Sep 292015

Atemporal presents:

AT-008 El Guerrillero Rojo – Manifiesto LP 1983-1984 – Coming the 15th October

Vinyl Ltd. to 265 copies – 105 copies in red vinyl & 160 copies in black vinyl


In 1983 the spanish musician L.G.Aleman involved in rock bands like “Arquitran” and “Cebras” with Domingo (Neonada y Atentados & T.V.Sovietica) decides to work only with synths in the projects “El Guerrillero Rojo” , “Fluido Vital” and “H_C”, the same year appears the cassette “El Guerrillero Rojo” in the fanzine “La Razon de la Discordia” now remastered for this vinyl edition including unreleased material.


Gear used: Roland TR-606, Roland TB-303, Farfisa organ compact combo, Roland SH-101


Minimal Synth from Valencia (Spain)


Sound Samples here:





AT-007 Mesh – Cenotaph 2xLP

Vinyl Ltd. to 265 copies.  

MESH started around 1980, in Geneva, Switzerland, It was a two member band with a drum machine jumping from sordid, slow and dark numbers to two minutes almost punk ones, they self-produced in 1986 “claustrophobia” a rare and impossible to find LP with superb synthpop and darkwave gemms, now re-edited and re-mastered in this 2xLP including the unreleased material from the Onkalo sessions from 1987-1988.

Gear used:  Roland TR-808 , Boss Dr 55, Sequential Circuit DrumTraks , Kawai RX100 , Roland SH-101, Korg Poly 800, Sequential Circuit Pro One , Yamaha DX7 and Roland Juno 60.

Sound Samples here:



AT-006 T.V. Sovietica – Maquetas y Demos 1983-1984 LP
Vinyl Ltd. to 320 copies.

T.V. Sovietica was an exploratory sound project from Valencia (Spain) developed in 1983 in the postpunk era of the early 80’s which built on the work of “Neonada y Atentados”.

From these beginnings evolved  a brief, dark and unsettled trajectory based on sound effects inspired by electronic German music with influences from the artistic vanguard analogy (Satie, “Musique Concrete”  and minimalism) The darkest, most introspective postpunk, radicalising with its’ experimentation, moving towards “industrial”, “anti-music” styles.

The essence of its’ sound combines the use of guitars and electric bass with electronic instruments (Yamaha CS-15, Korg MS-10, Boss DR-55 , etc) , acoustic percussion, mechanical elements and vocals. Confronting frequencies elaborated from improvised riffs with vocal expression.

Of the same generation as bands such as Esplendor Geometrico and Aviador Dro.

The lost model, now recovered in this work demonstrates the beginnings of Spanish synthpop with “Contacto Telepatico”. The influence of New Wave in “La matanza de los bebes foca”, moving towards the conceptual project  “Islandia” to which the majority of the themes belong, “ Oxido en tus ojos” (1984) draws to a close a period of work for the band, probably in its’ most corrosive moment.

Sound samples here:

Youtube 1:

Youtube 2:


AT-005 Joy Before The Storm – Silence Ever After LP

Limited 30th anniversary vinyl edition with only 320 copies.

Our first re-issue, with one of the most unknown and interesting projects from the 80’s synthpop & darkwave  scene “Joy Before The Storm”, and their sole and impossible to find Lp “Silence Ever After” edited in 1985 , now remastered and with a new jacket and insert including all information of the band.

Joy Before the Storm formed in Madison (Wisconsin) in 1984 by Matt Anderson (Voice and Synths) , Kevin Kaulson  (Synths) and Dan Mckay (Drum Programming-Rhythm Box), Silence Ever After was written, recorded and mixed during the summer of 1984, using now-classic synthesizers, Arp Solus, Roland SH09,  Korg KR-55B and Roland CR78.

Sound samples here:


AT-004 V/A –  División Avanzada Independiente (D.A.I.) LP – LAST COPIES

División Avanzada Independiente (D.A.I.) was a collective of musicians that was formed in the early 1980s in Valencia and could compare with similar movements such as the B.E.F. (British Electric Foundation) , its Member initial were Jose Luis Macias (Glamour, Tomates Electricos, Europa and Ultima Emación), Miguel F.Jim (Proceso Inverso, Psiko Psiko and Radio Klara), Fco.Jose Galán (Tomates Electricos, Fanzine and Fuegos Fatuos & Notre Dame) and Lino Oviano (Europa, Ultima Emoción and Fuegos Fatuos & Notre Dame).

The DAI was formed by groups concentrated in construction of sounds with electronic gadgets, drum machines, sequencers and synthesizers, the D.A.I. edit during the early 80’s several cassettes impossible to find today, we have selected and remastered the best tracks of that movement, presented in a limited vinyl pressing of 320 copies.

