bunny’n’d’blonds aka Sara Glaxia & CAmilla Green

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Bunny and the blond is a fictional band formed by Sara Glaxia’s alter ego “bunny” leaning a trace of sound through the last years all the other members are blond and changing depending the song and the bunny turns from blue to white depending the season… the music intended for animals and children had also develop in electronic mental k hole melodically as well as distorted.

Sara Glaxia was raised by a pack of wolfs by the fire with an owl by the transparent moon; she entered the circus and worked as an acrobat and dragon, where she learned how to fly and count numbers backwards infinitely, there she started her artistic career.

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Princess Alien by Sarabeth Stroller

At age 21 enrolled to work at the Pettibon art factory where she earned the skills of diving and breeding underwater and after few years of swimming inwards she remained in the bottom of the ocean, the mermaids told her stories about hot boys surfing on speedos…

Sara Glaxia tried to get to shore when a sea warm had caught her and spit her out to the sky, she flew far enough to get absorbed by a black hole where she entered this dimension and lives now in a parallel reality, with borrowed memories and delicious food by the chrystal lake with the birds that tweet billion variations of lullabies, day and night, tight and clear the gaze of a sight, she stands on top of a crumbled sand castle with a rainbow shield and mirror sunglasses looking to the future

Website


 

FAUNA

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MOUN10  / A 

Rana Farahani aka Fauna ist den KlubgängerInnen schon lange ein Begriff. Ihr musikalischer Weg führte sie von einer klassischen Klavier- und Gesangsausbildung erst etwas später ins elektronische Reich der Möglichkeiten und Sounddefinitionen. Ihr Selbstverständnis als DJ hat etwas Natürliches,Ursprüngliches. Ihre Sets tanzen dabei einen Drahtseilakt zwischen mechanisch-kalten und düsteren Momenten, schaffen es aber auch im Gegensatz dazu, schöne, hellere Atmosphären zu kreieren und stimmungsabhängig auf die jeweilige Situation einzugehen. Dies gilt auch für ihre Produktionen, die nicht einfach in eine Schublade gesteckt werden können. Ihr kreativer Output verlangt nach Experiment und Bewegung.

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Lonely Boys

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MOUN10 / A/DE


 

Daphne Ahlers who lives in Berlin and Rosa Rendl who lives in Vienna form the long distance collective Lonely Boys. The two girls have been producing music together since 2010 when students in London. In 2013, Lonely Boys released their first EP “Go Down Easy” with the Viennese label Moun10. Their musical as well visual language is characterized by a mellow overly sexualized satirical style and is nourished with pop elements. They recently performed at Intra Phenom in New York as well as the 3HD festival in Berlin.


KARIN FERRARI – »DECODING Katy Perry’s Dark Horse (THE WHOLE TRUTH)«

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The videos of Karin Ferrari’s webseries DECODING (THE WHOLE TRUTH) reveal hidden messages in music videos and TV Clips. According to her interpretation Lady Gaga’s music video Bad Romance shows the initiation of the singer, the music video Atlantis by Azealia Banks shows how the geological history of the earth and the origin and collapse of modern capitalism form a traumatic megasystem. Katy Perry’s Dark Horse is the encoded depiction of the archaic ritual magic an occult elite uses to secure its power and the role that the celebrity star plays in this.

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The rhetorical form of DECODING Katy Perry’s Dark Horse (THE WHOLE TRUTH) by Karin Ferrari, is clearly inspired by a rich vein of independent documentaries on YouTube wich purport to uncover or cor- rectly analyze the symbolic manifestations of major conspiracies in our public life. Set in Memphis – Egypt – and suffused with hieroglyphic imagery, an ultra light pop-music video by the eponymous American star receives a dogged, and deadpan, analysis in a voiceover supplied by the artist. Like the underground media whose idioms it highlights, Ferrari’s argument is by turns weirdly convincing and highly implausible. (Nadim Samman)

»DECODING Katy Perry’s Dark Horse (THE WHOLE TRUTH)« will be screened before and along the set of Superskin.
WEBSITE

SUPERSKIN

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BABA VANGA, FEATHERED COYOTE, SAMA RECORDINGS / A


 

Austrian artist Andreas Klotz aka Superskin creates airy, lofi-encrusted, polytextural compositions that revel in an opium haze. Following a dub-infected sequence of rhythmic structures, slabs of luscious melody seduce only to roll back and reappear to lull the listener into a state of zen-like trance. Way – future electronic music with a great sense for analogue warmth.

„Solo project by Viennese artist Andreas Klotz. The music here is electronic but based on synthesized percussion as much as anything else. It also has an airiness (or holeyness) that gives it a dubby feel. The best parts are where this side meets melodic key lines of a vaguely Middle Eastern nature, making me think of Muslimgauze (at their lightes) crossed with Legendary Pink Dots (at their most diffuse). Other parts sound more like getting slapped while participating in a game show.” (THE WIRE)

DNYE

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SOYBOT, EKZEM / 

DNYE aka artist Marie Fegerl is living in Vienna, doing all sorts of arrangements on computer, paper, synthesizers, haikus, animals and titan, had some fun organising and playing mini raves back in the day aswell as releasing slanting music from different fields on dubious media. Nowadays hanging around with the U.F.O.-sighting collective Soybot in Brigittenau, DJing on rare occasions and satanic weddings.

WEBSITE

CLEMENS JÜRGENS

= CLEMENS DENK (KRAFFTMALEREI, TOTALLY WIRED RECORDS)  & VOODOO  JÜRGENS (LOTTERLABEL, K.U.N.T.Z), solo&unsafe, A

Clemens Jürgens: that unifying moment of alienation, when two songwriters (Clemens Denk and Voodoo Jürgens) – each with their very personal approach on lyrics and composition, inherited both from working class folk tradition and dadaist academia – abandon structure and narration and explore the outlandish offerings of atonalism and free form in electronically patched music. They’re in with the V-Effekt – as was Wendy Carlos’ “Switched-On Bach”, Lou Reed’s “Metal Machine Music” and Neil Young’s “Trans”…. (Michael Giebl)