Xerox Exotique

It’s a musical and performative project created by Virginia Quaranta aka Bebawinigi. It is an all-around experiment. She experiments with a wide variety of genres to create something new; she experiments with instruments but also with any objects that could make an interesting sound; above all she experiments with her voice and theatricality through a broad range of different timbres, vocal registers and colours; lastly she experiments with verbal language often preferring her own personal “grammelot” (an invented language) over Italian or English.
www.soundcloud.com/beba-winigi
www.facebook.com/beba.winigi
www.instagram.com/bebawinigi

Gregor Głogowski lebt in Frankfurt am Main und arbeitet an den Schnittstellen von Musiktheater, Installation und elektronischer Musik. In seinen Performances nutzt er wiederholt Instrumente und
Klangobjekte, die er zusammen im Team mit Künstler*innen eigens entwirft. Er ist Mitgründer des Künstler*innen-Kollektivs Matter of Facts Studio und Teil des Duos Glogowski / Hoesch. Ihre
Arbeiten wurden u.a. im Mousonturm Frankfurt, auf Kampnagel Hamburg, in HELLERAU – Dresden, im ZiMMT Leipzig und im Nikolaisaal Potsdam gezeigt. Gregor Głogowskis Arbeiten für das Radio wurden u.a. vom HR, dem WDR und Deutschlandradio Kultur gesendet.
Für die Xerox-Reihe nutzt er die Technik des No-Input Mixers als Ausgangsmaterial des Konzerts.
www.glogowskihoesch.com
www.soundcloud.com/gregor-glogowski

Eardrops started on a sunny sunday evening in Augsburg with Claus Poulsen (Blind Man’s Band / solo) and Sascha Stadlmeier (EMERGE / Bu.d.d.A.) improvising together, using zither, violin, electronics and field recordings. They concentrate on melodic and minimal soundscapes that classify as ambient, but with a droney, experimental edge, setting eardrops apart from the
members’ other musical projects. Eardrops builds images for the inner mind, taking the listener away from daily life into unknown territories. Although the music has a peaceful atmosphere at first glance, delicate layers in the deep evoke feelings of something dark and unsettling.
audiophob.bandcamp.com/album/gravity-has-no-right-to-define-up-and-down
www.youtube.com/watch?v=B_hjdV54TVg
www.facebook.com/eardrops.ambient

25.10.2023, Einlass ab 20:00, beginnt ca. 20:30
Eintritt 9 Euro
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main
Der Eingang ist auf der rechten Seite des Gebäudes, dann die Treppen bis zum obersten Stock laufen.
www.inm.de

“Ak’chamel are a mysterious duo from Texas who call out some seriously weird ritualistic cult jams by way of midnight smoke chants, speaking in tongues while plinking away on a broken spike fiddle, pounding a ratty drum, and droning on whatever noisemaker they can find.” -Anti Gravity Bunny
…over the past decade they have produced over a dozen cassettes, VHS films and vinyl LP’s (such as the critically acclaimed “The Totemist”). They perform in full homemade costumes with an array of half-broken indigenous or self-built instruments.
akchamel.bandcamp.com
www.instagram.com/akchamel_

