Joachim Badenhorst

Badenhorst is artistically interested in integrating ideas from various different art medias into his musical compositions. He also takes deep interest in revealing the inherent relation between contemporary and traditional musics, having collaborated with traditional musicians from Turkey and Japan, and toured in China with reinterpreted traditional Chinese music.

In recent years, Badenhorst is contemplating the evanescent site specificity of sound as well as the relation between space and sound. In recent years, his work has taken a deeper focus on composition, namely that of computer­based composition and processing. Through continual research and experiment, he delves into a re­imagination of the boundaries between improvisation and composition, of abstract sound explorations and harmonic passage, and continues to attempt at a personal aesthetic language that interact with spaces and engage with different audiences.

Badenhorst appears on over 50 cd’s on over 10 record labels. In 2012, he launched his own label KLEIN, as a creative platform to initiate collaborations, experiment and play with unconventional design, and as an outlet for fringe musical projects.

Since 2010 Badenhorst has been developing his solo​programme consisting of improvisations and compositions for solo acoustic and electro­acoustic wind instruments. Badenhorst released three solo albums: The Jungle He Told Me (Smeraldina­Rima 2012) , Forest//Mori (Klein 2014) and Kitakata (Santé­Loisirs 2016).
Solo performance highlights include Météo Festival (France 2016), Mengi (Iceland 2015), Brussels Jazz Festival (Belgium 2015), Taktlos Festival (Switzerland 2015), Molde Festival (Norway 2014), Stanser Musiktage (Switzerland 2014), Orléans Festival (France 2014).

photo by David Rodriguez fotografia

Angélica Castelló

dieb13

“…surprisingly tasteful turntable sonics.” – the santa barbara independent geboren 1973 als dieter kovačič.

schule und verschiedene studienrichtungen in wien. seit den spaeten 80er-jahren kontinuierliche arbeit an der nutzbarmachung von Abspielgeräten fuer audiokassetten, vinylschallplatten, cds, harddisks und ip-protokollen als instrumente. 1995 erfolgloser versuch an der wiener musikhochschule im lehrgang elektroakustik aufnahme zu finden.

soloarbeiten und -auftritte u.a. als dieb12, dieb13, dieb14, bot, echelon, dieter bohlen…spielt u.a. bei eh, NotTheSameColor, siewert/dieb13, erik.M/dieb13, dieb13 vs. takeshi fumimoto, swedish azz, phil minton/dieb13, john butcher group, fake the factsgruendete das klingt.orgestraauftritte u.a. bei/in: phonotaktik wien & new york, wien modern, donaufestival krems, sonicacts amsterdam, beyond innocence osaka, lmc festival london, huddersfield contemporary music festival, maerzmusik berlin, kammermusiktage witten, musiktage donaueschingen, piksel bergen, cmmas morelia, great performers an ideas colorado springs, bienale sao paulo.veroeffentlichungen auf den labels 1.8sec, absurd, amoebic, antifrost, charhizma, corvo, doc, durian, en/of, erstwhile, filmarchiv austria, for4ears, grob, hathut, mego, orf, pilot.fm, rhiz, sixpack, staalplaat, substance, transacoustic research, trost, unframed recordings.musik fuer verschiedene theater-, opern- und videoproduktionen, sowie installationen und ausstellungen.Betreiber der Internet Plattform http://klingt.org

Pic by Micke Keysendal

Matthias Erian

born . office administrator . independent music . stage hand . music for theater . organizer . waiter . studying electro-acoustic music and new media . live electronics . sound engineering . music for dance . surround sound concepts . field recording . film o-sound editing . curator . sound installations . music for documentation . now

Matthias Erian is an Austrian electro-acoustic composer and sound- designer currently based as freelance artist in Berlin, Germany. His latest works are often realised by multi- channel concepts (surround-sound), with overlaps to sound-installation and video-programming. Co-operations with dance-, film- and theatre productions.

Involved in different projects he produce music from experimental, improvised music, researched based works, to beat orientated avant-garde.

