers.
Musically LMF (Les Moines Frères) play long hypnotic themes, they distort
sounds over minimalist bases, playing with the repetition, voices' loops
and layers of noise that overlap one another continuously. Electroacoustic
and minimal trance that melts industrial metal, electro, pre-recorded
and sound effects, creating atmospheres that creep inside the brain of
Since 1997 LMF actively supports in France, England, Italy, Spain and
India, the celebration of teknivals (free raves). Their first CD, "Mordu"
(CD, Vision Musicale / Subversion, 2001), is composed of a unique sonorous
piece in which its seven themes appear as one. Their new CD, released
recently, is "Core ^ Corps" (Le Cri du Silence).
Saturday 9th October - 20'30 h
Moines Frères (live Experimentaclub'04)
diego a. manrique
Diego A. Manrique is an unquestionable name of reference inside Spanish
music journalism, both written and through the radio and television. With
an exemplary career which has lasted more than thirty years now, Manrique
is known for his eclectic taste, based always in the defence of creative
quality music, and set with the important role of expanding the work of
the less known artists.
His journalistic career began in the weekly Triunfo. His first steps in
the musical radio took place in radio stations such as Onda 2, Radio 1
and Radiocadena Española. His firm was present in publications such as
Disco Express, Vibraciones, etc. He also directed the document "Historia
del Rock" published by the newspaper El País and the first stage of the
magazine Efe Eme. He has always been connected to Radio 3 since its start
towards the end of the seventies. There, he directs and presents the programme
"El Ambigú" since 1992 (elected best radio programme in the 2000 edition
of the Premios de la Música and awarded an Ondas in 2001).
In television his name was associated as scriptwriter or director to programmes
such as "Popgrama", "Caja de ritmos", "Pop qué" or "FM-2".
Also outstanding is his work giving conferences and as author of historical
books regarding rock and roll and popular music of the last fifty years.
Nowadays he continues exercising his journalistic work from "El Ambigú"
(Radio 3) and writing regularly in El País, Rolling Stone, etc.
As a Dj he performed frequently in the Suristán club of Madrid and has
developed very special sessions characterised with his taste for the most
variable and surprising mixture: exquisite pop, punk, rock, electronic,
Sunday 10th October - Dj - 19'30 h
Photos Diego A.
Manrique (live Experimentaclub'04)
The musical start of Darío Moratilla (DJitter) took place in 1996, year
in which he initiated both as musician and Dj, centred in a very special
way in the exploration and generation of sound and the integration in
his creations, marked for the unconventional use of the software, the
free appropiation, musical abstraction and the manipulation of daily noises.
He has published several references, such as D. Moratilla and Games Addiction,
and he has created his own experimental music editorial called Grain Size.
As a Dj he has always been very interested in the concept of taking experimental
music to the dance floor. In order to achieve this, he uses unconventional
instruments (laptop and minidisk) with real time signal processes and
vinyl loops, combining these bases with his own sounds and pieces to finally
create something completely new and different.
Saturday 9th October - Dj - 19 to 22 h
Photos Djitter (live
Musician, Dj, techno-anarchist, creator of musical environments, skater...
Dj Amsia (Euskadi) constructs his sessions and music placing together
sonorous pieces, prefabricated or created at the moment, joining them
with the intuition of the unique and unrepeatable instant as an instrument,
and chaos as a field full of possibilities. Order and disorder, ambient
sessions and sonic expansion.
He formed part of Elvis Terrorista Zen and he has developed an intense
collaboration with the Corsal Desastre. As a soloist, he recorded a few
anthologies, such as "Arritmia", and he also included a theme in the last
volume of the "Basque Electronic Diaspora" compilation. He has taken part
in festivals such as Ertz 2003 and Confuencias 2004.
Thursday 7th October - Dj - 19 to 22 h
Photos Dj Amsia (live
This threesome is a consequence of the temporary fusion (its first appearance
occurring on this edition of Experimentaclub) of Immer Fört and G Mw.
