Programm

„Es gibt 2018 nur noch wenig Gründe, sich für neue Gitarrenrockmusik zu interessieren. Gerade wenn sie von deutschsprachigen Musikern stammt, muss man sich schon freuen, wenn sie nicht politisch reaktionär oder trübe vergangenheitsselig ist, sondern – das ist der beste Fall – bloß als Soundtrack für die öden Nöte weinerlicher Mittelschichtsmänner dient. Umso größer ist die Überraschung, dass die schönste und schlaueste, wärmste und kühnste, traurigste und lustigste deutsche Pop-Platte des Frühjahrs von einer Gitarrenmusikgruppe stammt. Die nennt sich The Screenshots, und auf ihrem Debütalbum Ein starkes Team hat sie uns sieben Songminiaturen geschenkt, in denen ein verzweifelter, aber nie jammernder Mann mit dramatisch sich überschlagender Stimme über Einsamkeit, Liebe, Helmut Kohl, Sehnsucht und die Angst vor dem Ende der europäischen Einigung singt, und all dies zu scharfkantig zersplitterten Kraftrock-Akkorden.“ Die Zeit (April 2018)

JASSS (S. Jiménez Alvarez) is a sound artist and producer raised on the Northern coast of Spain. Her parents were passionate about jazz, African and South American rhythms, which became some of the most formative influences in her life.

From an early age, her fascination with sound drove her pursuit of understanding the relationship between music and people. She left Spain to launch this endeavor, leaving behind a social and cultural landscape from which she felt increasingly alienated. Feeling fractured in focus, she began shaping a theme from the distractions, channeling it into new works.

The punk and hardcore roots of her youth evolved into a deep plunge in industrial, dub and experimental music—worlds of sound that were evocative in mystifying, inaccessible ways. After moving to the Netherlands in 2010, she began editing field recordings and probing the worlds of electronic music and soundscapes. She moved a year later to Berlin, where she scored several experimental films.

In 2015 she made her first appearance as a DJ with a distinct, eclectic style that would become her signature approach. After a few years of studio work, her first 12 inch, Caja Negra EP, was released on the American label Anunnaki Cartel. Her second record, Mother, was released that same year on the Italian label Mannequin Records, followed by Es Complicado, on the same label. These days, she is focused on the experimentation of sound and spaces, working on several projects including electroacoustic pieces, live, and audiovisual performances. Her first solo album, Weightless, will be released in 2017 on the Swedish label iDEAL Recordings.

Carsten Jost is the production and DJ alias of David Lieske, co-founder of Dial Records. Born and raised in Hamburg Carsten Jost started his musical journey two decades ago as a resident DJ of Hamburg’s own Golden Pudel Club. It was exactly here at the weekly “Changing Weather” nights that Jost used to host together with Lawrence where the Dial sound was formed and further developed into what it is today. Out of all of the Dial house and techno artists, Carsten Jost has always represented the most precise kind of exquisitely doom-laden house, laced with equally strong doses of melancholy and beauty.
His DJ-Sets are defined by deep, medium tempo, Detroit-inflected house rhythms, accented with crystalline keys, disembodied voices at times and gently soaring Strangs.

Originally from Georgia, Irakli’s early descent into the German capital has seen him corner and develop a side of the local scene and turn it into something of an international fare. Five years ago he created STAUB, one of Berlin’s most celebrated techno parties. As a part of the production duo I/Y, he has been releasing music under the synonymous co-founded label. But most of all, Irakli’s craft behind the decks has been weighed upon by the likeliest of Berlin’s underground venues, namely Tresor, Berghain and Griessmuehle, with his vision of electronic music taken further afield in Europe, and the Americas. In 2017 he founded the Intergalactic Research Institute for Sound with artists like Stanislav Tolkachev, Natalie Beridze, Rezo Glonti and many others.

Irakli also heads up a burgeoning convey diving into exploratory concepts of ambient, hued by the tones and colors of his homeland, Georgia. Adding orchestral collaborations and sound installations to a field of work outside of the club, Irakli’s expanding platforms and industrious connection to Berlin has seen his entry point into the scene now serve as an outlet into the more abstract, experimental realms of techno. With new endeavors afoot and a creative repertoire to boot, Irakli’s DJ sets, labels and parties always display unique qualities. It does not matter whether he is exploring beatless soundscapes or high energy techno music, Irakli always manages to create something special

Bands wie Kluster/Cluster oder Harmonia dienen Kennern der Pop-Historie gerne als visionäre Beispiele für „Krautrock“. Namen wie Brian Eno, Holger Czukay, Konrad Plank, Dieter Moebius, Konrad Schnitzler oder Michael Rother formieren eine imaginäre Versammlung der wichtigsten Konzeptionisten und Komponisten der Elektronik-Avantgarde der siebziger und achtziger Jahre. Er, mittendrin, hat mit ihnen allen gearbeitet. Und einen höchst umfangreichen, individuellen Klangkosmos geschaffen: Roedelius.

Roedelius ist Pionier auf dem Gebiet der Erforschung und musikalischen Verwertung elektrisch generierter und manipulierter Geräusche, Töne und Klänge. Er gehört zu den Vätern der zeitgenössischen, populären, elektronischen Instrumentalmusik. Roedelius selbst bezeichnet seine Tonschöpfungen als klingende Literatur, als Philosophie der Hörsphären, als Klangkino oder Horchtheater.