Kommande program

Datum:

  • SOUND OF STOCKHOLM 2018

    Datum: 
    22 Nov 2018 - 24 Nov 2018

    Den nionde upplagan av Sound of Stockholm närmar sig med stormsteg! Festivalen är ett unikt samarbete mellan några av de mest tongivande aktörerna inom Stockholms samtida och experimentella musikscen; Fylkingen, FRIM, Kulturföreningen SEKT, Studio 53, Konstmusiksystrar, Samtida Musik och STHLM Drone Society.

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    The 9th edition of Sound of Stockholm is coming up! The festival is a unique collaboration between some of the most prominent organizations of the Stockholm experimental music scene: Fylkingen, FRIM, Kulturföreningen SEKT, Studio 53, Konstmusiksystrar, Samtida Musik and STHLM Drone Society.

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    FULL LINE-UP:

    Antenes
    Babyrave with DJ SkyVibes
    Cikada
    Corp.
    DJ HVAD
    Gustav Sjökvists Kammarkör (with Florian Benfer)
    Ida Engelhardt
    Jeppe Just Instituttet
    Konstmusiksystrar ❤️ Stoscha
    Viktor Kalima
    les trucs
    Lo Kristenson
    Maja S. K. Ratkje
    MMMD - mohammad
    Robert Aiki Aubrey Lowe
    We like We

    WORKSHOP:
    Toncirkeln

    ARTIST TALK:
    Antenes
    Gram[m]ofon: Mats Almegård
    Maja S. K. Ratkje
    Sonic Pieces: Monique Recknagel

    Mer info / Website: https://soundofstockholm.se/

    Sound of Stockholm is supported by Stockholms stad, Stockholms läns landsting, Kulturrådet, Nordisk Kulturfond, Musikverket, Elektronmusikstudion EMS Stockholm

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    Fylkingenproduktion

  • Hara Alonso // Sergio Andrés Castrillón Solo // Alexandra & Co.

    Datum: 
    28 Nov 2018 - 19:00

    Hara Alonso
    piano and electronics

    This concert is the release of the album “ Pianoïse” in Sweden, edited by Keroxen, an independent label in Tenerife.

    Pianoïse is the space in between two universes, the acoustic and the electronic. A space where the piano melts in the infinite sonic possibilities of live processing and algorithmic composition. A dance of textures, rhythms and distortions moving from subtle to crude atmospheres. An eclectic palette of sounds beyond genre.

    Hara Alonso is a pianist and sound designer based in Stockholm. Coming from the classical music currently she works on the integration of new technologies through composition, improvisation and multimedia. She constantly collaborates with dance, circus and pedagogy in different constallations.

    https://www.haraalonso.com


    Sergio Andrés Castrillón
    solo amplified-prepared cello

    During an improvised and composed-in-real-time set, Sergio Castrillón explores radical sonorities in his AMPLIFIED-PREPARED CELLO, ranging from extreme string tunings that re-signify the timbre of the instrument, to different noise spectrums.

    https://sergiocastrillon.com


    Alexandra Nilsson
    stones + live processing (Hara Alonso)

    Alexandra Nilsson is a composer and musician based in Stockholm. She mainly composes and performs with trumpet or other objects and live-electronics.
    Her work stretches between sound art, noise, electronica and free improvisation. The interaction and borderland between acoustic and electronic sound worlds is of great interest to her. She is interested in discovering and researching physical materials, both soundwise, visually and contextually. In one of her latest project she is researching the sound world of stones, mainly limestone and sandstone from her childhood shores.
    Lyrical as well as brutal, minimalist and maximalist, organic and non-organic, she creates both order and chaos.

    www.alexandranilsson.com

    DJ Isla de Atlas at the bar
    https://www.mixcloud.com/IslaDeAtlas/
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    Entré 100/80 kr
    Doors open at 19:00, concert starts at 19:30

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    Medlemsproduktion: Hara Alonso

  • XKatedral n.8

    Datum: 
    30 Nov 2018 - 20:00

    November 30 / 20:00 - 01:00 / 80kr

    JH1.FS3
    Mats Erlandsson
    Zach Rowden
    Sorrowing Christ + Händer Som Vårdar
    Elena Wolay (DJ)
    Free The Land (Exhibition)

    + XKatedral tape releases by Mats Erlandsson, Zach Rowden and Daniel Karlsson.

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    JH1.FS3

    JH1.FS3 is the duo of Frederikke Hoffmeier and Jesse Sanes. Though each figures individually in the now-generation of industrial noise—as Puce Mary and Liebestod respectively—JH1.FS3 delineates a more subtle “cinema of the ear.” Here, their words are spoken amidst a savvy re-assembly of 20th century avant-sonics: music concrète, technique extension, and pure electronic sound.