In their unpredictable audioperformance, they will be accompanied by a
great number of sonorous artefacts (some more than others). It will be
a pleasing journey across different latitudes, unexplored, thanks to others'
Friday 8th October - Djs - 19 to 22 h
Photos Immer Moff
onda sonora radio (experimental
Onda Sonora was born as a radiophonic project in 1999. Its responsibles
are César Pradíes and Carlos Manzano.
Onda Sonora is defined as an open and experimental musical session, due
to its constant desire to renew itself and to diffuse the riskiest sounds,
the most marginal tendencies or the most personal works. Onda Sonora isn't
the usual musical programme. There is no "top 10". Onda Sonora is directed
towards the attention of the anxious explorer/listener who seeks information
about the avant-gardist artistic and musical context of our time.
Onda Sonora is emitted in Madrid in Radio Círculo all Wednesdays from
3 to 4 p.m. It can also be listened to through its web page.
Sunday 10th October - Experimental Radio Session
- 18 h
Sonora Radio (live Experimentaclub'04)
be turbio . anarqera . lost in
Be Turbio, Anarqera and Lost In Heaven will perform independently, each
with its own one hour session.
A beginner Dj, recycled from the architectural world, whose proposal is
to "learn to believe in your ears, dispensing of visual interpretation
to listen to the sound or lyrics". Composing against sound, going
against its "natural" movement. Composing with the "other compositions"...
Recently he is in charge of closing the sessions in a bar of Malasaña
(Madrid). His perfectionism induces him to insist, week after week, with
a formula that combines the most extreme mechanicalness with the most
lost in heaven:
After dedicating himself to conceptual art during a few years, Javier
Montero plays now with the mechanisms of control and generation of common
reality, which affect language, perception and communication. Amongst
other projects he has published the book "Guerra Ambiental" and he produces
many visible and invisible sonorous experimentations.
Wednesday 6th October - Djs - 19 to 22 h
Photos Be Turbio (live
Photos Anarqera (live Experimentaclub'04)
tag magic's visual circus
Tag Magic's Visual Circus is a project of Esther Berdión and Jaime Munárriz.
Both have been working for several years with projections, video, photography,
graphic imagery and sound in movement in diverse audiovisual projects,
using in this occasion videojockey tools and pre-recorded animations.
Inside the collective of Experimentaclub they developed the show "Laboratorio",
union of electronic improvised music, scenography and animation visuals
created with a computer, all shown in the book-CD of the same title edited
in 2001 by El Europeo.
They've exhibited paintings, photography and installations in galleries
such as Moriarty, Villalar, La Kábala, Siboney and El Ojo Atómico.
They've also created animation videos for Superelvis, 3D with movement
capture for B. M. Patino, virtual scenography for Gerardo Vera, graphic
design and illustration in diverse media.
Jaime Munárriz is also a musician and Dj. He actually forms part of the
group of electronic minimalist music Druhb.
Wednesday 6th and Friday 8th October - Visuals -
19 to 22 h
Photos Tag Magic's
Visual Circus (live Experimentaclub'04)
The German visual artist Jan Mathias Steinforth, born in 1977, has a long
history in the graphical world and in multimedia projects. Apart from
his work in Germany, he is specially connected with the artistic scene
of Madrid, city where he has lived for some time, working frequently in
our country in publications like Belio Magazine.
He performs sessions as a Vj since 2002, using the name of Mateuniverse.de,
similar to his web page (which offers a good view of his graphic work:
www.mateuniverse.de). He has
taken part in many events and festivals of both music and electronic art
in Germany and in Madrid, where he was present last year in the Mirador
03 project. He has also collaborated in other occasions with Experimentaclub.
His style is very graphic/typographic. The visual elements open the space
and create an atmosphere that supports the music, in a shocking synchronization
of image and rhythm.
