Abandoned Footwear & arc
Abandoned Footwear is the alias of musicians Jay Fields and Michael Buchanan, core members of the Oakland collective Katabatik. Michael has been writing electronic music for over 15 years with the collaborative projects Nommo Ogo, Seacrypt and his solo project, Identity Theft. He has released music on Chem Club Records, Falco Invernale, Katabatik, Oraculo, Record Label Records. Jay began producing and performing music as Exillon in 1999 with releases on Ad Noiseam, Component
Records, Detroit Underground, Frigio Records, Puzzling Records, Secret Studio Records, Terminal Dusk, Tigerbeat6 and Zod Records. Together,
they play a skewed form of “abandoned house” music using an entirely hardware synth and drum machine based system.
arc refers to a process rather than an author. a curve within a void which makes something momentarily visible. material elements used to investigate immaterial states. framing the space of encounter as a site of unfixed ritual and sensory research. arc work has been presented at The Lab, San Francisco Cinematheque, Berkeley Art Museum and Pacific
Film Archive, the San Francisco Museum of Modern Art, Ann Arbor Film Festival, Massart Film Society (Boston), NDSM Treehouse (Amsterdam), and L’ Abominable (Paris/La Courneuve), among others.
In just a couple of years, the mysterious duo who make up Amnesia Scanner has been responsible for generating a sound entity in constant mutation, more rare and fascinating with each release. Sound, though, is just a small part of the whole of Amnesia Scanner. In live performances they reach us in all their strange splendor. They call it XperienZ, (in fact, they’re considered XperienZ designers over anything else). It’s a moment of absolute sensorial invasion in which a mixture of lights, images, ambience, bass, techno, dark wave, and noise attempt to break the space time-structure and putting us onto a completely sci-fi plane.
Performances by Amnesia Scanner have been most outstanding at the 2018 editions of the Sónar and CTM Festivals and on “AS Chaos.” Their most recent track, in collaboration with Pan Daijin, it’s a powerful dagger cutting across the dancefloor with an experimental edge. Though they prefer to stay in the shadows, we know that Ville Haimala and Martti Kalliala, the two Finns behind AS, are in a constant creative exchange with Janus and UNO NYC, two of the crews establishing the vanguard in music and digital art. Before taking on their current identity, the two produced techno as Renaissance Man.
Arpanet is the solo project of the artist operating as Heinrich Mueller. In his other guises, he is known as a Detroit techno and electro auteur and one of the sentients behind Drexciya, Dopplereffekt, NRSB-11, and Der Zyklus. Arpanet, as the name implies, encompasses both the ideas of electronics (especially electronic music created by synthesizers like the ARP) and connectivity. (The original ARPANET was one of the precursors to the internet as we know it.)
BLEIE & Chelley Sherman
Drawing on elements of xenofeminism, alchemy, and metaphysics, Chelley Sherman and BLEIE use audiovisual media as both lens and mirror in the pursuit of a more direct and clear language for the process of transmutation. In the construction of their audiovisual performance, they symbolically navigate through representations of motion around an undisclosed center. The sonic journey interweaves with the visual representation of micro to macrocosmic transformations, exploring time dilation through a three dimensional space.
Chelley Sherman is a virtual artist from San Francisco. Her work is governed by patterns and texture which harness the neural systems that underlie enthrallment in darkness, ritual, reverie. Her practice consists of experiments in extended realities, virtual and augmented, as well as interactive sound installations and AV performances. Using computational methods and researching cognitive processes of perception, she explores the relationship between light and sound and resulting psychoacoustic effects in spatial sonic architectures and landscapes. She has presented installation and performance work at media arts festivals in San Francisco, Los Angeles, Detroit, and New York. She has also given talks and lectures at IDEO, Gray Area, and Adobe Research.
BLEIE is a San Francisco-based producer and performer, creating hardware and computer based experimental electronic music ranging from mercurial noisescapes to a more cerebral and singular techno. Her work is both a personal sublimation made public, and an attempt to mutate predominant narratives.
olaf bender's creative work began with the casual finding of 16mm film equipment during school time. from that moment on, he started experimenting with the medium "film" as well as the raw material "film".
technical limitations forced special methods: he scratched directly on the footage to create geometrical figures; the results were archaic motion patterns. as a consequence of his experiments, he came into contact with the east german underground band AG Geige of which he became a permanent member in 1988. by working with this group, he also got into musical aspects. the home computer made it possible for autodidacts like him to work multimedially without musical training.
after the fall of the berlin wall in 1989, bender worked in music distribution. the experiences he gained there led him to the idea of publishing his own music by himself. together with frank bretschneider, he founded the record label rastermusic in 1996 which later merged with carsten nicolai's noton sublabel to form raster-noton in 1999. one of the label's earliest productions was the project signal, which olaf bender has been continuing together with bretschneider and nicolai until today.
since the label's founding, bender has also produced music solo under the pseudonym byetone, but it was not until 2008 that he released his first record on raster-noton. the lead single »plastic star« also defined his signature sound, presenting a minimalist rhythm-based music with a rock attitude that can do without too much processing and decoration; an archaic, rebellious music full of energy. the year 2008 also saw the release of his first full-length record, the highly acclaimed »death of a typographer«, whose follow-up »symeta«, released in 2011, even entered several "record of the year" lists.
in the wake of his own records, byetone has also produced remixes for artists like Modeselektor and VCMG as well as sound works for fashion designers like Rick Owens, Nina Ricci or NikeLab. besides being part of raster-noton's supergroup signal, he is also part of the duo diamond version (together with carsten nicolai) that released a series of EPs and a full-length record on Mute Records in 2013.
byetone's third solo full-length album, »universal music«, will finally see its release on raster-noton in 2016.