Sound samples here:


AT-003 Grupo Q – Back Up LP

Grupo Q was formed in 1981 by Fernan Carmona (ex-Bola) one of the pioneers of the Spanish electronic music, “back up” is a compilation of the first works never edited. For fans of Ultima Emocion/Europa, Fanzine, Aviador Dro or Oviformia Sci.

Vinyl limited edition 320 copies.

12 original remastered minimal-synthpop songs from 1981 to 1983.

Sound samples here



AT-002 Dusk to Dawn – Remains LP – LAST COPIES

Dusk to Dawn were formed on 1991 in Grevenbroich, a small town near Cologne. Magazines and mail-order catalogues initially described their stile as “gothic rock with electronic impact”. The line-up was accordingly: Jörg Erren (bass, synths), Andreas Kleinwächter (guitar) and Achim Zolke (vocals, synths). Later on, the six strings disappeared in favour of (nearly) pure electronic instrumentation.

Two “official“ mini albums on cassette were published on Hamburg-based label Electrope: “Before the Eye“ (1992) and “Places you will never see“ (1994). In addition, some contributions for tape anthologies were made of which some thousands were sold to the dark wave scene. Still worth hearing are these two that even today are to be found on the web: “ELECTROPE Vol. I – Never judge a tape by its cover” with Dusk to Dawn’s “Ashes” and ”Til The End Of Time” by Beton Tapes featuring “Fading”. In addition, the band sold around 350 of their original tapes.

Dusk to Dawn also went public with airplays and a few gigs. On the whole, 26 songs were realized until the end of the 1990’s, most of them being recorded with a simple multi track recorder. They were assigned to the genres dark wave, electro and synth pop. Noteworthy to some reviewers was the fact that the band tends to not compose jointly: Each member brings in self-developed songs. This individuality is quite clearly recognizable in both lyrics and music.

Vinyl limited edition 320 copies.

10 original remastered darkwave-synthpop songs from 1991 to 1995.

Sound samples here:


AT-001 Séptimo Sello – Vuelo 747 LP – SOLD OUT – Digital Album Available

Séptimo Sello were a Spanish synthpop group formed by Mariano Lozano, “vuelo 747” is a compilation of the first works never edited. The songs have been remastered, cleaned and conveniently edited for this special edition. For fans of Vince Clarke-era Depeche Mode, Ultima Emocion/Europa, Fanzine, Aviador Dro or Oviformia Sci.

11 original minimal-synthpop songs from 1984-1985

Digital Album:



AT-009 V/A – Spanish Synth Wave LP 1980-1986 – Coming on March’2016

Sep 252015


Roger Benat described his feeling while being behind the wheel and listening to “Simulaciones”, the album by the Barcelona-based producer Juan Cristobal Saavedra a.k.a. Equipo that was released by clang some months ago. He stated: “It is a perfect simulation of its source; it has lost all reference and taken on its own, separate reality. There is no longer a distinction between the extremes: dance and ambient, analogue and digital. It is pure manipulation, a perfect entanglement of what is active and passive, as Baudrillard would have said. Pure pleasure.” I keep driving, but I feel the landscape passing below our feet as if the car has seized to carry us and I am at the wheel of a simulator. I turn to my passenger and ask who made this music. “It’s mine”, he says, “it’s my latest CD”.

The passenger was Equipo himself. We had a chat with this interesting music man. Check out his release (and the upcoming collection of remixes, as well) while driving!

Chain D.L.K.
: Hola chico! How are you?

Equipo: Hola! Well, I’ve been very busy actually, launching the second video of Simulaciones “Encarnación perdida”, directed by Txalo Toloza Fernández aka Miprimerdrop and working on “Simulaciones Revisited”, a remix album of my last LP Simulaciones [clang028].


Chain D.L.K.: Is the story I’ve read in the introduction about “Simulaciones” true? Could you tell us more about it and who was that notorious driver?

Equipo: It is absolutely true. Roger Bernat and I were driving back to the hotel after a show we gave in Belgium, when I started to play the tracks of Simulaciones on my cell-phone. Roger got so enthusiastic about the music that he entered into a connection between the music, the landscape and the driving. After a while, we ended up totally lost on the Belgian highways. We took so many twists and turns to try to find our way back, that we had the chance to listen to the whole album. It is better described in Roger’s own words on the Clang webpage .


Chain D.L.K.: Before getting into the depths of it, could you tell us something about your artistic background?