Wirecutter – „Little Faith“
The intimate relationship between walls and music is as old as music-making itself. Music, as the
Bible tells us, can make walls collapse; but as bands like Sonic Youth, Melvins, Sunn o))), or Zu
demonstrate, it can also build them up. “Little Faith,” the debut album from the Berlin-based duo
Wirecutter, belongs to the latter camp: Michael Hoppe and Sidney Werner’s walls of sound stand so
tall and strong that they themselves can’t even surmount them.
As Werner describes the music: ”Extremely slow, extremely loud, extremely ornate, and extremely
minimalist!” Practically everything else is self-explanatory. “Extremely massive” might come to
mind as well, when, during the first track “Built to Break,” the the bass, drums and synthesizers
hurtle relentlessly forward—and right when you’ve started to keep pace with the sound, Werner and
Hoppe turn it up a notch.
Improvisation was key to recording “Little Faith.” Guided by nerve and intuition, both musicians
left behind their primary instruments for less-familiar ones: Hoppe, trained as a pianist, played
drums, while Werner, a bassist, opted for a home-made instrument he calls the Diddley Bow. They
recorded during Lockdown, when a huge amount of pent-up energy—emotional, social, and
musical—had to be released. “It felt very freeing to just play music without any underlying idea,”
says Werner. “That way, everything developed very organically. Nothing had to be discussed or
planned ahead, because we not only have similar values in terms of the music we like, but also why
we like it.”
A person can either lose or find herself in open improvisation. In “Little Faith,” Werner and Hoppe
embark on a deliberate search for something. The tracks are indeed opulent, but never aimless.
Sifting through the material after recording, the two cut it apart, pasted it back together, and
recorded brutal synths over the patchwork until certain sounds and structures began to naturally
emerge.
A wall is always a wall. But let your eyes rest on it a while, and you will start to notice the cracks
and seams, the texture, the sediment. The same is true of “Little Faith”: at first, the album seems
like a coarse block of blacks and grays. But listen further, and new colors will emerge. Time and
again throughout the project, the duo acquired new perspectives and priorities. As Hoppe stresses:
“The music is not just confrontational. It shouldn’t be understood as an attack on the ear. But the
underlying aggression can be seen as a statement on political, social and musical conditions.
Through repetition of certain themes or motifs, the music develops a narrative quality.”
Above all, Wirecutter makes music devoid of fear. They do not believe in a certain way of doing
things; they aspire to exclude nothing, to allow anything, to ask for a high degree of openness from
the listener, and to reach, dispassionately, across time—an aesthetic Hoppe aptly describes as
Retrofuturism. “This album is looking backwards in a futuristic sense, leading us to the non-existent
source of the music we listen to today. Through it, we enter a parallel reality where we can reinvent
ourselves. As Björk said: We have to invent our own roots.” (Wolf Kampmann)
boomslangrecords.bandcamp.com/album/little-faith
www.instagram.com/_wirecutter_

11.11.2023, Einlass ab 20:00, beginnt ca. 20:30
Eintritt 8 Euro
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main
Der Eingang ist auf der rechten Seite des Gebäudes, dann die Treppen bis zum obersten Stock laufen.
www.inm.de

In relation to Remetemen‘s music, we cannot talk about dreams, feelings, clouds and other virtual things. At the beginning of the ’90s, he started playing music simultaneously in the punk and traditional folk music scenes. This created his musical education… For 20 years now, he has been working as a hermit in electronic music. He works with many different styles, likes to mix different elements, or rather wade through them. His concerts are characterized by a lot of improvisation and an ever-changing setup. It never repeats itself…
www.remetemen.bandcamp.com
www.soundcloud.com/rmtmn

Gergely Pápai films present a slow journey or floating above familiar landscapes that are impossible to connect with on a tangible level, yet emotionally we become entangled with the unfolding visuals and the deeper layers they conceal. It’s a drifting between not-too-close and not-too-far, an unusual pace of contemplation, an analysis of the impact and reflection on our own city or living environment, on its landscapes and nature, and on its effects on us—ourselves—providing an opportunity for experiencing or contemplating upon it, all through these two slow films.
The films are silent films, accompanied by sound/music utilizing a plethora of devices. Analog synthesizers, random structures, gritty audio textures, emerging and dissipating soundscapes. This live-act experiment will attempt to tame an uncontrollably complex system, often generating interferences or happy accidents.
www.youtube.com/@mikroton

28.11.2023, Einlass ab 20:00, beginnt ca. 20:30
Eintritt 8 Euro
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main
Der Eingang ist auf der rechten Seite des Gebäudes, dann die Treppen bis zum obersten Stock laufen.
www.inm.de

