5.3.2022  ab 16h      VEKKS re.animation

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Wir feiern das Leben, die aufgehobene Sperrstunde oder die re.animation der freien Kulturszene.

16h  VoKü,
 

19h  Lesung von
Gerhard Kirschner

 

20h Musik von
Alex Miksch (Gitarre, Gesang),
Anna Anderluh (Autoharp, Gesang),
Philipp Moosbrugger (Bass)
21h
Auflegerei von
Abstieg Musik Unter Grund.

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4.4.2022 19h30 (Einlass)    
World Service Project & Mirian Kolev

World Service Project
Winners of the Peter Whittingham Jazz Award and nominated for ‘Young European Jazz Artist’ WorldService Project are the leading specialists of ‘punk-jazz’, two of the most alarming genre titles in the history of 20th Century music.
Anthemic melodies, hard-grooves and searing improvisation are packed into a tightly-knit and reluctantly superheroic package; discarding the old-guard uniforms of old, continuing the fight for collaboration and compassion, these anti-Brexit militias take a new form…
Having performed hundreds of concerts across 20 countries, WSP have taken their intense live show to some of the world’s most respected festivals, including headline performances at Jazzfest Berlin, NH7 Weekender Festival, Tokyo Jazz Festival, Saalfelden International Jazz Festival, Kolkata Jazz Festival, Cork Jazz Festival, OCT-LOFT Festival, Umea Jazz, Tampere Jazz Happening, Ljubljana Jazz Festival, London Jazz Festival, Goa International Jazz Festival, 12 Points Festival Porto, Jazz Art Sengawa, Galway Jazz Festival, and in addition have toured extensively through the UK, USA, China, India, Japan, and most of Europe, receiving stellar reviews across the world for their third (For King and Country) and fourth (Serve) albums released on the highly prestigious RareNoiseRecords.
With tours across Asia and Europe already booked for 2020/21, WSP launch their highly anticipated fifth album; Hiding in Plain Sight on RareNoise.
The epic and anthemic live sound of WorldService Project is both thrilling and heart-wrenching, and with a theatrical and political live performance thrown in for good measure, the band is known as one of Europe’s finest live-acts.
Dave Morecroft keyboards/vocals
Ben Powling saxophone
Arthur O’Hara bass/vocals
Luke Reddin-Williams drums
+
Kieran McLeod trombone*

www.worldserviceproject.co.uk // @WSProject // facebook.com/worldserviceproject // instagram.com/worldserviceproject // youtube.com/worldserviceproject
Contact: +44 7976 044278 // worldserviceproject@yahoo.co.uk

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Mirian Kolev

E.U.E.R.P.I. is experimental drone ambient project. On live performances use processed guitar, running through software effects, authentic(original) samples, real time loops and some other non-traditional staff/instruments. Since start playing live, he did over 150 shows all around Europe and Asia at diffenert kind of spaces - from intimate performances in small art cafes, through galleries, cultural centers, music clubs, art, film and music festivals to shows in cathedrals, caves, airports. Also doing collaborative performances with other musicians, performers, dancers, visual artists. Every place is unique, so every performance is unique.

https://www.youtube.com/watch?v=0WjjsGE6qS8&t=168s
https://www.youtube.com/watch?v=0q7odV2uN2U&t=4s

https://www.youtube.com/watch?v=e8HN9kCJE0I&t=18s

https://vimeo.com/147558512

https://www.youtube.com/watch?v=9JF2MIdB8VE

https://www.youtube.com/watch?v=x9SPfbL55To

https://www.youtube.com/watch?v=UABoasMCO8I

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9.4.2022 19h30 (Einlass)    Overdriven Dreams by Uroš Kostić

Overdriven dreams is a pseudonym from which Uroš Kostić, an experimental musician from Niš (Serbia), stands. After years of researching the possibilities of his primary instrument, the guitar, as well as various other devices, such as tape recorders and walkmans, he began to implement these ideas in his solo work.

Overdriven dreams strive to give life to the endless sound fields of

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phantasmagoric dreams. In that process, he relies primarily on guitar improvisation, which he often uses outside the standard application of that instrument, with the help of tools such as drumsticks, radio, mobile phone, and e-bow. In addition, he uses the manipulation of cassettes, tape recorders, loopers, lo-fi synths, and granular samplers in the realization of sonic imaging of endless dream fields. In a short time, above all at numerous concerts, he established himself as one of the currently most active ambient musicians in the region.

