live Aleksi Perälä, Nachtbote, Rosa Nebel, Ryo Murakami, Sote, Sudden Infant

Dj Hannah

Screening Steffen Levring »Signal V«

Screening Alejandro Del Valle-Latanzio & Cristóbal Hornito

Videopremiere “Das Fest Der Reichen” by Jung An Tagen & Der Kleine Kreis





Aleksi Perälä, whose work for Rephlex and his own AP Musik has continuously sought to push electronic music’s boundaries, has created what might be his most extraordinary idea to date. Alongside Grant Wilson Claridge (who runs Rephlex) he has invented a custom musical scale called The Colundi Sequence, an alternative to the standard musical scales most music is composed from. Rather than dividing the keyboard into octaves with semitones, the pair chose specific frequencies to work with, making a scale of 128 resonant frequencies. These frequencies were selected through a variety of methods, including experimentation and taking from ideas on philosophy, psychology, science, human bio- resonance and mysticism. By pulling away from standard musical scales, Perälä has created some undeniably compelling music, filled with uncanny tones and precisely wrought sounds that are spellbinding in their unfamiliarity. (Bleep)

Colundi is a self-designed tuning system that uses only a certain set of frequencies—”128 resonant frequencies chosen via experimentation and philosophy, each relating to a specific human bio-resonance, or psychology, traditional mysticism or belief, physics, astronomy, math, chemistry,” to be exact,according to the label.

“What is colundi? we fail to reliably express our precise thoughts & intentions using words. consequently, you may fail to understand us. we apologise for the effects of such misunderstanding. common purpose. consideration of data. colundi everyOne.”

Interview w/ Resident Advisor on Colundi
Website  Colundi Bandcamp




Ata ‘Sote’ Ebtekar is an electronic music composer, sound artist, and recording engineer currently based in Tehran, Iran, whose work reconstructs traditional or regional tonal systems and rhythmic structures through synthesis and modular electronics. His current work approaches techno from a maximalist perspective, creating structural groove through programmed, pitched sounds rather than orthodox beats. Also active in the sphere of sound art and academia, Ebtekar’s compositions and multi-channel installations decode and re-generate patterns of thought (both folkloric and contemporary) using electro-acoustic techniques, microtonal systems, and polyrhythmic motifs.


In the early 2000s, Iranian artist Ata Ebtekar was picked up by Warp Records. His debut saw the two high-charged percussive assaults, ‘Electric Deaf’ and ‘Subconscious (Pure Mix)’ under the name Sote. The record navigated away from the more conceptual releases Warp had been exploring around the time, instead slamming the listener with redlining kicks and shuddering reece basslines.

A number of other Sote releases followed, but between 2007- 2014, things went somewhat quiet in terms of recorded works. This is not to say he was in quiet retreat however. Ebtekar also works as a lecturer and installation artist, and has produced sound and installation art for numerous galleries in San Francisco, the City in which he studied Audio Engineering. One project involved creating a sound sculpture for the Asian Art Museum of San Francisco with Ala Ebtkebar, another creating multi-channel sound art from manipulated recordings of protest chants during various demonstrations in the 1978/79 Iranian Revolution.

In 2014, record’s from under the Sote name started re-emerging, and the past two years this trend has continued – a drone/experimental Opal Tapes cassette, ‘Hardcore Sounds From Tehran’ released earlier this year. Despite a general move away from dancefloor sounds in more recent years, it is Ebtekar’s breakneck hardcore/techno experiments which make up his latest release. ‘Neuroenhancer’ and ‘In Music I Trust’ were written in the late ’90s, Shapednoise fronted Repitch Recordings seeing fit to bring them to light nearly two decades since they were first written.  (CTM Berlin)

Interview & Mix

Sudden Infant

SI_by Laura Fusato.jpeg


After 25 years of extensive solo works and collaborations, Sudden Infant is now operating as a three-piece band with Joke Lanz, Christian Weber and Alexandre Babel. The international acclaimed Noise project has transformed into a Dada-Punk-Industrial unit produced by Roli Mosimann (ex Swans drummer).


