Kommande program


  • VEMS julELjud 2017

    16 Dec 2017 - 18:00

    VEMS (Verksamma på Elektronmusikstudion) presenterar:

    VEMS julELjud 2017

    Ett elektriskt festspel!

    16 december kl 18-24


    Mari Kretz piak
    Ewert Ekros Roland Kuit
    Assar Tallinger Hansi Güçlüer
    Eva Sidén Jens Hedman Ida Höög
    Girilal Baars Sören Runolf Jocke Roséen
    Pär Johansson Lars Bröndum Tamás Ungváry
    Helene Hedsund Torbjörn Bellind Anders Bergdahl
    Tommy Zwedberg Lise-Lotte Norelius Mathtiiaas Rosén


    Endast kortbetalning i baren.
    Dörrarna öppnar kl 17:45



    samproduktion med VEMS

  • Andligt och elektroniskt i advent

    17 Dec 2017 - 19:00

    Ida Höög: blockflöjter, ljudobjekt

    Eva Sidén: flygel, elektronik, ljudobjekt

    Jens Hedman: elektronik

    Musik av Arvo Pärt samt av Eva Sidén och Jens Hedman.
    Uruppföranden av stycket "Shade of Thaïs" av Sidén Hedman duo, "To wait" av Eva Sidén samt "Inner Landscapes" av Jens Hedman.

    Baren är öppen. 

    Entré 100:-

    Medlemsproduktion: Jens Hedman


    21 Dec 2017 - 18:30

    TURBIDUS FILM #24, WALDEN and FYLKINGEN presents Nicolas Rey’s Les Soviets plus l'électricité (2001) on 16mm. 

Les Soviets plus l'électricité is a cinematic and epic journey across Russia that ends deep in Siberia at the port town of Magadan, a city famous in Soviet times for being synonymous with deportation. Based on excerpts from his acoustic diary, documentary footage and some autobiographical insights given on the way, the roving reporter searches for imaginary roots and its historical and political implications. 

As Boris Lehman writes, “The final product is a three-stage, three-hour cinematic journey on the trail of condemned prisoners dragged to the furthest ends of Siberia…. Nicolas not only realizes his dream and undertakes this impossible, unimaginable journey. He also captures it cinematically as images and sounds, movement, light, color, black leaders, and intertitles.” 

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    18:30 Doors open

    19:00 Les Soviets plus l'électricité (with two short breaks)


    2001 | super 8 to 16mm | color | sound | 24fps | French with English subtitles | 175'00

A cinetrip to a defunct country. Super-self-production in Sviemacolor. Wandering through Russia as if through someone else's house. "Day two is the worst. It was the same in the train: on the second day, I stamped my feet impatiently. Then, from the third day on, it gets better. You get used to the slowness, to the monotonous landscape, to a life made up of short sleep-eat-wait cycles having absolutely nothing to do with the usual timing of a day." Advertisements for linoleum as if it were some precious stone, and entire cities - built on gold mines - left abandoned. There is no such thing as Russian chaos. Just "Europe" stretching all the way to the Pacific Ocean, and no longer merely to the ghostly Oural Mountains. 

    16mm film copy from LightCone, Paris


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    Nicolas Rey is a French filmmaker, born in 1968 (do not confuse with Nicolas Ray, American director). Since 1993, Rey usually shoots on expired Super-8 or 16mm films. In 1995, he contributed to the founding of the L'Abominable, a collective workshop in Paris, a place to develop and edit films. His first two films, the short Terminus for You (1996) and Opera Mundi or the Time of Outerwear (1999), are 16mm in black and white. The third film The Soviets More Electricity, directed in 2001, which is Super-8 swelled to 16mm and his first full length feature (170 min.) and there he retraces his father communist, Nicolas Rey shot in colour. According to Christa Blümlinger, cinema and contemporary art critic, Rey "renews thus the artistic and artisanal traditions of cinema, finding in ancient techniques and materials the opportunity of a plastic renewal, this film finds itself making a kind of reconciliation of the two avant-gardes, separated for a long time and ignoring each other mutually: the one of the experimental cinema, originated in fine arts environment and coming from New York, and the other which shaped itself in Europe, as a result of post-war modernist cinema, which we could call essayist." Then Nicolas Rey was interested by the economic decline of the industry and showed Schuss! (2005), set in the Alps. His last movie Differently, Molussia (2012), from adapted Günter Anders' tales about fascism, has been paid attention several times: it was selected in the Berlinale (Forum Expanded), it took the Grand Prix in the festival Cinema of the Real in Paris, it entered in competition in Brussels for the Prix de l'Âge d'or (Golden Age Prize).

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    60 SEK (card is the queen)

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    Samproduktion med Turbidus Film

  • Rökridån revival

    23 Dec 2017 - 19:00

    Rökridån bedrev under närmare två år en underjordisk scen i Slakthusområdet, men stängdes vid årskiftet.

    Idén med detta event är att samla ihop ett antal aktörer som kurerar och skapar avgränsade scenkonst-experiment, och har ett intresse av att återskapa en scen i Slakthusområdet med liknande inriktning som f.d. Rökridån.

    Kvällen utgörs av akter med experimentell musik och performance sammansatt av de inbjudna aktörerna och har ambitionen att utmynna i en gemenskap med målet att återupprätta en alternativ scen i Slakthusområdet.



    entré: 100 kr


    Medlemsproduktion: piak (Per Kreuger)

  • Simsara, Oma333 & Fylkingen proudly present: Karkhana, Dog Life and Nadah El Shazly

    15 Jan 2018 - 19:00 - 23:00

    Entrance: 80/60 kr


    DJ Gavin Maycroft (Oma333) live at 19


    Nadah El Shazly live at 20

    Elsa Bergman; double bass
    Konrad Agnas; drums
    Cherif El Masry; fretless electric guitar and electronics
    Nadah El Shazly; vocals, buzuq and keys

    Nadah El Shazly is an Egyptian singer and composer living and working in Cairo. Starting out singing Misfits covers in a local punk band, then moving on to producing her own electronic tracks and making a name for herself in Cairo’s underground scene, Nadah El Shazly’s backstory is not that unusual. Her debut album on the other hand, is an entirely unexpected story.