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22. APRIL 2022 Einlass 20:15

Filmabend+Diskussion: "Zeit ist Geld"

Der Dokumentarfilm zeigt, wie Zeit im Zuge des Kapitalismus und der Globalisierung zu einem Marktwert wurde, wie die tickende Uhr die Macht über Berufs- und Privatleben übernommen hat und wie sich die Kontrolle über diese kostbare und begrenzte Ressource zurückgewinnen lässt.
Viele haben schon mal ihre Bordkarte selbst ausgedruckt, das Gepäck selbst

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aufgegeben, mühevoll selbst Möbel aufgebaut oder sich mit einer Selbstbedienungskasse herumgeschlagen.
Der Film reist um die Welt und zeigt, wie Zeit zu einem Marktwert wurde, wie die tickende Uhr die Macht über unser Arbeits- und Privatleben übernommen hat.
In der zweiten Hälfte des 19. Jahrhunderts wurde im Zuge der Industrialisierung die Stempeluhr erfunden – der Beginn von Produktivitätssteigerung und Optimierung von Arbeitsprozessen. 1912 legte das Pariser Observatorium die „Universalzeit“ für die ganze Welt fest. Seitdem gibt sie immer mehr den Takt vor. Um Zeit zu sparen, reduzierte eine Firma der Geflügel-Industrie in den USA die Toilettenpausen ihrer Arbeiter auf sieben Minuten pro Tag. In Japan sind 40 Prozent aller Einwohner von einem Burnout betroffen; Suizide häufen sich. Dabei hatte der gesellschaftliche Druck, immer mehr zu arbeiten und infolgedessen überhaupt keinen Urlaub mehr zu nehmen, so verheerende ökonomische Folgen, da weniger konsumiert wurde, dass die Regierung gegensteuerte. Und in Deutschland hat sich der Verbraucherzentrale Bundesverband entschieden, Facebook zu verklagen, weil wir dessen Nutzung, obwohl kostenlos, mit unseren Daten und unserer Zeit bezahlen. In Frankreich ermöglicht das Mathys-Gesetz, Kollegen einen Teil seiner Urlaubstage zu spenden, wenn diese schwerkranke Kinder betreuen. Ihnen wird mehr Zeit für ihre Familie geschenkt. Im Laufe eines Jahrhunderts ist Zeit zu Geld geworden – eine Folge des Kapitalismus und der Globalisierung. Der Dokumentarfilm beschreibt diese Entwicklung: von der Einrichtung von Zeitzonen im 19. Jahrhundert bis hin zu unserer modernen Gesellschaft, in der viele meinen, Auszeiten könnten vor allem der Produktivität schaden. Zu Wort kommen die Historiker Robert Levine und Jane Lancaster, der Essayist Jonathan Crary, Zeit-Coach Magali Combal, die Soziologin Marie-Anne Dujarier sowie Angestellte aus Japan, Frankreich, Großbritannien und den USA.

Dokumentarfilm von Cosima Dannoritzer (F/E 2016, 85 Min)

23.4.2022 19h30 (Einlass)    SALMONI  (Filippo Gillono / Zevi Bordovach)

Salmoni is an acoustic duo formed by Filippo Gillono on acoustic guitar and Zevi Bordovach on harmonium. In 2019 they started a cohabitation in Turin with other musicians from the experimental scene of the city. The common devotion to Robert Wyatt leads the two musicians to start playing together. At the beginning they played for no particular reason but after a while an interesting sound and new compositions came out. Their first album “Salmoni” it’s a consideration of the life of a wild salmon. It’s been recorded completely at home on an old National tape recorder.

 

Filippo Gillono: acoustic guitar, prepared piano, objects, field recording, vocals, tapes
Zevi Bordovach: harmonium, prepared piano, objects, field recording, vocals, lyrics

 

https://escrec.bandcamp.com/album/salmoni

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28.4.2022   19h30   ZGB (Alex Riva, Mikael Szafirowski, Dario Fariello)

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ZGB is an unpredictable trio trying to incarnate the very essence of improvisation: the mystery, the experiments, the silences, the irony, and last but not least the social, horizontal aspect of music making. Walking on the tiny border between instant composition and sonic impulsivity - melting both to create each time a different experience. The awareness on their instruments and at the same time the socratic «"I know that I know nothing"», a dadaistic musical approach, equally cultivated and childish.

Alex Riva plays different recorders, using them to produce a multitude of different sounds, adding to the mix also his voice, both for distorting the flute sound and to underpin it with fragments of sound poetries.

Mikael Szafirowski has a double background: both academic and anti-academic, the doubt is his daily bread, so don’t ask him any questions. Eventually he can make you change your mind about your answers. Sonically, he is of a similar function - once colloquial while at times obfuscating. There is a grain of noise in each melody, a sadness in gesture. His histrionic presence and attitude will capture you from the beginning to the end of the concert.

Dario Fariello is focusing his sonic research on sound collages - saxophones of different kinds, both played acoustically and sampled, processed. The collage-syntax is a means to get to multi-narrative and multi-tonal music, a perception of faster speed can be achieved through interpolation of different tempos at the same time. The band’s multi-instrumentalism and the use of electronic devices and feedback are tools to avoid routines and break the wall dividing the performers and the public. ZGB can be a very intense experience, rich of performative aspects and subtle details, but it can be anything, really: the three performers jump into the moment trying to forget strategies as well as their esthetical backgrounds and rules of musical conduct.

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Ratschkygasse 14/1 (Eingang Erlgasse) 1120 Wien

Tel.: +43(0)681 10619938

Email: georg.stejskal@drei.at