2016/2017:

“Radio Erian” – Jazz meets Electronic, Michael & Matthias Erian

“There is no Landscape” – interdisciplinary performance at museum for modern and contemporary art, MMCA Seoul, South-Korea, Co-Operation with Korean National Contemporary Dance Company

co-operation with Pansori (traditionel Korean “one man opera”) artist residence in Namwon, South-Korea

Composition and live interpretation for “EX IST” – Premiere @ Uferstudios Berlin, Germany, choreography – jungsun kim

Composition for “Traumlabor” – Premiere @ Strahl.Halle Ostkreuz, Germany, choreography – Irina Demina

Mayumi Fukuzaki

Born in Hakodaté, Hokkaido, Japan.
In 1993 she is the co-founder of the women’s underground theater company Tokyo-Chimera.
She take part in the famous Butoh company “Dairakudakan”
In 1996 she meet Kenichiro Hoshino and take part in his Butoh Orchestra “Daizukofarm”
In 1997 she join in“Sasarahousara“ (Dairakudakan women’s group) and starts collaborating with Shibusashirazu (Japanese Free Jazz Orchestra) as a Butoh dancer.
She lives in Berlin since 2003 and regularly perform in collaboration with musicians.

Mazen Kerbaj

Mazen Kerbaj arbeitet als Comiczeichner, Maler und Musiker; er veröffentlichte nach verschiedenen Beiträgen für Magazine (wie Wire, Lapin und Le tour du monde en bande dessinee) 2000 sein erstes Buch Journal 1999, ein Tagebuch in Comicform, ferner über acht weitere Bücher und Kurzgeschichtensammlungen. Seine Malereien, Zeichnungen und Karikaturen wurden vielfach ausgestellt, unter anderem in der Galerie Janine Rubeiz in Beirut und in der Galerie der Neuen Gesellschaft für Bildende Kunst in Berlin. Im Sommer 2016 stellte die temporäre, freie Ausstellungsinitiative Café Beirut der Griesbadgalerie in Ulm Mazen Kerbajs Zeichnungen aus dem Jahr 2012 aus, als er jeden Tag des Jahres in einem Bild festhielt.

Mazen Kerbaj ist außerdem Mitbegründer der libanesischen Improvisationsszene, so als Mitglied der Musikerorganisation MILL, die seit 2001 in Beirut das jährliche Irtijal Festival veranstaltet. 2004 war er Mitbegründer des Al Maslakh Ensemble (u. a. mit Paed Conca), 2005 entstand Al Maslakh als erstes Label für Improvisationsmusik in dieser Region; 2009 folgte das Sublabel Johnny Kafta’s Kids Menu für Alternative und Experimental-Rock aus dem Libanon. Seit 2000 tritt Kerbaj als Solist und in verschiedenen Bandprojekten im Nahen Osten, Europa und in den Vereinigten Staaten auf, so mit Sharif Sehnaoui, Franz Hautzinger, Lê Quan Ninh, Mats Gustafsson, Guillermo Gregorio, Gene Coleman, Michael Zerang (Cedarhead, 2006), Fred Lonberg-Holm, Michael Bullock, Vic Rawlings, David Stackenäs, Martin Küchen, Axel Dörner, Jarrod Cagwin, Thomas Lehn, Joe McPhee, Raymond Boni, John Butcher und Martin Blume.

Didi Kern / Philipp Quehenberger

Ob als prägende Stammgäste der von Marco Eneidi initiierten Improvisations-Reihe montags im Wiener Celeste, als Backing der
Bandlegende Mäuse oder als Sammler verschreckende Vernissagen-Geheimwaffe des 2012 verstorbenen Ausnahmekünstlers Franz
West, das Duo Quehenberger / Kern, bestehend aus Schlagzeuger DD Kern (u.a. Bulbul, Fuckhead) und Keyboarder Philipp Quehenberger, besticht im blinden Zusammenspiel mit ungestümen Improvisationsreisen rund um die Pole Jazz, Prog oder Drone und feiert auch sonst aller Art sonischer Inklusionsstrategien. (Rokko)

Magda Mayas

Over the past 20 years she developed a vocabulary utilizing both the inside as well as the exterior parts of the piano, using preparations and objects that become extensions of the instrument itself.

Mayas explores textural, linear sound collage, and has developed a set of techniques that draw on the history of prepared and inside piano vocabulary, but are highly individualized and expand the language for internal piano music making.