    MATS ERLANDSSON

    Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, as well as being a studio assistant at the world-renowned Electronic Music Studio (EMS). Erlandsson presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman and Maria Horn.

    ZACH ROWDEN

    Zach Rowden in an American musician dealing with the acoustic and performative possibilities of the contrabass and violin. His fierce improvisational approach strips away the raw textural make up of these iconic acoustic instruments, rendering a complex timbral transformation of their sound and a complete obliteration of the listeners own understanding of the sonic potential of the contrabass and violin. Zach’s promising release for XKatedral, “Tasked”, is a severe harnessing of pyschoacoustic rhythms and microtonality through the simplistic instrumentation of contrabass and feedback. His current projects and collaborators include Iancu Dumitrescu and the late Ana-Maria Avram’s Hyperion Ensemble, The Ghost, Tongue Depressor, Charmaine Lee, Tyshawn Sorey, Robert Black, Leila Bordreuil, Kali Malone, Paul Flaherty, Chris Cretella, Matt Sargent, and Wendy Eisenberg.

    SORROWING CHRIST

    Sorrowing Christ consists of Kali Malone – a Stockholm based musician and composer who co-operates the XKatedral label — and Aaron Miller Rehm – a Colorado based artist operating the Bleak Environment label and in the projects Leopard in a Tree, Flowering Blade and City Hunter.

    As they spend most of their time separated by the Atlantic ocean, a Sorrowing Christ live show is something rare to come across. Earlier occasions include performances in Denver’s Rhinoceropolis together with Spectral Voice and City Hunter, inside the legendary disbanded iron mine at Norbergfestival, within a Czech hussite church, and together with Drew McDowall in Stockholm. Sorrowing Christ is part of the Arizona label and artist collective Ascetic House. For this occasion they are joining forces with Händer Som Vårdar.

    HÄNDER SOM VÅRDAR

    Henrik Söderström, a founding member of the Stockholm-based Masskultur experimental music booking collective, has been making music under the name Händer Som Vårdar for 10 years, performing in Sweden, Europe and the United States. HSV’s catalogue of underground cassette releases vary in style and production, forming different iterations of the sound at the core of the project: a highly personal, industrial noise music. Informed by his studies in visual arts, the music of HSV examines the emotive potential of timbre, the specifics of media and the conceptuality of sounds, all assembled in a referential, “plastic” process that echoes both musique concrète and the sampling culture of contemporary electronic music.

    ELENA WOLAY (DJ)

    Elena Wolay is a curator, lecturer, organizer, and a music journalist based in Malmö. Elena is a creative force within the Swedish music scene, consistently setting the focus on free music and radical art. Her most noted project is Jazz Är Farligt.

    FREE THE LAND (exhibition)

    Free The Land is an evolving project of change agent Jesse Sanes. A media diary of environmental impressions natural and domestic, it has manifested in print, collage work, soundmap contributions, guerrilla internet performance, live electronics, and immersive audio and visual installation. FTL pulls field recordings, found sound, and computer speech into a compost of synthesis and free manipulation. Since the performance celebrating the release of ‘“Bedside Ecology” - a multimedia USB drive on Brendan Fowler's 'nontraditional' label DM8H943, Free The Land convenes as a collaborative trio with Sanes, Frederikke Hoffmeier – who aside from the disquieting dynamics of Puce Mary also collaborates with Sanes in JH1.FS3 – and Nial Morgan who has played it harsh and loose in solo projects Wrong Hole and Race to the Bottom. This specific iteration of Free The Land sees the addition of Kali Malone, Aaron Miller Rehm and Henrik Söderström.

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    CARD ONLY FOR DOOR/BAR
    SWISH/CASH FOR MERCH

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    med stöd från stockholms stad

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    Samproduktion med XKatedral

  • Queer Noise Fest #3

    Datum: 
    1 Dec 2018 - 19:00

    noise
    by queers
    at Fylkingen

    line-up/sonic deviations:

    AJA (live)
    rip ME(live)
    Fantasy Face (live)
    Deviations (live)

    + workshop with Aja 16.00-18.00 (more info down below!)