    Recently released on Nawa Recordings and entitled Ahwar (marshlands) - at No. 12 in The Wire’s best 50 albums of 2017 - it is a culmination of two years of writing and studio work split between Egypt and Canada. The album was composed and arranged in collaboration with Maurice Louca and Sam Shalabi, two members of The Dwarfs of East Agouza trio.
    This is an otherworldly record, not unlike an abstract mythological story-tale.

    Most recently, Nadah became resident composer at Stockholm’s Elektronmusikstudion (EMS) and was featured within local and international festivals including Norbergfestival, Clandestino, Supersonic, Le Guess Who? Her newly found kinship with Sweden has led her to collaborate with Stockholm based musicians and the formation of a new band and arrangements to perform Ahwar for us this evening.

    "Cairo-based singer and composer Nadah El Shazly performs to a seated crowd who revel in her stunning vocal work. It's testament to the quality of her set that despite the almost unbearable heat in the space that has people pouring water over their heads and frantically fanning themselves, they stick around. The performance is intoxicating and at points nightmarish but resolutely beautiful" The Quietus on her Supersonic Festival concert

    Stream her album via The Wire's website and check her interview there also;


    Dog Life live at 21

    Anna Högberg- saxophones
    Finn Loxbo- electric bass
    Mårten Magnefors- drums

    Dog Life explores free improvised music on a high-energetic plateau, descending from the outskirts of free jazz, and further towards a harder, darker and undefined terrain. On their new album, released on Omlott records in fall 2017, they continue to push the freejazz-punk limits and set out new directions with elements of doom and noise.

    "I have seen Dog Life live once, and was knocked by the power, ...The trio is pulling and tugging in melodic threads, the rhythm section flaps and rumbles, and in the center Anna Högberg's saxophone, hard, punky, but with a flow that convinces to the very last second". PM Jönsson, GP

    "Anna Högberg is grubbing and fussing with her saxophones, twisting an turning her ideas in a frenetic debate with bass player Finn Loxbo and drummer Mårten Magnefors, who are more of dialogue partners than a rhythm section [... ] this music is absolutely brilliant." Magnus Eriksson, Lira

    Oldie but a goodie; https://soundcloud.com/d-o-g-l-i-f-e/cigg-eller-filter


    Karkhana live at 22

    Michael Zerang: drums, cymbals, percussion
    Sam Shalabi: oud, electric guitar
    Mazen Kerbaj: trumpet, objects, percussion
    Maurice Louca: electric organ, synthesizers, fx
    Sharif Sehnaoui: electric guitar
    Umut Çağlar: double reeds, bamboo flutes, percussion, violin
    Tony Elieh: electric bass, fx

    Featuring some of the most innovative players from Beirut, Cairo and Istanbul, Karkhana met in Beirut for the first time in February 2014, bringing together influences from the three major experimental music scenes of the region and beyond. Through their live shows, the band’s seven multi-instrumentalists build a transcendental atmosphere full of surprises for the audience and themselves alike, developing what could possibly be called free Middle Eastern music. Shades and traces of shaabi, tarab, sufi and much more are heard in the distinct blend of free jazz and psychedelic they’ve created.

    “I wish I could track down more of this tantalising outfit’s music to share… This Middle Eastern supergroup first got together to celebrate the music of Egyptian surf guitarist Omar Khorshid – who was also a key figure in Oum Kalthoum’s orchestra – but their remit has expanded somewhat and now they’re fully committed to outer-perimeter explorations in Krautrock-leaning, cosmic free jazz” John Doran, The Guardian

    Full set Paris here from last year; https://vimeo.com/194010281
    Sounds; https://soundcloud.com/karkhana/tracks


    This event is made possible with support from Musikverket, Stockholm based international producer Sarah El Miniawy, in partnership with Inter Arts Centre, EMS, Inkonst, Clandestino Festival, Irtijal (International Festival of Experimental Music in Lebanon) and Eka3 (independent platform for alternative Arabic music).

    Samproduktion med Simsara och Oma333

  • FRIM på Fylkingen #2

    18 Jan 2018 - 19:30

    Susana Santos Silva, David Stackenäs & Michael Zerang

    Three improvisers coming from different parts of the world get together to stretch the boundaries of geography, culture and music. Among other facets, this is what creative music has to offer, a communion of individuals to strengthen global human relations. Each one of these musicians has his/her own way of understanding and apprehend the world and the result of their symbiosis on stage will create music that speaks for itself. Improvised, experimental, raw, honest and exhilarating sounds.


    John Chantler, Steve Noble & Seymour Wright

    A new trio formed by John Chantler — best known for his solo synthesizer recordings and work with pipe organs — and two of the most instantly recognisable voices in the scene loosely associated with London’s Cafe OTO — drummer Steve Noble and saxophonist Seymour Wright. Their debut CD 'Front & Above' was released on Chantler's 1703 Skivbolaget label in October 2017.

    "A terrific set that quietly opens a portal to a new world." — The Quietus



    entré— 100 SEK / 80 SEK (FRIM/Fylkingen members)


    Produced by FRIM with support from Stockholm Stad and The Australia Council for The Arts.

    Samproduktion med FRIM