Alongside the piano, Mayas performs on a Clavinet/Pianet, an electric piano from the 60s with strings and metal chimes, where she engages with noise and more visceral sound material, equally extending the instrumental sound palette using extended techniques and devices.

She is currently undertaking Phd studies at the University of Gothenburg, Sweden investigating instrumental techniques, the real-time orchestration of timbre and spatiality in improvised music performance.

Mayas performs internationally solo and in collaboration with a large number of musicians and composers.
Current projects are „Spill“, a duo with drummer Tony Buck, a duo with Christine Abdelnour (sax) and „Great Waitress“, a trio with Monika Brooks (acc) and Laura Altman (cl).

Magda Mayas has performed and toured in Europe, the USA, Australia, Mexico and Lebanon and collaborated with many leading figures in improvisation and composers such as John Butcher, Andy Moor, Zeena Parkins, Joelle Leandre, Paul Lovens, Ikue Mori, Phill Niblock, Peter Evans, Andrea Neumann and Axel Dörner. She has performed at festivals and exhibitions such as Maerz Musik (2012,2015), Documenta (2012) or the Berlin Biennale ( 2014).

She was awarded a residency at Villa Aurora, Los Angeles in 2016 and at the Montalvo Arts Centre, USA in 2017. Additionaly, she has been curating, producing radio pieces for ABC Australia and Deutschlandradio Kultur and released over 20 CDS to date.

Veronika Mayer

Improvisation, Live-Elektronik
Klanginstallationen, Klangobjekte
instrumentale und elektroakustische Kompositionen

Kompositionsaufträge:
Wien Modern, Verein Platypus ,Jeunesse, ÖGZM, Ensemble Reconsil, Verein snim, e_may/Verein LAUT, cercle – konzertreihe für neue musik, The Acousmatic Project, International Rosario Marciano, Piano Competition, m-arts, spiel 2011,

Improvisationsensembles:, junk & the beast, Conny Zenk & Veronika Mayer, SURE, Irene Kepl & Veronika Mayer, bah vs. liii superviced

Konzerte, Performances, Ausstellungen:
cercle, V´elak Gala Export, das weisse haus, mise-en music festival 2014, sound:frame, EINHÖRUNGEN. Forum Stadtpark, The Electroacoustic Project, Soundings 2013, Electronic Music Week Shanghai, paraflows, Na houby-for John Cage, Konfrontationen, Wien Modern, fast:forward. 20:21, Jazzwerkstatt Wien, Anadoma Filmfestival, reheat, Jennyfair, Klangmanifeste, Elektronischer Frühling, V´elak Gala, Der Blöde Dritte Mittwoch, acoustic fields festival, DUR, Das kleine Symposion, shut up & listen, u.a.

Studien an der Universität für Musik und darstellende Kunst Wien:
1996-2000 IGP Klavier bei Jochen Köhler
2001-2004 Lehrgang für Computermusik und Elektronische Medien bei Germán Toro-Pérez (ELAK)
2004-2010 Komposition bei Detlev Müller-Siemens, Elektroakustische Komposition bei Karlheinz Essl
2007 Förderpreis des Theodor Körner Fonds zur Förderung von Wissenschaft und Kunst
2011 Startstipendium des Bundesministeriums für Unterricht, Kunst und Kultur
2015 Staatsstipendium für Komposition des Bundeskanzleramts Sektion Kunst
07-09/2009 New York City, USA
06/2011-01/2012 Amsterdam
ab 2014 Lehrende Computermusik, Musikschule Wien
ab 2015 Senior Lecturer Computermusik, IEM, Kunstuniversität Graz

Phil Minton

is a jazz/free-improvising vocalist and trumpeter.

Minton is a highly dramatic baritone who tends to specialize in literary texts: he has sung lyrics by William Blake with Mike Westbrook’s group, Daniil Kharms and Joseph Brodsky with Simon Nabatov, and extracts from James Joyce’s Finnegans Wake with his own ensemble. He even once participated in a Jimi Hendrix tribute project, belting out the lyrics in particular over-the-top fashion. Between 1987 and 1993 Minton toured Europe, North America and Russia with Lindsay Cooper’s Oh Moscow ensemble.