Sascha Stadlmeier (geb. 1977) veröffentlicht mit seinem Projekt EMERGE seit 2003 elektroakustische Musik auf internationalen Labels wie Drone Records, Tâalem, aufabwegen und Frozen Light. Neben seiner kompositorischen Arbeit an der Schnittstelle von Musique concrète, Drone und Noise ist er seit 2016 verstärkt im Bereich der freien Improvisation aktiv. Neben Live Electronics kommen dabei Gitarre, Bass und mikrofonierte Objekte zum Einsatz. Einen Schwerpunkt seiner Arbeit bilden Kooperationen mit anderen Musiker*innen unterschiedlichster Stilrichtungen, darunter u.a. If,Bwana, Doc Wör Mirran, Toy Bizarre und Ralf Wehowsky. Seine intensive Konzerttätigkeit im In- und Ausland führte ihn u.a. nach Frankreich, Belgien, Italien, die Schweiz, Österreich, Skandinavien, Russland, das Baltikum, Polen, Tschechien, die Slowakei, Ungarn, Slowenien, Serbien und Bulgarien. Er präsentierte seine Musik auf zahlreichen internationalen Festivals wie Avantgarde Festival, lab30, 20 Jahre MGNM, Zasavje Noisefest, Ecological Sound of Varna Fest und Autistic Campaign Fest. Neben seiner Tätigkeit als Komponist und Performer realisierte Stadlmeier diverse Klanginstallationen und eine Radiokomposition für das Studio Akustische Kunst des WDR.

Das von ihm betriebene Label attenuation circuit hat sich seit 2010 als wichtige Plattform für die internationale experimentelle Musikszene etabliert und veröffentlichte bisher über 100 Künstler aus zahlreichen Ländern. attenuation circuit veranstaltet auch regelmäßig Konzerte mit zumeist experimenteller Musik in Augsburg. Sascha Stadlmeier ist Gründungsmitglied von “jetzt:musik!”, der Augsburger Gesellschaft für Neue Musik.

www.attenuationcircuit.de
www.discogs.com/label/Attenuation+Circuit
emerge.bandcamp.com
emergeac.wordpress.com

Das Circuitnoise Projekt ist ein einzigartiges Hörerlebnis, das auf der Sonifikation von elektronischen Schaltkreisen basiert. Der Künstler nutzt das elektromagnetische Schaltungsrauschen der Geräte, um komplexe Texturen und Klanglandschaften zu schaffen und verwendet Algorithmen und Live-Musikcodierung, um unvorhersehbare Muster und Rhythmen zu erzeugen. Durch die Sonifikation von Daten und die Verwendung von Glitches und elektromagnetischen Sounds eröffnet das Projekt neue kreative Möglichkeiten und erweitert die Grenzen des Möglichen im Bereich des Sounddesigns. Das Konzert wird sicherlich ein Erlebnis für alle Liebhaber von experimenteller elektronischer Musik sein.

www.circuitnoise.de
circuitnoise.bandcamp.com

21.07.2023, Einlass ab 20:00, beginnt ca. 20:30
Eintritt 8 Euro
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main
Der Eingang ist auf der rechten Seite des Gebäudes, dann die Treppen bis zum obersten Stock laufen.
www.inm.de

16.05.2023, Einlass ab 20:00, beginnt ca. 20:30
Eintritt 8 Euro
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main
Der Eingang ist auf der rechten Seite des Gebäudes, dann die Treppen bis zum obersten Stock laufen.
www.inm.de

Abstract Household Warfare is a collaboration between three prolific Hungarian sound artists. On one side of the table, the noise warlock Rovar17 and Xpldnglke (aka the rhythmic hermit of Rákoshegy) are not only punishing each other, but also the drums (or samplers) thanks to ZxBxFx.
The soundscapes initially created by electronic duo glide somewhere between catatonic phantom noises and pulsating rhythms on the thin ice of sound samples contaminated with fragments of pain, now facing a new challenge in threes, they rearrange the apocalyptic sequences. It’s nothing but a never-ending struggle, an eternal battle for control of the mixer on the first morning after the lobotomy.
www.soundcloud.com/abstracthouseholdwarfare
www.facebook.com/Rovar17vsXpldnglke
www.youtube.com/watch?v=3ocdmp3oR44

Xpldnglke is the moniker of the half of the experimental electronic duo L*mbik. He plays weird loops through effect pedals and makes noise with a handful of electronic parts.
www.soundcloud.com/lombik-1
www.youtube.com/watch?v=o0Ivlq1cwZw

04.05.2023, Einlass ab 20:00, beginnt ca. 20:30
Eintritt 8 Euro
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main
Der Eingang ist auf der rechten Seite des Gebäudes, dann die Treppen bis zum obersten Stock laufen.
www.inm.de

