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Big three day Festival in Memoriam Daniel Buess in Stuttgart September 23-25.


Dallas Kingston Kollektor
Freitag, 21 Uhr”Arriving on this planet without good sight brought comical situations to my life. Especially in the 60ties and 70ties glasses where more considered functional than fashionable, although nowadays ancient thick-edged-big-glass spectacles are much in demand by the ‘hipsters’. 40/50 years ago this was different. Glasses came with ‘not so good’ image: sully, clumsy, nerd,… For sure many saw that in me. My tall skinny body and clumsy moves (I still have until today) accented the stereotype even more. Yes, already in childhood I had to wear glasses being able to see clear. In the first part of my life, including teenage years, I fulfilled what other people ‘thought’ to see in me. The not so sporty, two left hands sully adolescent reading books and listening music. Meanwhile I had to improvise surviving certain situations uncommon keeping glasses resting on nose, hooked behind ears. No life with spectacles doing sports, swimming or slam-dancing. Nothing on my nose: the world turned blur. In that time eye-contact-lenses were in experimental stage. My sister, always showing medical interest, volunteered wearing them in this early stage (bad sight is in family genes). During one of those 70ties wild hip student dance parties (Record of Boney M or Jethro Tull playing? Or Scot McKenzie?…worst, it was David Bowie!) one of the contacts fell out. The dance floor had to be cleared. Only one person (my brother, wisely wearing glasses) carefully crawled on his knees over the floor trying to find the almost invisible, thick wobbly transparent piece of plastic. My specs by miracle always returned in strangely weird directed accident scenes. Sometimes broken! I wrapped the pieces (also broken glass) together with celluloid tape until the optician had a new pair ready one week later. Returning on bicycle from the store, the world looked dangerously different. Somehow new spectacles never exactly matched the eyes. Or maybe I was used to the latest condition of near-sightness (my eyes got worse every year). With the new sharp view roads bulged up, as if I endlessly cycled over little perfect round hills (or – opposite – holes). Mostly I considered this tripping experience dangerous and was happy making it home without accident. The eyes adjusted within few days. Once attended a crowded Blondie gig in 1977. During the wild pogo an elbow approached dangerously close on eye level. Glasses flew backwards over my head. ‘Oh well, definitely gone’, I thought. Few minutes later someone tapped on my shoulder reaching the specs, still intact. Had more of these ‘mysterious’ experiences. Van crash late 80ties on UK highway (M5). Blown tire, heavy loaded, lost control, van slips, rolls over 3 times (yes!) and lands back on its wheels in the hard shoulder. Lucky, no other vehicle was hit. Van totally smashed, no more glass in any window, me miraculous undamaged jumped quickly out of the front window. ‘Shit, glasses!’ I thought. Looked into the cabin and there they where, neatly folded on top of the dashboard 100% in perfect shape, as if someone carefully put them there. These were my ‘lucky’ situations. I spare you the ‘damaged-specs’ stories. Although my classmates thought it was very funny when a ball (by accident) hit my nose and broke exactly the middle bit, holding left and right together. Again celluloid tape solved the problem temporarily. Aging I learned that influences from stereotype surroundings are beatable. I seem to own two right hands fixing things. Have easy and quick understanding of electric machines and therefore skills repairing them (fix everything endlessly at home). Turned into well trained sportive mountain cyclists and hiker. No path to steep, hill too high, I do it! And I also learned not to judge persons on looks. Who ever invented the saying ‘looks makes the man’ was horrible wrong. Most of all I developed an excellent hearing due to my bad sight. My clumsy ‘pairs’ during childhood was most important for what settled my main trail in life. It delivered ofcourse the professional job ‘soundengineer’ covering my bills for 30 years. But on top I hear more than most other people. Ofcourse others hear the same sounds but don’t use the technique to orientate, categorize and finalize! Picking up sounds I estimate distance, speed, type of object,… Every day I realize relying more on my hearing than other senses in everything I do. Friends and people I meet regularly I ‘see’ coming without looking hearing their typical personal way of moving around. Sounds drive me nuts (in a positive way)! That little reading light above your bed, across the road neighbors closing curtain, boiler heating up water, fridges, ants, toilet-paper, the digital text on your computer screen…. name it, it makes noise! And count on it I probably hear it…it! Already in the 70ties all these sounds attracted my attention. The buzzing, sizzling, grumbling, hissing, peeping, squeezing, groaning conversations of our machinery. And ofcourse babbling, barking, bowing, brushing, seducing whistling whispering of nature. My job supplied knowledge about sound-recording and gave access to necessary equipment. I started to record and experimented, processed and revived using unconventional methods but also common effect units. Analogue equipment works most challenging. The control is lesser obvious and requires certain skills but therefore outcomes are more variable and result interesting. Until today I mainly use analogue equipment working the ‘fieldrecordings’. Yes, that’s how they call that nowadays ‘fieldrecordings’. Only shortly, since involved in organizing the Sina festival, I am aware there is a name for this activity I do already over 30 years. Sure I was not a pioneer. Probably ‘fieldrecordings’ are done and ‘fucked-up’ since recording is invented. All these years I have been creating soundwaves. Never cared much of presenting myself. Why should I? Nothing special; me stirring up some noise. In the experimental scene of early 80ties (Netherlands: Oktopus-Amsterdam, V2-Den Bosch, Bauplatz-Venlo…) you could find me incidentally on some forgotten stages making ‘weird’ noise but really,… I prefer to hobby by myself. Some people play soccer, others repair car engines or watch tv for fun. I spend relaxing evenings enjoy creating soundscapes. Pioneering wave fields, hearing the (almost) unheard, flatters my ears. Only in recent years others can also enjoy my sounds with releases on Limbabwe downloadable for free here:Xanax Order Online. Approaching my ‘work’ very critical, I never felt the pieces to be ready for public in earlier decades. The tracks are not just some thrown together bunch of noise, but careful constructed compositions. All little sound-details are planned on purpose. Most ‘pieces’ took me years to create. Endlessly replay with minimal changes (in loud volume, neighbors must hate me for that). The basics of ’60 flights’ go back 20 years! ‘The Door’ had its roots early 80ties. The way I spend (spare) free time came naturally with logical following up coincidences. I prefer to live like this. Nothing forced, but simple basic reactions offered by circumstances on what happened before. This same system makes our Earth turn. Call it ‘existence’. Best is staying away from human created media if you try to live this way. People like to be so dependable from media. Everybody reacts obeydantly on information supplied by tv, radio, stream, paper, magazine, website, messenger, gossiping neighbor, chatting aunts,… I rather response on logic natural signs. For example: the change of sound in bird whistling tells me its going to rain. Don’t need other information streams for that. Anyway, the mechanical ‘human’ info sources load you up with stressful piles of unnecessary nonsense you survive better without. Obvious there is existence not using these media, I am the proof. Still due to involvement in certain activities (Sina festival f.e.) I sometimes look into them. This made me aware there are more people expressing similar like I do. It even appeared to be a ‘scene’ with ‘art-style’ named ‘noise’. Somewhere I watched an interview with noise ‘hipster’ declaring it the ‘punk’ from this time. Although I experience the exaggerating undertone in these propaganda messages disturbing, it is stimulating to see fresh waves bubbling up in society. Ok, I know, ‘all done before’! These scenes re-invent the wheel! Nothing wrong with that. For them it’s a new discovery, for us a new dynamic dimension added to live for the (mostly short) period lasting. Art expressions are not only about the end-result. The way getting there is of equal importance. The small amount of seriously interested consumers will easily distinguish the dynamic ‘growing-pain’ from cheap ‘cash-cracking’. Despite the high leveled positive energy of these temporary movements I rather choose for creating in total solitude. Free from ‘scene’ influences as well distracting competition and uncomfortable obligations. Ignoring media I likewise do with ‘scenes’. Was part of one in my younger years. Foolish then I learned quickly. Those better to be forgotten ‘scene-years’ follow me until today. Milked by survivors for polishing their social and/or economical career positions. Life flows easier not being related or conducted by any tribal mean of propaganda. I prefer to create the way it comes to me. Picking it up, developing, discovering, innovating, pioneering for personal needs and amusement. Incidentally I will puke some out over your media streams letting know I am still here and ofcourse to communicate when that moment naturally exposes. Meanwhile my sight became perfect. Had eye operations few years ago (no laser-corrections!) Before operations I was like a blind cat without decent night-vision. Suffered repeatedly retina detachments on both eyes within short period of 10 days. The Ljubljana eye clinic fixed this emergency problem excellent and with it all other malfunctions. For few years I go without spectacles (except reading!) But this recovery came too late. Due to the developed sense of hearing I barely use my repaired sight… thus bring in the noise!”Get Alprazolam OnlineAleksander Gabryś plays Studio Varèse by Zbigniew Karkowski
Freitag, ca. 21 Uhr 40″…Gabryś ramped things up massively for the Karkowski, surprising everyone in the opening moments, otherwise filled with a pulsating bass wall, with wild shouts and cries. It acted as a kind of call to arms, as we were immediately plunged into an absolute maelstrom of frenzied activity, filled with a myriad transient details, filigree decoration surrounding the central double bass, which Gabryś treated simply as a large wooden box with four strings slung across it; the strings were detuned, painfully contorted and yanked, bowed, scraped and generally subjected to the most unapologetically liberated treatment that i think i’ve ever witnessed. Gabryś is simply a marvel to behold, and the way he carefully orchestrated the music’s sectional waves, never swamping the space or blurring what was going on, was an almost incredible testimony to his musicianship. A performance (and a piece) that deserves to down in HCMF’s history as one of its finest.” (Review from Huddersfield Contemporary Music Festival)