Equipo: I’ve been surrounded by music since I was a child. I grew up in a family where listening to and playing music was something natural. Later, after studying Sound Engineering and joining a few indie rock bands, I begun to explore making music by myself. In 2001, I left Santiago de Chile to live in Berlin, where I had the chance of going further into electronic music production and started to perform and DJ as Equipo. A few years later, I came to Barcelona where, after editing my first album, I continued to produce music for myself and for other musicians, as well as collaborating with performing and visual artists.


interview picture 1

courtesy of Michelle Bossy

Chain D.L.K.: Do you live in Barcelona at the moment? If so, could you recommend any clubs or places to check out to the fans of your music?

Equipo: Well, I do live in Barcelona but I’m not really a clubber so probably my recommendations would be quite conservative. Once in a while, I go to Apollo or maybe to Moog, which are places with great sound and a carefully-chosen program. But, actually, I prefer to listen to music at festivals and, if possible, during the day or the evening.


Chain D.L.K.: Some people doubt there’s even a real Barcelona techno or electronic music style, as some reviewers think that many music makers in this field just reshuffle some stuff they get at legendary festivals like Sonar. Do you agree?

Equipo: I would recommend it to anybody -especially for reviewers- take a good holiday in Barcelona! This would surely be good for their health.


Chain D.L.K.: Can you explain the reason why you entitled your album “Simulaciones”?

Equipo: As well as I did with my last two albums for clang, “Adjetivos” and “Tacto e Indiscreción”, in this new album I’m exploring the subjectivity of perception and how it affects human behaviour. That’s why “Simulaciones” talks about the idea of pretending to be, the idea of simulating a reality; being or behaving in certain ways, depending on the context. Appearances, but without their negative associations.


Chain D.L.K.: After listening to your album, I could have an idea of what you mean by “particular perception of music”, in your bio, but could you describe this “characteristic” to our readers?

Equipo: Simulaciones has a pretty Techno character, compared to my previous work. But this it is just an emphasis, because this work carries with it all my musical background. Its rhythms hold Electro tones, the basses play around like in House and the synths transit the Ambient tune but in a more classical mood.

There are several styles coexisting in my music, but none of them stands out when we talk about an “Equipo” aesthetic. For me, being identified with a certain style is a way of establishing limits for yourself. When I make music – in this case, electronic music- I’m not focused on fulfilling a specific goal, but, instead, it is the pure pleasure of making music, expressing emotions, feelings, thoughts, reflections with no limits, trying to go further with my own musical language and aesthetics. I don’t care about the consequences of what I do, I’m far from being the kind of DJ with an eternal smile.


Chain D.L.K.: Some readers might need some references. I would have described some tracks as in-between Satamile and Lektroluv. Do you agree with this description?

Equipo: The truth is that, at the moment, I don’t really know any of the references you mentioned, but, afterchecking out Satamille artists, I found Lowfish, who was among my favourites about 10 years ago, when he was edited by Suction Records. For me, it’s not an easy thing to talk about influences or affinity with other artists because I listen to tons of music from the most diverse styles. In my albums you can find some IDM, Dub, Minimal, Ambient or Indietronica influences and maybe, now, a bit more of House and Techno.


interview picture 1Chain D.L.K.: There’s a certain sense of upcoming tragedy or even pre-apocalyptic feelings in many tunes. Is your style somehow influenced by different musical styles?

Equipo: Of course! I have a life and I feed myself constantly from its complex experience.



Chain D.L.K.: You’re already a source for many other labels. How did you get in touch with clang?

Equipo: I met Lars Graugaard, clang’s owner, in 2008 when we started making musical improvisations that, after a while, ended up in two albums under the alias Adduce, from the Chilean internet label Pueblo Nuevo. We performed together several times with our personal projects, as well as playing under the Adduce name and, naturally, in time, we became close friends. Later on, Lars founded clang in 2013 and invited me to join the label as Equipo.


Chain D.L.K.: As you are involved in any other artistic fields? What’s the main connection between music and other forms of art you enjoy?

Equipo: The connection with other forms of art is not something I could describe in general terms. It’s something that appears when I face each piece one to one. I have always been interested in a wide spectrum of art forms and what those other languages and ways of doing things can add to my own work, after I “dialogue” with them.


Chain D.L.K.: Do you think that simulation is a distinctive aspect of our “civilization”?

Equipo: I think we are an image of ourselves modelled by the context. But I don’t see simulation only as a consequence of being immersed in a civilization, but also as an effect of existing in this dimension.


Chain D.L.K.: Have you performed “Simulaciones” live on stage?

Equipo: Yes, I played it at Mutek Spain 2015 which was also a good to opportunity to build an A/V show that captures the essence of the album.


Chain D.L.K.: I know that many sound-artists and musicians often dream sounds during the night. Have you ever dreamt of sounds you never managed to remake after you woke up?