Thursday 7th and Saturday 9th October - Visuals
- 19 to 22 h
The multimedia artist Nikky Schiller (Madrid) has a very personal view
regarding the audiovisual. Her electronic images combine with the music
in a synchronized rhythm. Form and content mix, expressing an uncomfortable,
but plastic attitude.
As a Vj she has performed for techno clubs sharing session with Djs of
acknowledged international prestige, such as Luke Slater, Green Velvet,
Max (Tresor), Pacow and in the national panorama with Hd Substance, Leandro
Gámez, Pilas, Xpansul, Mendoza, Elesbaan, Muerto, Pelacha, etc. She has
taken part in festivals and events, as the Festival de Cortos de Majadahonda,
the Festival de Arte Electrónico de Cáceres, or the Festival de Cine de
She has done visual montages for Big Toxic with his last CD of drum&bass
"Moneyland", Fangoria, César Saldivar, etc. She has also worked with publicity,
short movies, videoinstallations...; this has enabled her to be in contact
with the world of images from different perspectives.
Member of Dirty Princess, she is also in charge of the montages which
are full of rhythm and contents, both for live performances and video
In this way Nikky Schiller combines the images with the rhythms of the
dance floor. Erotic themes, postciberpunks, set the rhythm and wake up
Sunday 10th October - Visuals - 19'30 to 22'30 h
Photos Nikky Schiller
Intervocálica is a traveling program of contemporary poetic practices
that starts from an open and modern way of understanding poetry and wants
to show the different possibilities of todays poetry using sound and images
and interacting with music and dance.
Intervocálica, which resulted an important success in the 2003 edition
of the Experimentaclub festival, is considered this year as independent
inside the Experimentaclub'04 official programme, allowing two days for
the sole enjoyment of the world of words.
The offer is widely assorted but all have in common the direct contact
with the audience and the search of new ways of expressing words and gesture.
The poets at the festival represent the many possibilities that poetry
offers nowadays, moving in between avant-garde and tradition, performance
and recited words. The intention is to get poetry out of its reduced circle
and invite the curious to join the world of words.
Different international festivals, in cities as Vienna, Berlin, Barcelona
and Rome, show the vitality of poetry, a XXI century form of literature
that closes the era of the hermetic book. Poetry and polipoetry, new experiences
for curious people who want to know new paths and who haven't necessarily
been in poetry events before.
The two sessions of Intervocálica.exp also include the projection
of the film "Cravan vs Cravan" (Isaki Lacuesta) and the video "Poesía
en vivo en Barcelona (1991-2003)" (Habitual Video Team).
Saturday 2nd October - 18 to 22'30 h / Sunday 3rd
October - 19 to 22 h
With the collaboration of Propost.org - http://propost.org
Programming: Eduard Escoffet
John Giorno, the originator of Spoken Word and Performance Poetry, is
one of the most influential figures in the world of contemporary performance
In 1965 he founded Giorno Poetry Systems, innovating the first use of
technology in creating poems, and communicating poetry to audiences. As
record label, Giorno Poetry Systems has created an amplest and exquisite
catalogue of records and videos in which the poetry is mixed with rock,
jazz and avant-garde music. In 1968 Dial-A-Poem was created: poetry
by phone that was enormously popular in the United States. But the intense
activity of Giorno has also taken to him to be actor (in 1963 was the
protagonist of the first film of Andy Warhol: "Sleep"), graphical artist
(Poem Prints) and eternal activist: in 1984 he started up the AIDS
Treatment Poject, helping people with AIDS by giving cash grants for emergency
John Giorno has collaborated with as significant artists as Allen Ginsberg,
Philip Glass, Patti Smith, Frank Zappa, Laurie Anderson, David Byrne,
Francis Bacon, Lydia Lunch, Robert Rauschenberg, Sonic Youth, John Waters,
Robert Wilson... And, of course, his friend William Burroughs, whom he
knew in 1964 and he accompanied until his death.