By his musical approach Mathieu Sylvestre explores the strains between natural soundscapes and artificial/electronic sound sources. The main focus is to merge antinomic sounds and push in boundaries using atypical treatments in field recordings with modular synthesizers with tapes or loopers. The importance of precise details along waves of harsh frequencies bring a physical and appealing magnitude to the process.
mathieusylvestre.bandcamp.com

Svein Rikard Mathisen (guitar, electronics) and John Derek Bishop (live-sampling, electronics) are a Norwegian ambient jazz duo. They released their critically aclaimed debut album “Calm Brutalism” on Curling Legs in 2022.
John Derek Bishop has released five albums on Jazzland Recordings (under the alias Tortusa) and was nominated for Spellemannsprisen (Norwegian Grammy) for «I Know This Place – The Eivind Aarset Collages». He has collaborated and released music with Arve Henriksen, Eivind Aarset, Erland Dahlen, and Jan Bang to name a few. His latest solo album “Bre” received 4 of 5 stars in Mojo Magazine and Future Music Magazine.
Svein Rikard Mathisen has released three albums, written one commissioned work for the Nattjazz-festival in Bergen and been touring extensively for the last seven years, with his own projects.
Their tour is funded by Arts Council Norway, Music Norway and Norwegian Jazz forum.
www.bishop.no/mathisen-bishop
www.facebook.com/johnderekbishop
www.facebook.com/sveinrikard

18.04.2023, Einlass ab 20:00, beginnt ca. 20:30
Eintritt 8 Euro
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main
Der Eingang ist auf der rechten Seite des Gebäudes, dann die Treppen bis zum obersten Stock laufen.
www.inm.de

11.04.2023, Einlass ab 20:00, beginnt ca. 20:30
Eintritt 8 Euro
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main
Der Eingang ist auf der rechten Seite des Gebäudes, dann die Treppen bis zum obersten Stock laufen.
www.inm.de

Derek Monypeny is a Joshua Tree, CA-based guitarist and oud player who has played in the bands Oaxacan, ALTO!, and Sir Richard Bishop’s Freak Of Araby Ensemble. He has performed and toured with artists such as Bill Orcutt, Jozef van Wissem, Eva Aguila/Kevin Shields, Arrington de Dionyso, and many others.
“Monypeny…makes a stake for a conception of the parameters of variously translated formal/cultural/biological folk modes as the keys to the goddamn kingdom that is everybit as persuasive as Sun City Girls at their most alien.” -David Keenan, Volcanic Tongue
https://www.derekmonypeny.com/
https://derekmonypeny.bandcamp.com/

the music of N is like a mirror of the moment. regardless how much thinking and planning went before, the sound captured by a “live”-recording setting comes directly from the inside. amps + guitar are the instruments used, there is no cut and paste afterwards nor any overdub… all N-work is counted by numbers that reflect the timeline of recording and / or the moment of the conclusion to go for the certain concept.
all N-recordings (with the possible exception of single-tracks) deal with a real place and so the title of any album does. the roots of this concept go back to 1997 when N aka hellmut neidhardt started the project [MULTER] together with thomas geiter and mal hoeschen, entering the territory of experimental music. while this project is still going on, having released 14 records on different labels, including the homebase genesungswerk and important german ambient / drone / experimental labels as dronerecords and auf abwegen, N also detected the certain challenges of solo-works. in difference to his work with [MULTER], where analogue and digital techniques melt and the recording may just be the source for the later digitally improved work, N decided to focus on the freshness that can only be achieved by recording-while-playing-the-first-time and went for that concept on all solo-recordings since recording-while-playing-the-first-time and went for that concept on all solo-recordings since then, using a one guitar / two amplifiers setup with a chain of pedal-effects in between. with this it is possible to record exactly what happened in the moment of the inspiration, creating an aesthetic in sound that is based on a certain warm deepness, being highly attractable both for player and listener.
http://www.n-1511.com/
https://n1511.bandcamp.com/

28.03.2023, Einlass ab 20:00, beginnt ca. 20:30
Eintritt 8 Euro
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main
Der Eingang ist auf der rechten Seite des Gebäudes, dann die Treppen bis zum obersten Stock laufen.
www.inm.de