Equipo: To be honest, if someone had asked me this question a few weeks ago, I wouldn’t have understood what he really meant with this question. But the point is that, last week, I dreamt of an interesting music that, when I woke up, I was unable to remember in its entirety. In fact, I believe that that dream was strongly influenced by the fact of trying to find an answer to your question.


Chain D.L.K.: Any forthcoming releases (Or shall I rather call them traps for drivers 😉 )?

Equipo: Yes, on the 2nd of October 2 2015, we will be out with the remixes’ album of Simulaciones, named Simulaciones Revisited [clang028], a selected collection of tunes by friends living in different cities, and, by March/April 2016, I expect to release my next LP, specially crafted for drivers willing to be distracted.

Visit Equipo online at:

Sep 232015


Bass-driven music has finally arrived in China, even if some musical creations are not so known as in Europe or the US yet. We talked about one of them, the interesting label Guangzhou Underground, to one of the heads of this establishment, Simon B.


Chain D.L.K.: Hey there! How are you?

Simon B – Guangzhou Underground: Simon B here. Good; thanks. Enjoying the southern Chinese summer!


interview picture 1Chain D.L.K.: It’s the first time I’ve listened to something really good from your region. Do you remember any other successful story of dnb labels from China that I don’t know of?

Simon B – Guangzhou Underground: As far as I’m aware, DnB is pretty much non-existent in terms of labels and artists here. But given the number of promoters, DJs and fans, it’s only a matter of time before that coalesces into actual musical output. But, as I said, that’s to the best of my knowledge; it feels like we discover somebody doing something somewhere all the time. It’s a huge country, of course; difficult to know everything that’s going on.


Chain D.L.K.: Could you tell us the story of your label?

Simon B – Guangzhou Underground: I was lucky enough to get some tracks from Alex Agore around early 2014, and it seemed like the perfect chance to start a label, something I’d always wanted to do. Around the same time, I moved to China and started a night club called Guangzhou Underground. I wanted a broad, open music policy for both and I figured it would make sense to combine them under one name. From there, it’s been a fortunate chain of events that has lead us to work with the artists that we have on the label. As far as the promoting and DJing side goes, we have a gang now (myself, Bass Panda and Failed State) and we organise a whole variety of nights in different venues around Guangzhou.


Chain D.L.K.: Any promoter/artist/musician/DJ who helped you in landing deals outside China?

Simon B – Guangzhou Underground: We did releases with Alex Agore and Lady Blacktronika, who are both well-established House artists in their own right; this brought the label a lot of attention. But some of our newer Bass Music artists, for example Zenwan, Kaison (Merouac) and Lars Warn, have all gained support from Rinse FM, and again, this got us attention in the right environments. DnB has been a little harder as we’ve only released a couple of tracks so far, though the new Future Ghost and Tim Reaper split E.P will hopefully change that. I’m really chuffed with this release.


Chain D.L.K.: Before briefly going through some of the artists in your roster, I think that many readers are asking themselves the way young Chinese people experience this rising style.

Simon B – Guangzhou Underground: The same as young (and not so young) people everywhere, to be honest! DnB isn’t unknown here, there’s just a smaller audience. There’s a core of DJs and fans who are clued up about the music, and there’s plenty of curious junglists-in-the-making who are just discovering it.


Chain D.L.K.: What’s the main difference between typical DnB clubs in Europe and USA, on the one hand, and in China, on the other? Any clubs or festivals that you want to point out?

Simon B – Guangzhou Underground: Straight up DnB nights are non-existent, to my knowledge, here, on the mainland, in south China, though Hong Kong has parties like Magnetic Soul. It tends to just get mixed up with broader ‘Bass Music’ themed nights. To be honest, I’m happy with that. I’d rather have a night with a broad range of music than one plain style. My first clubbing experiences were Bugged Out in Manchester, where you’d have the likes of Justin Robertson and Ed Rush playing on the same bill, and that was a huge influence.

In terms of festivals, we just played at two big dance ones here: MiDi Electronic Festival and Yinyang Music Festival. The latter was on The Great Wall Of China, which was an incredible experience. Both festivals were organised by The Mansion, an organization who’s pulling all the disparate cliques here, together, a thing that is really necessary. Although it was predominantly house and techno, there was a small amount of Bass Music and DnB. Hopefully it will grow in future years.
Chain D.L.K.: I can’t hide a preference for stuff from Alex Agore and Future Ghost. Could you introduce these two artists?

Simon B – Guangzhou Underground: As mentioned, Alex Agore is an artist established in his own right. He’s based in Berlin, though he seems to be quite disconnected from the rest of the House and Techno scenes there. He makes Deep House and Garage in a very pure way; calling it retro would be missing the point. It comes from a genuine love and knowledge of 90’s House.