Saturday 2nd October - Intervocálica.exp
Photos John Giorno
(live Experimentaclub'04 - Intervocálica.exp)
Poetic duo constituted by Rafael Metlikovez (Canovelles, 1964) and Xavier
Theros (Barcelona, 1963) who since the start of the nineties have created
a revolution in poetic recitals and accomplished to take poetry to unimaginable
places. They've taken part in so many recitals that they can't be counted,
and it is during their live show where the real force of this duo is uncovered,
with impressive texts and a magnificent performance. They've also published
a CD called "Polipoesía urbana de pueblo" (Por Caridad Producciones,
1996), with a first edition that got sold out in no time, and more recently,
a book called "Todos tenemos la razón" (La tempestad, 2003),
where they've compiled their poems, their two conferences (the first about
García Lorca and the second regarding bachelorhood) and comments about
their career, one of the most unique originated in Barcelona. Accidents
Polipoètics, with its amusing and acid side, have also resulted in being
one of the more creative contributions to Spanish sonorous poetry.
Sunday 3rd October - Intervocálica.exp
Accidents Polipoètics (live Experimentaclub'04 - Intervocálica.exp)
Action poetry / Occasion poetry.
Onophon is Werner Nowacek and Rainer Deutner. In May 2001 they founded
their phonetic decoration text factory Onophon, which combines elements
from literature, theatre, music and spoken word performance. Using a cappella
techniques, Onophon rhythmizes and improvises everyday speech patterns
and submits language to pronounciation until it rhythmically refracts.
For non-German-speaking audiences Onophon presents pieces with particularly
strong sound associations, pieces which contain different languages and
the duo gives extra information about its work. Further levels of communication
are being added through various forms of visualisation (movements, photos,
illustrations, text inserts).
Onophon has performed in festivales like Maulhelden (Berlin) or the German
International Poetry Slam (Hamburg). Their last spectacle is called "Glottal
Saturday 2nd October - Intervocálica.exp
Photos Onophon (live
Experimentaclub'04 - Intervocálica.exp)
Born 28th October 1971 Cape Town, South Africa. Tracy Splinter has developed
from 1998 a very intense poetic activity, participating in festivales
and poetry encounter worldwide. In March of 2001 she published the CD-book
Dramatic rhetorical poetry and poetic prosodic prose. Emphasis on imagery
and sound qualities. Work aspires toward the three dimensionality of language:
significance and meaning via syntax, rhythm, metre and articulation. Themes
involve exploring the antagonistic and the dissociative, perversions of
the ego-centric lonely modern self, occupation with the psychological
processes as a physical/sensual experience, the process of poetry-making
and language conceived both as palpable and metaphysical communication
mode, the death of coherent language in its endeavours toward successful
communication, rebirth of a new approach towards reductionism maximised
through repetition in linguistic production.
Language is subjective, strongly rhetoric, dramatic. Unconventional metaphors
and an intense preoccupation with sensuality and intellectuality. Poetry
performances involve audio-visual poetry installations, action poetry
happenings, poetry as celebration with ritualistic aspects. Happenings
are sensual, outspoken.
Sunday 3rd October - Intervocálica.exp
Photos Tracy Splinter
(live Experimentaclub'04 - Intervocálica.exp)
Lesego Rampolokeng (Soweto, South Africa, 1965) is one of the most acknowledged
and compromised actual African poets. He is an involved voice that shakes
the audience with a verbal fire, consequence of his experiences. He holds
strong influences from the Jamaican Dub poetry of authors such as Linton
Kwesi Johnson and Mutabaraka, from the rap of the North American and English
suburbs, from the poetry that emerged in the streets of Soweto during
the seventies and from elements of the traditional African spoken literature.