In the past Sudden Infant toured with Sleaford Mods and opened for Wolf Eyes, Ben Frost, Merzbow, Derek Bailey, Joan La Barbara, Thurston Moore, Jim O’Rourke and many others. Innumerable releases on some of the most prominent record labels in the underground scene: RRR, Harbinger Sound, Artware, Voodoo Rhythm, Blossoming Noise, Tochnit Aleph, Some Bizarre a.o. Festivals and tours in USA, Japan, Israel, Taiwan, Hong Kong, South Africa and all over Europe.

“Sudden Infant go all the way. Nothing is held back.” – Keith Moline / The Wire

“One of Europe’s finest Noise provocateurs!” – Matthew Kosloff / Skyscraper Magazine

“Fucking awesome band! I was lucky enough to witness their set live at 100 Club. Killer!” – Steve Crittall / The Godfathers

Website: http://www.suddeninfant.com/




Depth of Decay, Bedouin Records/  JP 

co-hosted by comfortzone & substance recordstore

Osaka based Ryo Murakami entered the world of music at an early age, first by playing piano, and then getting to grips with synthesizers and drum machines. His productions contain alternative dance music and classical contemporary music, a combination of atmospheric ambient, noise and drone.

His production history, up until his 2013 album release on his own imprint Depth Of Decay has been varied, from releases on Bug’s Poker Flat and the Dessous label to the more recent releases on German outlets Baud and Styrax. His latest releases (including one on Bedouin Records) sit between drone and musique concrète and have been described as synthetic versions of Sunn O))). (Berlin Atonal, 2015)



13871710_950372418421914_866144265_n.jpg(c) Zsa Zsa Wegor

Wie der Soundtrack einer dystopischen Graphic-Novel, direkt nach der fatalen Bombendetonation: Rosa Nebel dringt in die Ritzen der Bilder eines pochenden Post-Anthropozäns und richtet dabei den Blick in die Gegenwart: existentialistisch, düster, abgeklärt geht ein vehementer Warnruf an das Jetzt. Widerspenstige Funksignale , vermittelt von dunkel ätzenden Minimal-Wave-Synths, insistierendem Free-Techno Puls und der kathartischen Melancholie der Selected Ambient Works.


“Sirenen der Aufruhr. narrative Maschinenmusik.” (Michael Giebl)



Jung An Tagen – Videopremiere “Das Fest Der Reichen” by Jung An Tagen & “Der Kleine Kreis”


Jung An Tagen (VIV, Editions Mego), A

Jung An Tagen is the primary music act operating inside the Virtual Institute Vienna. 
By using substractive synthesis and sampling techniques Jung An Tagen builds aleatoric arrays, repetitive figures & polyrhythmic moirés circulating around distinctive timbres and haptic fragments, resulting in a vision of morphing movements between high energy and zero gravity states. 
Due to the synaesthesian nature of the VIV, Jung An Tagen is bound very closely to a specific visual grammar and is intertwined with video art, even though the performative settings are usually reduced to music only.

The Virtual Institute Vienna represents the research of a small group of artists and other interdisciplinary consultants operating through certain synaestasian A/V arrangements on the elementary parameters of perception. From the earliest activities of the past, the majority of this work has been kept private with only a few exceptions concerning stimulatory demonstrations intended for a greater number of recipients. Based on recent collaborations the VIV will follow a more exposed trajectory.


Steffen Levring – SIGNAL V


SIGNAL V – Steffen Levring (DK), 2016
HD Video, Sound, Colour
Duration 7:40 minutes

Working with extreme retinal and sonic scenarios, Steffen Levring employs forbidden or maximal light sources in various frequencies. He explores the physical and technological limits of video and its direct relationship and translation into sound. SIGNAL V consists of 5 autonomous sequences with varying degrees of pressure. Parts are captured directly by the camera sensor and using a variety of light generators, laser lights, obfuscating filters and agitating techniques. It is a powerful, raw and synthetic vision into psychedelic noise video today.

Steffen Levring (b. 1982 Copenhagen) studied Fine Art at the Slade School of Fine Art, London and Cooper Union, New York. He was a resident in the Experimental Film Department at Kingston University, London in 2011-12. Recent screenings, exhibitions and performances include Mayhem, Copenhagen, Outpost, Norwich, The Advisory, London, MK Gallery, Milton Keynes, Top Kino, Vienna, CPH:DOX Film Festival, Copenhagen and BALTIC 39, Newcastle. He co-runs the Tørreloft project space in Copenhagen.