He is perhaps best known, however, for his completely free-form work, which involves „extended techniques“ that can be as unsettling as they can be mesmerising. His vocals often include the sounds of retching, burping, screaming, and gasping, as well as childlike muttering, whining, crying and humming; he also has an ability to distort his vocal cords to produce two notes at once. As the DJ/poet Kenneth Goldsmith has described it:

Minton’s range on this disc [A Doughnut in One Hand, FMP] runs from the sounds of a man choking on his own vomit to the sounds that grandpa makes when you finally decide to pull the plug on his respirator. Minton’s like a little kid who’s contact-miked himself playing yo-yo with his saliva; he’s a baby drooling through his cries; he’s mastered the art of the multiple burp; he’s perfected the craft of goobering all over his finger and then running it over his lips while moaning. I’d hate to see what his mic looked like after he was done with it. … Minton … forces us to ponder the musical qualities of noises that we’d rather not deal with and for that fact alone, makes this an important recording.

Caroline Profanter

born 1985 in Bolzano, studied Computer Music and Electronic Media at the University of Music and Performing Arts in Vienna and holds a Master’s degree in Acousmatic Composition from the Conservatoire Royal de Mons in Belgium.
Works in the field of electroacoustic music and sound art as a composer and performer.
Her focus lies on acousmatic composition, soundscapes and live electronics. She is interested in sounds and noises taken from the context of everyday life, transformed digitally and used as pure material. Therefore she collects and classifies recorded sounds and relates them to instrumental sounds or generated sounds, from analog synthesizers and feedback-systems. She collaborates with different musicans and artists within interdisciplinary projects between video, literature and radio art.
Since 2009 she is an active member of Velak – association for Electroacoustic Music of Vienna. Since 2011 she is on the committee of FKL – Forum Klanglandschaft.

 Werner Puntigam

Freelancing multidisciplinary artist in the fields of music (composition & improvisation / trombone, conch shell, voice & noises), visual arts (photography, video & graphic-design) and interdisciplinary performances & audio-visual installations.

Born 1964 in Bad Radkersburg (A), WP is based in Linz (A) but annually also spends several months in South-East Africa and East Asia for temporary artist residences. He studied ‚visual media design‘ at the University of Art in Linz (honors degree 1992). During that time he also took part in numerous workshops with international masters of jazz at home and abroad.

WP, the improvising and composing musician (trombone, conch shell, voice, noises), called „the alchemist of the sounds“ in a review, has founded several groups with outstanding line-ups and unique sound conceptions, and performs live from solo up to orchestra size.

WP, the photographer, video artist and designer, creates numereous photo series (e.g. ‚inter.views‘), artistic documentaries of cultural events and works of graphic-design to order, and normally takes the responsibility for the artwork of his own
CD and multimedia productions.

WP, the interdisciplinary performer and artist, conceives and produces his own multimedia projects and interdisciplinary performance series (e.g. ‚Triptychon‘) as well as space and sound installations.
Also cooperations with poetry, theater, dance, film, video and fine arts.

Collaborations with well known fellow artists such as Joey Baron, Tom Cora, Joe Bowie, Hank Roberts, Han Bennink, Jon Rose, Oliver Mtukudzi, Stewart Sukuma, Malangatana, Shih-Yang Lee, Rabito Arimoto, Sakaki Mango, Akemi Takeya, Marta Binneti, Mookwon Kim, Ewald Oberleitner, Gabriele Mirabassi, Franz Hautzinger, Hope Masike, Josef Haslinger or Henning Mankell – to name but a few.

Han Sato

Tenorsaxophone, Sopranosaxophone

Born in Tokyo in 1973 and grown up in Shizuoka, he started playing the saxophone at the age of thirteen.
After moving to Tokyo in 1992, he energetically pursued his career, devoting himself to sessions with hundreds of musicians. Between 1996 and 2004 he joined various live bands (among them “Nishio Ken-ichi Group”, “Hiroki Koichi Band”, Furusawa Ryojiro’s band “Ne”, „radukaquartet“ by Minakami Akira, the jazz orchestra “Kanai Hideto Group”), as well as organized his own (“Tokyo Han’s”, “Yellow Card Orchestra”, both based in Tokyo). During this time he also gave workshops, all the while playing all over Japan.