Besides, it's important to emphasise the fact that he is considered one
of the few existing city poets, in other words, poets profoundly influenced
by their life in big cities. Since the nineties he begun being acknowledged,
specially in Europe, where he has performed frequently. His main published
works are "Horns For Hondo" (1991), "Talking Rain"
(1993), "End Beginnings" (1993, CD with the Kalahari Surfers)
and "Rap Masters Supreme - Word Bomber In The Extreme: Lesego Rampolokeng"
Saturday 2nd October - Intervocálica.exp
Rampolokeng (live Experimentaclub'04 - Intervocálica.exp)
Poet and cultural agitator. He has practised diverse poetic forms (written,
visual, oral, performance…), although lately he has centred in sonorous
poetry and live recital. Cofounder of the Projectes Poètics Sense Títol-Propost.org
and actual responsible of the Proposta poetry festival, which takes place
in the Centro de Cultura Contemporánea of Barcelona.
His poetic work is a defence of the spoken word and direct contact with
the audience. Besides giving numerous recitals in Barcelona inside the
underground scene, he has participated in sonorous poetry festivals in
France, Portugal, Belgium and Italy. During these last years, he has worked
with the pianist Josep-Maria Balanyà, the improviser Walter Thompson and
the dancer Rosa Muñoz, amongst others.
He doesn't make books.
Saturday 2nd October - Intervocálica.exp
Escoffet (live Experimentaclub'04 - Intervocálica.exp)
el niño carajaula
El Niño Carajaula (Pablo Bouzada; Buenos Aires, 1977 / Sevilla) is born
as a poet in 1995 forming part of the collective "El circo de la palabra
itinerante". It's the oral development of poetry what leads him years
later to call himself Mc and to enter hip-hop's urban rhythms working
closely with Djs and street painters.
His analytical depth in the avant-gardist poetry of slam takes him both
to performances with sonorous poetic actions and to the complicated task
of primitive sorcery chants as a ceremonial master, a visionary, and a
reference of the atypical search for ecstasy as an instrument of power.
He is a writer who excels in his recital of the trance.
In 2001 his CD-book "El niño Carajaula" was released. Now in
this year 2004, after taking part in Reunión 03, he has published his
second book of poems called "Vislumbrar en la ceguera" (Crecida
editorial) and he has also participated in a poetic anthology book of
the Fundación Juan Ramón Jiménez.
In Intervocálica.exp he will present his performance "La generación
de la casita de música", accompanied by the guitarist Rap Ferrari.
Sunday 3rd October - Intervocálica.exp
Photos El Niño
Carajaula (live Experimentaclub'04 - Intervocálica.exp)
Handibikemovie, by Martin Bruch
Worst Case Scenario, by John Smith
Calcutta Intersection, by Alfred Guzzetti
Banlieue Du Vide, by Thomas Köner
The Audible Picture Show
Ukiyo-e, by Solu
ILOX, by Karoe Goldt
Nuée, by Myriam Bessette
Alizé, by Myriam Bessette
-2.20, by Billy Roisz
Sessions.03.rev.02, by Telcosystem
s Field Reports, by Solu
zijk. jergijok, by ReMi
(frame), by (n)ja
Beyond The Light, by Ian Helliwell
Cycles Per Second, by Ian Helliwell
Bassenbahn, by Dietmar Offenhuber
Inaudible Cities Part 1, by Semiconductor
Quadro, by Lotte Schreiber
Patchwork, by Kurt Pirk
Mini Epoch Series, by Semiconductor
Soft Ocean Hotel, by Alex Peverett
Tokyo Noise, by Kristian Petri
Clips de Animación
On / Aphex Twin
Rock n’ Roll Highschool / Teddy Bears Stockholm
4-Tonmantis / Amon Tobin
E-baby / Bleip / Pleix
As Serious As Your Life / Four Tet
Head Long / Cube Juice
Little Numba / Mira Calix
PH Theme / Le Peuple de L’Herbe
Gold Chains / Nada
Tonika Oase / Groenland Orchester
Grammy Winners / Funkstörung
Gantz Graf / Autechre
Luis Recoder Live
Wednesday 6th to Sunday 10th October