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“I will play new material featuring a lot of Daniel’s beats: they must be some of the last things he recorded, a session of drums. I have incorporated them into the music. They (beats) were mastered by Alex Buess. The new material is under the title ‘Cryptic Dusk’. I will also include material from last release ‘9115’.”

A product of the estimable Damian Bennett (Gauge, 16-17, deathless/storm of blood, Khost), carthage rolls through the low-end ambience, stolen/found sounds, and murmured texts of a civilization well past having crossed the rubicon with a precision and deliberateness that belies uncomfortable truths.

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Contagious Orgasm
Freitag, ca. 23 Uhr


Active since 1987, Japan’s Contagious Orgasm has been active in many intersecting and diverse areas of experimental electronic music,
including noise, industrial, rhythmic noise, and ambient.
Contagious Orgasm played many festivals in Japan and Europe (Wroclaw Industrial Festival, Maschinenfest, ElektroAnschlag)
and released innumerable albums on International labels (Tesco Organisation,Ant-Zen, SSSM, Ground Fault Rec,Old Europa Cafe, Harbinger Sound, etc.).

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Freitag, ca. 23 Uhr 50


Since the mid-90’s Tzii, music composer and filmmaker, spreads his frequencies all over the world through touring from Eastern and Western Europe to Australia, passing by USA, Canada, Japan and Africa, where he played hundreds of shows… He created his own label NIGHT ON EARTH in 2001, releasing vinyls and tapes, and is a

co-founder & active member of the audiovisual label/collective V-ATAK. His main aim is to reach transcendance through sound trance, layering and looping to another dimension avoiding intellectualism to let the emotional body flow freely on the waves… To do so he explores infinite different worlds and expressions, from music to performance or collective creations. One thing always remains in his works : they’re impossible to fit in any box.  “A mountain of multiple figures” as defined by Nyx. He’s part of several other projects like SOLAR SKELETONS, MS30, 1997EV, VIRIL, AEROBICONOISE and works also for dance companies, living performances, movie soundtracks and any other mediums with sound inside…

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VJ Meat
Samstag, ca. 2 Uhr


Vj meat, this avatar from V-Atak label, is a true visual ecarissor : he hacks, crushes and laminates his different sources to the last fragment. He mixes the videos of v-atak, famefame, madame chao, Lovid and more, thus creating a subtly brutal, scathing and immersive atmosphere.

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Base Force One
Samstag, ca. 2 Uhr 30


Having worked as an artist in music and print media since 1986, Fringeli moved to London in 1991 and started the Praxis label the following year. Fringeli’s agenda of pushing industrial and experimental music to extremes born at this time was intensification of what the burgeoning hardcore techno and rave scene was offering. The dynamic sonic landscape of London in the early 90s helped Fringeli to formulate his own theoretical critique of the culture industry. His theoretical voice became the magazine Datacide and the practical undermining of dance-floor conventions expressed through Datacide was expanded when Fringeli founded the Sub/Version label in 1997. Taken into the present, the sonic assault of brutal beats and bass continues to blaspheme against the conventions of the dance-floor and tear down its rather flimsy boundaries. Since 2009 Fringeli has been is serving up his unique innovative blend of turntable specials at Bar Cagliostro in Berlin-Friedrichshain.

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Birth Of Jones
Samstag, 21 Uhr
(Foto: Andrea Kiesendahl)

Musical act Birth of Jones  is a possibility for a space of encounters. Kristin Gerwien as a singer&songwriter&electric guitar player&performer under the pseudonym Birth of Jones offers to her audiences a diary, a diary of encounters, encounters with other people’s skin,  encounters with heavy drinking,  encounters with common people‘s failures, and encounters with a possibility of at times melancholic, at times frantic laughter to this all. She wears a costume, then to tell us I don’t know much about me, she paints her face white only to sing taste of your skin makes me cry, she walks slowly all over the stage, only to claim me is really, really breaking towards you. Birth of Jones is not only a musical act, it is a performative act, in which performer creates numerous tactics of enstrangement to her audiences, only to reappear as the more fragile, more open, and more intimate figure. (Text: Tanja Sljivar)

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Antenna Tony Monorail

Samstag, 22 Uhr


ANTENNA TONY MONORAIL machte ursprünglich als 1-Mann-Band die hiesigen Konzertbühnen unsicher. Mit einem Kofferschlagzeug, den eigenen Stimmbändern und einem Dutzend Maultrommeln ausgerüstet, rollte ATM durch’s Brummeisen-Gebirge und warf dabei alle gängigen Vorstellungen, wie dieses archaische Instrument zu klingen habe, über den Haufen.