As a member of “ShibusaShirazu” since 2004, a worldwide-known underground jazz orchestra, he performed on several tours mainly throughout Europe and Russia between 2005 and 2012.
On CD Han appeared with „ShibusaShirazu“ .

He has been one of the original members of the JAPS, and his energetic sax play is one of their trademarks.

Matija Schellander

Matija Schellander is an Austrian composer and improvising musician currently based in Vienna, mostly using double bass, modular synthesizer, and speakers: processing input, moving air output. In 2012 his solo CD sum šum with 7 electroacoustic composition will be released by the small publishing office The Manual (Seoul).

Schellander regularly works with Rdeča Raketa (electracoustic duo with Maja Osojnik) and in duos with Enrico Malatesta (percussion / double bass) and Franz Hautzinger (quartertone trumpet / modular synthesizer) as well as the the ensemble Low Frequency Orchestra (Castello/Grill/Osojnik/Schellander).

Other collaborations include Okkyung Lee, Burkhard Stangl, Anja Utler, Isabelle Duthoit, Michael Thieke, Hannes Lingens, Klaus Filip, Choi Joonyong, Metalycée, Andrea Neumann, Katharina Klement, Chris Heenan, Olaf Hochherz, Lukas König, Daniel Riegler, Dieb13, Kazuhisa Uchihashi, Ryu Hankil, Christof Kurzmann, Jin Sangtae, Jorge Sanchez-Chiong, Noid, Bernhard Lang…

Elisabeth Schimana

Since the 1980s the musician and composer Elisabeth Schimana has been active as one of the Austrian female pioneers of electronic music with projects marked by a radical approach and equally unconventional aesthetics.

After completing vocal training, she earned degrees in composition, computer music, musicology, and ethnology. She has worked intensively with the theremin in Moscow and with the Max Brand Synthesizer in Vienna. Not only has she created countless radio works in cooperation with ORF Kunstradio but numerous sound installations and interdisciplinary and performative projects as well. Her concepts for experimental set-ups fathom the social field and put to the test new ways of interacting musically on the Internet.

In her artistic work, Schimana examines questions of space, communication, or the body in its presence or absence, especially the imparting of compositional concepts (scores), which gives rise to completely new approaches that experimentally explore how we hear and demand a heightened musical presence on the part of the performer. Her probing approach also led her to found the
IMA Institute of Media Archeology, which has dedicated itself to acoustic media at the analogue/digital interface and to the subject of women, art, and technology since 2005.

Ingrid schmoliner

Die Pianistin und Sängerin Ingrid Schmoliner lebt und arbeitet als freischaffende Musikerin, Komponistin, Kuratorin, und Pädagogin in Wien.
Bereits vor und während des klassischen Studiums am Landeskonservatorium Klagenfurt mit Hauptfach Klavier war ihre Musik geprägt durch das Interesse an improvisierter, experimenteller und zeitgenössischer Musik.
Durch die vielseitige Aus – und Weiterbildung in Stimmbildung, Obertongesang, Jazzgesang und Jodeln sang sie als Gastsolistin an der Grazer Oper in Zusammenarbeit mit dem südtiroler Komponisten Hannes Kerschbaumer in der zeitgenössischen Oper „BUIO“.
Im Chorwerk „MUATA ERDN“ für 8 Chorgruppen, 3 Dirigenten, Percussion, und Alt Solo unter der Leitung von Franz Jochum schrieb der steirische Komponist Denovaire das Alt Solo für Ingrid Schmoliner.
Künstlerisch bewegt sie sich in den Genres Neue Musik, experimentelle – improvisierte Musik, Avantgarde, Free Jazz, Folkfusion, Volksmusik.
Neben ihrem Soloprogramm und anderen Kollaborationen arbeitet sie konstant mit ihren Ensembles Watussi (Pascal Niggenekemper , Joachim Badenhorst) und Para (Elena Kakaliagou, Thomas Stempkowski).