    AJA
    Using unsettling noise, distressed screams, hand made electronics and found objects pushed through pedals, AJA's industrial beats and distorted drone, combined with a psycho-visceral, intense performance challenges the audience by breaking down barriers and pushing limits sonically and visually. For QNF she will not only perform but also hold a workshop for LGBTQ-people on field recording, sound manipulation and the composition of soundscapes (more info down below). Come experience the queer femme noise from Nottingham!

    https://soundcloud.com/aja-ireland

    rip ME
    rip ME is a trash queen and a medium of excess. The set is an assemblage of cultural leftovers; tv ads and ripped youtube videos act like voices, together forming a choir of neo-industrial nonsense.

    https://soundcloud.com/restinpeace_me

    Fantasy Face
    Fantasy Face has been a recurrent figure in the swedish underground scene. Except releasing his mesmerizingly weird debut album "Idolize" in 2015 he has remixed artist Zhala and made music for fashion events such as the Jean Paul Gaultier-exhibition at ArkDes in 2013, Cheap Monday and Ann-Sofie Back.

    https://soundcloud.com/fantasyface

    Deviations
    Deviations make sonic deviations for sexual deviants. For QNF they will premiere queer noise hits such as ”Sudden Rapid Relapse Into Mustache Daddy Fetish”, “Let Me Blow Your Mind On My Knees” and ”Love Is The Heterosexual Policing Of Desire”.

    Workshop
    In her workshop Aja Ireland will teach you how to make field recordings, and create a wide range of different sounds and textures by only using simple, built in Ableton Plugins. You will learn to build ambient/drone/noise textures, experiment and discovering new sounds as a group through live demonstration. A fun and playful workshop providing a safe space to experiment, everyone will be leaving with their own sample packs to use.

    The workshop will include:

    - Listening meditation
    - Ableton Demonstration
    - Unique Sample Packs created
    - Live soundscape / track created
    - Discussions and advice in branding, booking and managing.
    - Archive of costumes from LU LA LOOP and discussions in - visuals and illustration and creating your own merchandise.

    The workshop is aimed at all the LGBTQ-people who are interested in recording techniques and experimental music making. It will start at 16:00 and end at 18:00. The ticket fee is 200 SEK which also includes the entrance fee for the evening of live performances that starts at 19.00. There's only a small amount of people who can attend so email us at info@seroconversion.se to secure your spot!

    Date: Saturday 1th of December
    Time: 19-01 (workshop between 16-18)
    Place: Fylkingen, Torkel Knutssonsgatan 2
    Entrance: 100 SEK/80 SEK (card only)
    Workshop: 200 SEK (includes the entrance fee)
    Age: 18+

    FB-page: https://www.facebook.com/queernoisefest

    FB-event: https://www.facebook.com/events/2235289866752951/?notif_t=plan_user_join...

    QNF#3 genomförs med kulturstöd från Stockholms Stad

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    Medlemsproduktion: Johan Sundell

  • Returning the Ear / Tim Shaw & Jacek Smolicki

    Datum: 
    2 Dec 2018 - 19:00

    Photo: Jacek Smolicki

    Entrance: 60 kr

    7PM

    As an extension of their collaborative art/research residency at Inter Arts Center in Malmö, Shaw and Smolicki invite you to a soundwalk performance in Stockholm. The performance will showcase the artists' modes of approaching public space as a complex, sensory milieu in which various sources of information and organized infrastructures compete with noise, incident and disruption. Through a collective walk and performative sound collage at the Inter Arts Center, Smolicki and Shaw will also demonstrate how field recordings can capture and communicate this complexity and how listening technologies might alter the way we hear and comprehend our surrounding.

    The soundwalk will start at the entrance to Fylkingen and will be concluded with a performance therein. More instructions will follow before the performance.
    Besides the soundwalk performance, Shaw and Smolicki will share their ongoing explorations through individual sets.

    8 PM

    In a form of a sound collage, Smolicki will introduce his 'Para-Archive of Quivering Stillness'. Quivering Stillness is an ongoing exploration of sites affected by military conflicts, political unrest and ruination, performed through the means of sound and video recording.

    In these places just as in a myriad of other sites affected by difficult historical events, present soundscapes seem to camouflage the ones of the past. What one confronts there visually is a hybrid of the past (gradually obsolete yet continuously persistent), with the cultural and natural practices, rhythms and everyday life events taking place at the moment, and not much is concerned with the gone. With soundscape, the case is much different. What one confronts sonically is merely the present. Against the backdrop of these visually hybrid places, their soundscapes seem oddly misplaced and unfitting. What is presently aural there seems not so much representative of the current, but rather misrepresentative of the gone and absent. Even though sounds associated with joy, such as human laughter and birds chirping, tend to refurbish the atmosphere, these places seem to resist them; they reject the condition of today and instead remain stubbornly suspended somewhere between the gone and the present.

    (From the forthcoming publication in PAD, Public Art Dialog journal dedicated to experiments in sound and site)

    8:45 PM

    During his set Shaw will improvise with field recordings, microphones, modular synthesisers, sculptural loudspeakers and resonant sound objects which, when combined, create complex, layered listening environments. He uses a variety of self-constructed technologies to playback and manipulate his recordings. The unfolding composition incorporates elements of uncertainty and indeterminacy processed through room acoustics, computational systems and networked infrastructures.