Cool Maritime & Emily Sprague
Megan Mitchell composes unsettling, ethereal music under the alias, Cruel Diagonals. A jazz and classically trained vocalist, Mitchell performs and creates in numerous capacities. Some of her current endeavors include acting as proprietor of the left-of-field music index for non-male composers, Many Many Women, and researching, visiting and documenting places of abandoned industry with her field recorder and camera in tow. Mitchell has released albums with Drawing Room Records and Longform Editions, which have been met with critical acclaim. She is additionally an accredited archivist with a Master in Library and Information Sciences from the University of Washington, specializing in audio archiving.
Cruel Diagonals is an outlet for destructive sample processing, vocal exploration, and a palette for inter-media contemplations and applications. Influenced by early experimental filmmakers such as Maya Deren and Kenneth Anger, Cruel Diagonals has been described in cinematic terms, evoking moods and montages of an eerie, surrealist timbre. Warped field recordings and layered vocals incite a beckoning to a phantasmagorical, metallic-tinged state of existence.
The work of Carolyn Fok has spanned over four decades. Specializing in electronic experimental
music, she composes and produces with synthesizers, piano, guitar, and percussion. A constant inner voice has simultaneously seen her explorations chronicled in a collection of personal diaries.
Carolyn’s adventures in sound began with recording stories on a tape recorder at the age of 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home in Walnut Creek, California (close to San Francisco), including a self-built drum machine, she became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design.
By the age of 16, Carolyn had become inspired by pioneering industrial electronic artists like Cabaret Voltaire, as well as anarcho-punk acts such as Crass. Creating the stage name CYRNAI, she played in several SF acts including Treason, Trial and Rhythm and Noise between 1983 and 1991.
Inimitable electro duo Dopplereffekt are one of the most mysterious, thrilling and consistently challenging entities in electronic music. Originated by Gerald Donald, one-half of Drexciya and responsible for era-defining releases under a variety of enigmatic aliases, the current iteration of the group includes Donald and fellow explorer To-Nhan. Together, the pair’s razor-sharp production and a peerless capacity for transportive soundscapes are as likely to reference concepts embedded in physics and biology as they are capable of moving crowded dancefloors. Dopplereffekt inhabit a unique contemporary sonic world, with a restless creativity and intense commitment to carving out their own musical space.
In recent years, the duo resurfaced on Berlin’s Leisure System label with 2013’s Tetrahymena EP, the wildly well-received split Hypnagogia 12” with Objekt and 2017’s Cellular Automata, their first LP in ten years since 2007’s Calabi Yau Space on Rephlex. Cellular Automata approaches mathematical growth and decay as an iterative process, with each data input considered individually relative to the overall model. The result represents one of the group’s boldest creative endeavors, defying expectations while remaining unmistakably Dopplereffekt.
Ectomorph occupy an unique and strange place within Detroit Techno history. Founded in 1994 as a reaction to DBX, Basic Channel, Rob Hood, Sähkö and Drexciya, they released their first singles in 1995 as an attempt to make Detroit music for Detroit itself, not exclusively for export. The mystique of their early singles led to mythic status and a strong underground cult following, which they have continued to develop through releases on their own Interdimensional Transmissions label as well as remixes on many high profile labels and projects like “Shari Vari” and the Dirtbombs. Their live shows are legendary for their ability to fluidly incorporate improvisational techniques into their synthesized music (and for the sheer amount of analog equipment that they bring). Now the Ectomorph show is all analog, no computers or samplers or even drum machines, all the sounds come from the modulars and the mountains of Moogs.
The recently reconvened Ectomorph have an album coming out on Interdimensional Transmissions. They have contributions on the Funkadelic: Reworked by Detroiters (Curated by member BMG), as well as to the Dekmantel 10 Year and The Bunker NY 15 Year compilations.
Halal & Relaxer
HALAL & RELAXER is the collaborative live set between Aurora Halal & Relaxer, the new project of Daniel Martin-MccCormick. Both are known for powerful and darkly tripping live hardware shows, and as a duo it combines Halal's mood - playful, psychedelic, acidic and intense - with Relaxer's pulsating, bass-line driven grooves and paranoid vocals. Previously, as Ital & Halal they released two EPs of colorful techno and performed their live debut at The Bunker NY Unsound Edition. They have since re-formed with this new concept which they introduced at Nachtdigital this summer. Together they also run the Sustain-Release festival in New York, which Aurora founded in 2014.
From a secluded outpost on Nova Scotia, Canada’s mystical South Shore, junked-analog duo JOYFULTALK conjure micro-climate trance music. The brainchild of instrument builder and jazz-fried alchemist Jay Crocker, JOYFULTALK offer up new concepts on regionalism.
Admittedly influenced by the craggy treelines and flowing rivers of Lunenburg county, Crocker and multi-instrumentalist Shawn Dicey’s gnarled jamscapes render natural spaces in a hazy parallel universe.
Kaitlyn Aurelia Smith
Kode9 & Koji Morimoto
Mozhgan b2b Josh Cheon
Nihar & Subset
Rainforest Spiritual Enslavement
Robot Koch & Mikael Le Goff
Steve Hauschildt & Martin Tzonev
The Hacker presents Amato Live