Future Ghost is a DnB producer from Durham, UK. Again he has this very purist approach to DnB, particularly of the Liquid variety; lots of samples, breakbeats, sub bass. He’s got a real ear for how the whole tune sounds; nothing feels out of place, nothing feels laboured; it all sounds really organic.
interview picture 3Chain D.L.K.: Can you tell us something about recent or forthcoming releases on the label?

Simon B – Guangzhou Underground: We’ve just put out our second E.P of Deep House from Alex Agore, which has an accompanying remix package pushing it in other directions thanks to an Italian jazz producer called Gazzara and an up-and-coming Dubstep producer called RUFUS! Future Ghost will also do a DnB remix in his usual style. As mentioned earlier, FG also has a split release with TIm Reaper coming out soon. Tim’s tracks are nuts: one track is an old school proto-2-step style tune, the other is a V.I.P of that same tune that goes into a total Amen break meltdown. Last of the upcoming releases is an E.P by Lars Warn, a guy from Texas making Grime in the loosest sense of the word. Really individual, visionary stuff.


Chain D.L.K.: Are you planning a tour of clubs or festivals outside China?

Simon B – Guangzhou Underground: No plans, at the moment, largely because we’re focussed on running parties here in Guangzhou. But if anyone wants to book us for elsewhere, I doubt we’d say no!


Chain D.L.K.: I saw you used really nice artworks. Anything to say about the artists behind them?

Simon B – Guangzhou Underground: Yes, his name is Zhang Da Zhong; an ex-truck driver who discovered painting late in life. Apparently all the models are his girlfriends. He’s fairly well established in ‘serious’ art circles here. I fell in love with his work the moment I saw it. We used his work for our early club night flyers; his daughter had been to one of our parties and told him. He was chuffed that it had been used in that way and gave us his blessing to continue using it.


Chain D.L.K.: Before China opened its borders to the world, was there any electronic dance music scene there?

Simon B – Guangzhou Underground: Not sure if ‘scene’ is the right word, in the same sense of, say, DnB in the UK. Also, the ‘opening’ hasn’t been an overnight thing, but something gradually happening for the past couple of decades. In that sense, electronic music has always been here, both in pop music and in more experimental forms. A friend of ours is making a documentary on the DIY synth scene in China, which also dwels into the history of electronic music here. Apparently Jean Michel Jarre’s concerts here in the early 1980s were a huge influence! (Check for updates on the documentary)

Chain D.L.K.: What are the main problems of music producers and DJs ín contemporary China?

Simon B – Guangzhou Underground: The ‘Great Firewall’ has created a completely different internet culture that excludes most of what we take for granted in dance music. The ways in which someone can just discover artists by themselves are really limited. There is no culture of checking digital stores like Beatport here because they don’t stream properly and don’t even support Chinese payment systems. Soundcloud is blocked here too, and the regular music download sites are all free and focused on the regular music market. So it takes real dedication to discover new, underground stuff. Speaking as a promoter in Guangzhou, it’s a constant battle with venue management who also have their own problems with the authorities over noise, or have to satisfy rich clientele with conservative tastes. Sadly, not everyone enjoys bludclot artattack Jungle at 2am.


interview picture 2Chain D.L.K.: Do you think Chinese bass-driven music producers could pioneer this kind of music to the point they could make something totally new out of it?

Simon B – Guangzhou Underground: Sure, it’s already happening. There are producers like Howie Lee and Anti-General who are making original Trap-influenced stuff, using traditional Chinese elements. Howie Lee has already picked up support from the likes of Gilles Peterson etc.


Chain D.L.K.: Any other unknown scene outside the Guangzhou province?

Simon B – Guangzhou Underground: You mean Guangdong province? (Guangzhou city is in Guangdong province) In terms of Bass Music, there are other promoters and DJs doing great things here, such as FTK (Macau), MIST (Chengdu), and the aforementioned Magnetic Soul crew (Hong Kong). Trap remains huge here, and you’ve got people like DJ Verse@tille (Shanghai) pushing that sound all over the country. On the production front there’s expat Bass Music all-rounders like Conrank (Shanghai) doing great things and working with the likes of DJ Shadow.