    Photo: Jacek Smolicki

    Tim Shaw ’s practice is concerned with the many ways people listen, specifically how listening environments can be constructed or explored using a diverse range of techniques and technologies. He has a background in recording sound and his practice is anchored in the creative use of field recordings. He is interested in appropriating communication technologies to explore how these devices change the way we experience the world.

    He is particularly interested in the relationships between site, sound and technologies. Presenting work through musical performances, installations, walks and site-responsive interventions his practice attempts to expose the mechanics of systems through sound to reveal the hidden aspects of environments and technologies. Tim works as a lecturer in Digital Media at Newcastle University.

    He presents work at galleries, festivals, museums, through residencies and cultural events nationally and internationally. Recently his work has been presented at New Ear Festival, New York (2018), History of Bosnia Museum, Sarajevo (2018), ARC, Switzerland (2018), bb15, Linz (2017), Stereolux, Nantes (2016), Baltic, Gateshead (2017), FACT Liverpool (2016), Eastern Bloc, Montreal (2016) and The Wired Lab, New South Wales, Australia (2016).

    More on: https://tim-shaw.net/

    Photo: Sally de Kunst / Arc Artist Residency

    Jacek Smolicki is a Stockholm-based cross-media artist, designer, researcher and walker working at the intersection of aesthetics, technology, archiving and everyday life.

    Besides engaging with existing archives and heritage, he is interested in forging and testing new techniques for experiencing, recording and para-archiving space, time and everyday life, especially through the medium of sound. His work is manifested by the means of experimental soundscape compositions, sound installations, soundwalks, site-specific para-archives, disparate cartographies and performances.

    In parallel to these activities, for the last several years Smolicki has been committed to a set of documentary practices in which a systematic experimentation with various recording techniques and technologies leads to the construction of a multifaceted record of contemporary everyday life (On-Going Project). One such practice is the para-archiving of one-minute field recordings executed daily ever since July 2010.

    He has exhibited, presented his works and gave workshops internationally (e.g. Madrid, Moscow, Helsinki, Stockholm, San Francisco, Sarajevo, Vienna, Budapest). He holds a PhD from the School of Arts and Communication / Malmö University where he was a member of the Living Archives, a research project founded by the Swedish Research Council. His largely practice-based thesis explored how technological transformations have been affecting aesthetic, material, performative, political and ethical aspects of personal archiving and memory practices, historically and presently, in the times of 'capture culture', which is how he defines the state in which the digital has become the unescapable norm.

    More on www.smolicki.com

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    Medlemsproduktion: Jacek Smolicki

  • KAI-EN BUTOH COMPANY: Porous

    Datum: 
    6 Dec 2018 - 8 Dec 2018

    Porous

    Softness and sweetness of a decaying space
    A body cut open to the world
    Mouldering

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    Porous rör sig i gränslandet mellan ritual och dansföreställning.
    Kroppens inre och rummets yttre förvrängs till ett omslutande rum som berör alla sinnen.

    Föreställningen utgår från porositet och uppluckring som tillstånd av förvandling och överskridande av gränser.
    Förruttnelseprocessen som ett tillstånd där existenser övergår i varandra utan att helt förlora sitt ursprung.

    Porous lånar sin form från traditionella transritualer.
    Transen arbetar med återhållsamhet, upprepning och små förskjutningar över tid; en process från integritet till upplösning; en långsam förskjutning till en upplevelse av att förflyttas, att nå bortom jaget gränser.
    I Porous blir den rituella kvaliteten fysisk och levande.

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    förruttnelse i de inre organen
    förruttnelsen är inåtriktad
    den äter kropp, destillerar den, ger den tyngd, densitet

    förruttnelsen är samtidigt utåtriktad, sönderfallande, upplösande
    den luckrar upp gränsen mellan det som var kropp och det som var rum

    kroppens yta upplöses
    insida och utsida förvrängs

    rummet mättas

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    Idé, koreografi och butoh: KAI-EN
    Kostym: KAI-EN
    Musik: Lars Åkerlund
    Rörliga bilder: Björn-Ola Lind
    Ljusdesign: Maria Ros Palmklint / Flamingo Produktion
    Videoteknik: Flamingo Produktion
    Produktion: KAI-EN Butoh Company

    Fylkingen
    6-8 december 2018

    kl 19:00
    entré: 120/100 kr, endast kortbetalning
    boka biljett:
    info@kai-enbutoh.se

    Tack till Katja Seitajoki/Arena Baubo

    Med stöd av Kulturrådet, Stockholms Stad och C.off.

    Bild: Björn-Ola Lind

    www.kai-enbutoh.se
    https://www.facebook.com/events/178145859716383/

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    Medlemsproduktion: KAI-EN