„…In every moment the audience is offered unexpected qualities of experience and enchantingly foreign acoustic signals which invite to attentive listening: An excitingly lustful journey to often unknown musical horizons for non-judging and unprejudiced ears which nonetheless are always liable for our heads…“ – Renald Deppe, MICA portrait

„… and Schmoliner are incredible listeners building with an uncanny precision on the other one’s ideas. These young musicians belong the new generation of artists that goes beyond form, delving deep into human emotions thanks to their broad and open-minded skills on their instruments, yet staying away from speed and shock effects, and staying away from cheap sentimentalism on the other end of the spectrum.“ – Freejazz-stef

Vinzenz Schwab

born 1981 in hl.kr.a.w.
2002-2005 study of computermusic and electronic media
at elak (university of music, vienna).
works in the field of electroacoustic composition, improvised music/live electronics, sounddesign and music for film/video. co-organisational work for the plattform velak. audiorecording of any kind.

Ingar Zach

Ingar Zach (born 29 June 1971 in Oslo, Norway) is a Norwegian percussionist and businessman, known from several recordings.

In the 1990s Zach played within Chateau Neuf Spelemannslag and ‚Harnihomba‘, while studying music at the University of Oslo (1993) and composition on Jazz program at Trondheim Musikkonsevatorium (1994–97). Within the trio ‚Tri-Dim‘ (1997–2000) he released two albums together with Håkon Kornstad (saxophone) and David Stackenäs (guitar). With the steel guitarist Ivar Grydeland he established the record label Sofa, releasing improvisational music (2000), a collaboration that led to a master’s degree in improvisation (2004) and the trio Huntsville including with Tonny Kluften (five albums, 2013).

Zach also collaborated in a duo with free jazz guitarist Derek Bailey (1930–2005), the Norwegian ditto Anders Hana, within the Norwegian trio ‚No Spaghetti Edition‘ (four releases), and in the two orchestras Batagraf and Magnetic North Orchestra led by Jon Balke. In addition Zach has played on releases by Karl Seglem and Carl Petter Opsahl. He lives in Madrid (2004),from where he runs the record label Sillòn of solo albums (subsidiary of Sofa, which is now headed by Grydeland).

Conny Zenk

Conny Zenk arbeitet im Bereich der visuellen Musik und Performance. Im Feld der generativen Animation besteht ihr Interesse an Strukturen und Flächen, die sie als digitale Räume im Bild komponiert und konstante Bewegungen und Achsenrotationen erzeugt. Der Inhalt ihrer generativen Animationen sind organische Im- pulse und Bewegungen, die mit rasterförmigen, oszillierenden Linien und stroboskopartigem Flackern über- lagert werden. Die Künstlerin arbeitet mit einer bestimmten Zeitlichkeit und Narration, die in allen visuellen Live-Kompositionen und Installationen spürbar sind. Ihre Animationen wirken als eine Art Kontinuität des Werdens und des stetigen Neustrukturierens. Sie verweist mit ihren Bildern auf eine urbane Landschaft und Architektur. Bild und Klang führen die BetrachterIn in eine digitale, virtuelle Welt, welche aber auch Assozi- ationen und Referenzen zum realen, sozialen und politischen Raum herstellen. Conny Zenk arbeitet interdisziplinär, mit Künstler*innen und Performer*innen, sowie im Rahmen audio- visueller Musikprojekte. Aktuelle Projekte, Ausstellungen, Performances und Workshops 2017: Emotion and the Tech(no)body – Austrian Cultural Forum (London/ UK) . Crossing Border / Border Crossing – Xian Art Mu- seum (Xian/ China) . Skies and Seas – Porgy&Bess (Vienna/ Austria) . minimal_Bodies – small forms sessions (Vienna/ Austria) . RAD Performance – Künstlerische Leitung (Vienna/ Austria) . VENTIL – Montreal Festival du Nouveau Cinema (Montreal / Canada) / Saint Ghetto Festival – . u.vm.