Check out Guangzhou Underground online Facebook and Soundcloud

Sep 222015

All video of the “La Trilogia Delle Stelle” (Trilogy Of Stars) by Katya Sanna are on Vimeo

TRILOGIA DELLE STELLE (“Trilogy of the Stars”)

LA VIA DELLE STELLE (The Way of Stars)
Dedicated to the Milky Way as celestial orientation and observator of life on earth. Connected to this album is the installation art with the same title that synthesize the Milky Way projected -landed on the Earth
STORIE DI UOMINI DI DONNE E DI SOGNI (Stories of men women and dreams)
Dedicated to the migrants. Imagine the Earth seen from a spaceship that through rapid zooming protocols migrations of peoples
To Storia di uomini di donne e di sogni is connected the painting “Lontano dal Sole”(Far away from the Sun), of the diptych “Il pianeta prigioniero” (Prisoner planet)

LE DANZE ELICOIDALI (The Helicoidal Dances)
“The Helicoidal Dances” is musical and visual representation of the light interpreted as the essence that crosses the space and in its path creates volumes and suggestions

KATYA SANNA Official: info, images, links

Sep 212015

HABEAS CORPUS, a new work by Laurie Anderson
in collaboration with Mohammed el Gharani
Premieres in Park Avenue Armory’s Drill Hall
October 2, 3, and 4

Featuring Installation and Performance, Work Fuses Elements of Narrative
and Cinematic Art with Experimental Music

to Explore Memory, Monuments, and Prohibited Space

with Performances by Omar Souleyman, Shahzad Ismaily,
Merrill Garbus, and Laurie Anderson

New York, NY September 17, 2015 Park Avenue Armory premieres a penetrating new work this fall
developed by Laurie Anderson in collaboration with Mohammed el Gharani, a former Guantanamo Bay detainee.
HABEAS CORPUS, commissioned by the Armory, expands on
Anderson’s fusing of storytelling and technology,
creating an installation and performance piece that examines lost identity, memory, and the resiliency of the human
body and spirit. The work premieres for three days and nights, October 2-4, 2015.

“Laurie Anderson is continually pushing the art of storytelling forward in deeply moving ways both in the thought-
provoking content of her work and by transcending
traditional artistic practice,” said Rebecca Robertson, President
and Executive Producer of Park Avenue Armory. “
HABEAS CORPUS harnesses the dramatic expanse of our drill
hall and the intimacy of our period rooms to engulf audiences in a gripping story told through the interweaving of
film, sculpture, music, and video

HABEAS CORPUS is Laurie Anderson at her most thought-provoking and soul searching,” said Alex Poots,
Artistic Director of Park Avenue Armory.
Her new art work, part multi-media, part storytelling, goes to the heart of
the matter.

In this latest work, Anderson explores the widely reported story of el Gharani. One of the youngest detainees at
Guantanamo, he was held at the prison camp for seven years. In 2009, U.S. District Court Judge Richard Leon
ruled he’d been held without sufficient evidence and ordered his release. As all ex-detainees from Guantanamo Bay
are currently barred from entering the United States, el Gharani appears as part of this installation live from West
Africa, beamed into the Armory drill hall via advanced streaming techniques and three dimensional imaging. It will
be the first real-time meeting between a former detainee and American audiences.

HABEAS CORPUS encourages visitors to use the drill hall as place to meditate on time, identity, surveillance, and
freedom. The evocative environment within the drill hall includes an original, immersive soundscape. The work,
designed by Lou Reed, unites guitars and amps in feedback mode to create colliding and cascading harmonies and
will be mixed with sounds derived from audio surveillance and nature. The space will also be activated by
improvised music performances throughout the day.

Historic period rooms adjacent to the drill hall will also be activated. A film in which el Gharani talks with humor and
insight about his relationships with fellow inmates, interrogators, and guards at Guantanamo Bay will be featured in
the Board of Officers Room. Ander
son’s short film installation From the Air, which explores the impact of global
events on daily life
and resonates with many of the themes explored in el Gharani’s story, will be presented in the
Colonel’s Room.

Each evening, the installation transforms into a culminating celebratory concert and dance party. Renowned Syrian
singer Omar Souleyman headlines with performances of his own music. Anderson, Merrill Garbus of tUnE-yArDs,
and multi-instrumentalist Shahzad Ismaily will perform a new work, along with Stewart Hurwood performing Lou
Reed’s guitar feedback works.

HABEAS CORPUS builds upon many of the themes and artistic techniques employed in Anderson’s previous and
upcoming worksincluding the 1998 installation at the Prada Foundation, Dal Vivo, in which an inmate’s story was
told via a kind of virtual escape. Her recent feature film, Heart of a Dog, reflects on themes of loss and language, and
will be released nationally this fall.

The Armory’s 2015 season encompasses site-specific installations, commissions, and cross-disciplinary
collaborations across a range of art forms. Through September21, the Armory is presenting the U.S. premiere of a
major new contemporary dance Tree of Codes
collaboratively imagined by choreographer Wayne McGregor,
visual artist Olafur Eliasson, and producer/composer Jamie xx. In December, the Armory will feature an immersive
reinvention of the concert-going experience with Goldberg,
J. S. Bach’s Goldberg Variations performed by pianist
Igor Levit and staged by performance artist Marina Abramovi


October 24, 2015

Laurie Anderson

Commissioned by Park Avenue Armory

Installation Viewing Hours:

FridaySunday: 12:00 p.m.7:00 p.m.