Inzwischen hat er im US-Gitarristen DAVID MAX (Ex-Psychic TV, Sons of the Void) den perfekten Komplizen für seine musikalischen Exkursionen gefunden. Zusammen psychfolken, garagebluesen und countrypunken sie drauf los, dass es nur so eine Art hat: wuchtig, schräg, und immer 100% live, ohne Netz, doppelten Boden oder Konservenbeats!

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Rivkah Tenuiflora

Samstag, ca. 23 Uhr


livingroom songs
experimental loops, sounds and chants.

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Samstag, ca. 23 Uhr 50


Marco Papiro is a graphic designer, violin player, and electronic musician, who oscillates loosely between psychedelia, futurism and metaphysics. He’s been around since 1995 and has played hundreds of concerts with different outfits in Europe, Brazil and Japan. Papiro’s music owes much to the early works of Battiato, Asmus Tietchens or even Bruce Haack, but comes off originally enough to stand on its own. Nowadays he performs with his Moog Synthesizer celebrating pure ethereal and occasionally heavy electricity. As a graphic designer he’s mostly known for his artwork on Panda Bear’s «Panda Bear Meets the Grim Reaper».

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Sonntag, ca. 0 Uhr 45


“hyena is a solo project by sound-lover giona vinti from milano, italy. giona is one of the founding members of the rexistenz label\collective. influenced by breakcore, noise and industrial, hyena is focused on hard banging experimental rhythms conjured in realtime on an eurorack modular synthesizer.”

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Pure Mania

Sonntag, ca. 1 Uhr 45

Michi Zaugg
Ryan Jordan
Jamie Allen

“A superimposed fluorescent grid clamps the mind like thousands of fingers sinking deep inside the brain and pulling sensation in all directions. The pathways split into two rotating cylinders folding in opposite directions revealing a doorway of some kind. These are the dank back alleys of the core clans; turbo charged psycho-splittercore; highly potent chemical potions releasing anxiety ridden, fraudulent time-travel. We live on the peripheries of our own being.”

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Mank Down
Sonntag, ca. 2 Uhr 40


“There’s a man … in back of this place. He’s the one who’s doing it. I can see him through the wall. I can see his face. I hope that I never see that face, ever, outside of a dream.” (Dan, “Mulholland Drive”)

The sound of MANK DOWN makes you feel uneasy. Something isn’t right here. Synths/beats/rap vocals. Familiar elements. And yet it all seems unusual/awkward/discomforting. There is a rift, and a glimpse into the deep, into complete darkness. Don’t look too long, under any circumstances. Best to keep going and to pretend that this never happened. Or else you might see that face.

Others have tried to capture the horror with the tools of Hard Rock and Metal. They don’t come close to what MANK DOWN achieve with experimental Electronics and Hip Hop. The EP is entitled THRED. What do they mean? Thread/threat? Perhaps the cover delivers a clue. “Produced in the presence of devil’s witnesses.” I see. And what if that’s true?

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The Reaver

Sonntag, ca. 4 Uhr


Genre: Instrumental, Breaks, Experimental, Abstract
Kollektiv: Okkultur

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Sonntag, 17 Uhr


Sebastian Smolyn: e-trombone
Artur Smolyn: electronics
Maxime Hänsenberger: drums

Sebastian Smolyn (trombone) and Artur Smolyn (electronics) are Defibrillator. They have committed themselves to improvised music and do enthralling performances full of energy and love of adventure. They have been educated in classical music in conservatories in Germany, France and Switzerland. They have played in numerous well-known orchestras and ensembles. Their experience is the matrix for a kind of music that follows its own rules, that makes use freely of what it needs. The music is pushed by two musicians who engage in everything that serves the organic thriving of their sound. They unfold their own acoustic vocabulary in a very convincing way. After the show you want to try to find out what their possible influences are and you will find New Music, Free Jazz, Noise and Hardcore in its many different shapes. There are familiar rhythmic patterns, harmonies and tonal references, which are broken and altered. The beat comes and goes, is dominant at times or gets pushed away by soundscapes and spherical sounds. When the Smolyn brothers meet it is a meeting of electronics and e-trombone on an equal level. Since they can trust each other blindly, they can also challenge each other and push their boundaries.

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