self[ie]DREAMER / Conny Zenk

self[ie]DREAMER self[ie]DREAMER taucht ein in einen sinnlichen Umgang von Raum und Zeit geprägt von der Performanz der Medien. Es werden Apparate verwendet, die viel mehr an Alltagsobjekte als an Jonglierinstrumente erin- nern. Wenn wir schlafen verändern sich unsere Sinne, Träume wiederholen sich, wir verarbeiten Dinge die wir gesehen haben und Orte die wir erlebt haben. Wir fahren, fahren, fahren auf den pulsierenden Lichtwellen einer Dream Machine. “ … der Schlaf selbst ist Rhythmus, Regelmäßigkeit und Wiederholung” (Jean-Luc Nancy, Vom Schlaf) Credits: Conny Zenk (Konzept, Video, Installation) Veronika Mayer (Sound) Markus Liszt (Choreografie) Emanuel Gollob (Objects) Ramona Cidej (Text, Philosophie) zum Sound bei self[ie] DREAMER In der Performance selfieDREAMER finden Visuelles und Auditives eine gemeinsame Sprache, deutlich wird das durch Entsprechungen in gestaltetem Ton und Bild in Bezug auf Direktheit, Verfremdung und Distanz, durch ein gemeinsames Tempo in Bild- und Tonvariation und -manipulation, aber auch durch eine gemein- same konstruktive Verarbeitung von Bewegung, Bild und sensorischer Bewegungsanalyse am Smartphone.

ZSAMM

maja osojnik – vocals, live sampling, dj-cd player and other lo-fi electronics

patrick wurzwallner – drums

„Ein anthroposophischer Seelenstriptease zwischen dystopischem Chanson, primordialem Mantra und Musique Concrete”

Dreckig, sanft, lustvoll, verstört, kalt, sphärisch, schneidend und feminin. So klingt Maja Osojniks kürzlich veröffentliches und viel umjubeltes Solo-Album „Let Them Grow“. Osojniks Stimme schwebt und stampft durch dunkle, warme Klangszenerien, in denen ein verstimmtes Klavier und elektronische Sequenzen genauso Platz finden wie dekonstruierte Drumsounds, field recordings und ein Glockenspiel. Die gebürtige Slowenin (*1976) beherrscht ihr Handwerk souverän. Die vorwiegend düstere Atmosphäre berührt und befeuert gleichermaßen. Im Live Programm präsentieren Maja Osojnik und Patrick Wurzwallner die neuen Arrangements der

„Ein anthroposophischer Seelenstriptease zwischen dystopischem Chanson, primordialem Mantra und Musique Concrete”

Dreckig, sanft, lustvoll, verstört, kalt, sphärisch, schneidend und feminin. So klingt Maja Osojniks kürzlich veröffentliches und viel umjubeltes Solo-Album „Let Them Grow“. Osojniks Stimme schwebt und stampft durch dunkle, warme Klangszenerien, in denen ein verstimmtes Klavier und elektronische Sequenzen genauso Platz finden wie dekonstruierte Drumsounds, field recordings und ein Glockenspiel. Die gebürtige Slowenin (*1976) beherrscht ihr Handwerk souverän. Die vorwiegend düstere Atmosphäre berührt und befeuert gleichermaßen. Im Live Programm präsentieren Maja Osojnik und Patrick Wurzwallner die neuen Arrangements der Songs.

Maja Osojnik

*1976 born in Slovenia, lives and works in Vienna, Austria
as a singer, composer, improvising electroacoustic musician, sound artist, mostly using voice, paetzold bass recorders, own field recordings, DJ-CD, tapes and other lo-fi electronic devices, toys, trash and found objects.

Maja made a name for herself in different musical fields, such as early music, contemporary, experimental, jazz, free improvisation, sound art and heavier music.
She composed music for theater, dance, animation movies, film, silent film and diverse ensembles and wrote Lyrics/Texts for different Projects such as Maja Osojnik Band, Broken.Heart.Collector and Rdeča Raketa. She gave Workshops in improvised Music in Austria, Slovenia and Korea. She founded Maja’s Musik Markt and co-organised the 7th Viennese Soulfood Festival in 2013.

Patrick Wurzwallner

…is an Austrian drummer, composer, wordsmith, dilettantic video-artist and pop-culture/new-media-trash enthusiast.

…continiously provides artistical and logostical services for the cultural entities Steirischer Herbst, Diagonale, Elevate and Interpenetration.

… more is here – http://wurzi.klingt.org/