Tickets: $15, free for Armory members and ticket holders of that evening’s performance.


Laurie Anderson, Merrill Garbus, Shahzad Ismaily, and Omar Souleyman

FridaySunday at 8:00 p.m.

Tickets: $45, includes access to the installation. Please note that this event is general admission, and audience
members will be standing for the entire length of the show. The installation reopens to ticket holders at 7:30 p.m.

Tickets are available at or by calling 212-933-5812.


Best known for her multimedia presentations and innovative use of technology, Laurie Anderson is one of America’s
most renownedand daringcreative pioneers. A writer, director, visual artist, and vocalist, Anderson has created a
groundbreaking body of work that spans the worlds of art, theater, and experimental music.

Her recording career, launched by O Supermanin 1981, includes the soundtrack to her feature films Home of the
Brave and Life on a String (2001). Anderson's live shows range from simple spoken-word to elaborate multi-media
stage performances such as Songs and Stories for Moby Dick (1999). Anderson has published seven books and her
visual work has been presented in major museums around the world.

In 2002, Anderson was appointed the first artist-in-residence of NASA, which culminated in her 2004 touring solo
performance The End of the Moon. Recent projects include a series of audio-visual installations and a high-
definition film, Hidden Inside Mountains, created for World Expo 2005 in Aichi, Japan. In 2007 she received the
prestigious Dorothy and Lillian Gish Prize for her outstanding contribution to the arts. In 2008 she completed a
two-year worldwide tour of her performance piece, Homeland, which was released as an album on Nonesuch
Records in June 2010. Anderson’s solo performance Delusion debuted at the Vancouver Cultural Olympiad in
February 2010. In October 2010 a retrospective of her visual and installation work opened in São Paulo, Brazil, and
later traveled to Rio de Janiero. In 2011, her exhibition of new visual work titled Forty-Nine Days In the Bardo 
opened in Philadelphia, and Boat, her first exhibition of paintings, premiered at the Vito Schnabel Gallery in New
York. She has recently been appointed as a three-year fellow at both EMPAC, the multi-media center at RPI in
Troy, NY, and PAC at UCLA. Anderson lives in New York City. Her film Heart of a Dog has been chosen as an
official selection of the 2015 Venice, Toronto, and New York Film Festivals. It will be released nationwide this fall
and be shown on HBO in Spring 2016.


Mohammed el Gharani was born in Saudi Arabia and holds Chadian citizenship. He moved to Pakistan as a child
and was arrested in 2001, labeled an enemy combatant by the United States, and taken to Guantanamo Bay where
he was held for seven years. He was released from the prison camp in 2009, following an order from U.S. District
Court Judge Richard Leon.


Merrill Garbus has performed as tUnE-yArDs since 2009. First gaining notice with the debut
BiRd-BrAiNs,whichThe New York Timescalled
“a confident do-it-yourselfer's opening salvo: a staticky, low-fi,
abrasive attention-
getter,”Garbus forgeda reputation as a formidable live presence throughrelentless touring. In
2011, tUnE-yArDs released its second album,w ho k i l l, a startling and sonically adventurousstatement that led to
a whirlwind period where Garbus and bassist Nate Brenner accrued accolades from critics (including the #1 spot on
theVillageVoice's2011 Pazz and Jop poll) and performed in front of increasingly larger crowds around the world.
Then, in 2014, tUnE-yArDs released Nikki Nack, a testament to how current technologies can combine with themes
from thepast
Saturday morningsspent watchingPee-Wee’s Playhouse,puppet shows based on Jonathan Swift'sA
ModestProposal,hard daysmade less so by the refuge provided by top-40 radio
to create something
utterly original.


Shahzad Ismaily was born to Pakistani immigrant parents and grew up in a wholly bicultural household. While he
holds a masters degree in biochemistry from Arizona State University, he is a largely self-taught composer and
musician, having mastered the electric and double bass, guitar, banjo, accordion, flute, drums, various percussion
instruments, and various analog synthesizers and drum machines. Ismaily has recorded or performed with an
incredibly diverse assemblage of musicians, including Laurie Anderson and Lou Reed, Tom Waits, Jolie Holland,
Laura Veirs, Bonnie Prince Billy, Faun Fables, Secret Chiefs 3, John Zorn, Elysian Fields, Shelley Hirsch, Niobe, Will
Oldham, Nels Cline, Mike Doughty (of Soul Coughing), Graham Haynes, David Krakauer, Billy Martin (of Medeski
Martin and Wood), Carla Kihlstedt’s Two Foot Yard, the Tin Hat Trio, Raz Mesinai, and Burnt Sugar. He has also
composed regularly for dance and theater, including for Min Tanaka, the Frankfurt Ballet, and the East River
Commedia. Recently he composed the score for the critically acclaimed movie Frozen River, which won the Grand
Jury Prize at the 2008 Sundance Film Festival. He was also an Artist in Residence at the Headlands Center for the
Arts in San Francisco, CA in 2008. Currently based in New York, Ismaily has studied music extensively in Pakistan,
India, Turkey, Mexico, Santiago, Japan, Indonesia, Morocco, and Iceland.


Perhaps Syria’s most successful musical export, singer Omar Souleyman recently released his second studio
effortBahdeni Nami. The album features a collaboration with Souleyman’s favorite but not only poet, Ahmad
Alsamer, who penned his pre-west hits Kaset Hanzel,” “Khattaba,and Shift al Mani.Recorded closer to home, in
Istanbul, with poet in residence and heard throughout with claps and wails of encouragement, it features saz
fireworks and support from Khaled Youssef. Keyboards by Rizan Said improvise devotedly and with skill to every
tune and turn of Souleyman’s choice. His lyrics declare eternal love, console one’s aching heart, decide to let her go,
and ask her to sleep in his arms foreverin four fast dance numbers, an introduction mawal, and an elaborate araby
style ballad. After his first studio album
Wenu Wenuproduced by FourTet, Souleyman opens it up here to a
number of hard-core musician fans, offering their own takes on his optimal sound.

Kieran Hebden returns to produceBahdeni Nami, Modeselktor appropriately luck out with two of the fastest
dance numbers, Legowelt offers a remix for the title track, and Cole Alexander of the Black Lips treats one of the
heart-wounding ballads.

Omar Souleyman continues tirelessly to bring his wild dance party to all corners of the world, everywhere from
SXSW to the Nobel Peace Prize Concert to rock clubs in cities around the world. From Syria in the Hasake region,
Omar earned his reputation singing and leading years of weddings, birthdays, Christenings, corporate parties, and
the like, answering to invites from all peoples living in the region
be it Muslims, Christians, Kurds, Iraqis, Syriacs,
Assyrians. His voice and style stood out as he adopted his songs and lyrics to make everyone equally happy. Those
parties yielded hundreds of cassette tapes at first offered as gifts and later distributed throughout the region and
other Arab countries.

This production is supported in part by public funds from the National Endowment for the Arts and the New York
City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the
Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Citi; Pershing Square Capital Management, LP; and Bloomberg Philanthropies are the Armory’s 2015 season

Support for Park Avenue Armory’s artistic season has been generously provided by The Andrew W. Mellon
Foundation, Booth Ferris Foundation, The Harold and Mimi Steinberg Charitable Trust, The Shubert Foundation,
the Fan Fox and Leslie R. Samuels Foundation, The Marc Haas Foundation, the Juliet Lea Hillman Simonds
Foundation, The Leon Levy Foundation, the May and Samuel Rudin Family Foundation, and the Isak and Rose
Weinman Foundation.


Part palace, part industrial shed, Park Avenue Armory fills a critical void in the cultural ecology of New York by
enabling artists to create
and audiences to experienceunconventional work that cannot be mounted in traditional
performance halls and museums. With its soaring 55,000-square-foot Wade Thompson Drill Hall
reminiscent of
th-century European train stationsand array of exuberant period rooms, the Armory offers a new platform for
creativity across all art forms.

Since its first production in September 2007—Aaron Young’s Greeting Card, a 9,216-square-foot “action”
painting created by the burned-out tire marks of ten choreographed motorcyclesthe Armory has organized a
series of immersive performances, installations, and works of art that have drawn critical and popular attention.
Among the highlights of its first seven years are: Bernd Alois Zimmermann’s harrowing Die Soldaten, in which the
audience moved “through the music;” the unprecedented six-week residency of the Royal Shakespeare Company
in their own theater rebuilt in the drill hall; a massive digital sound and video environment by Ryoji Ikeda; a sprawling
gauzy, multisensory labyrinth created by Ernesto Neto; the event of a thread, a site-specific installation by Ann
Hamilton; the final performances of the Merce Cunningham Dance Company simultaneously across three separate
stages; the New York Philharmonic performing Karlheinz Stockhausen’s sonic masterpiece Gruppen with three
orchestras surrounding the audience; WS by Paul McCarthy, a monumental installation of fantasy, excess, and
dystopia; a sonic environment that blurred the boundaries between artist and audience created by the xx; and an
immersive Macbeth set in a Scottish heath and henge by Rob Ashford and Kenneth Branagh.

Concurrent with the development of its artistic program, the Armory has undertaken an ongoing $210-million
revitalization of its historic building, designed by architects Herzog & de Meuron.