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ALTAR OF FLIES – Permanent Cavity CD iDEAL
ANBB – Ret Marut Handshake 12″ raster-noton
GILLES AUBRY & STEPHANE MONTAVON – Les écoutis le caire CD Gruenrekorder
GREIE GUT FRAKTION – Baustelle CD Monika
ITAL TEK – Midnight Colour 2LP/CD Planet Mu
JOCELYN ROBERT – Monsonics LP hrönir
LUGANO FELL – Slice Repair CD Baskaru
ONEOHTRIX POINT NEVER – Returnal LP/CD Editions Mego
ORIOL – Night and Day 2LP/CD Planet Mu
PEOPLE LIKE US & WOBBLY – Music for the Fire CD Illegal Art
RM74 – Reflex CD Utech
Permanent Cavity
CD iDEAL Recordings 081
Edition of 600 only in digipacks
Cover by Daniel Fagge Fagerström (The Skull Defekts)
Altar of Flies is the new power on the Swedish noise scene, to be put on the underground throne next to Sewer Election. Altar of Flies is MATTIAS GUSTAFSSON who has recorded stuff since 2006, mainly for his own cassette label Hästen & Korset but also high quality sub terrestial labels like Cipher, Husk, and Nil by Mouth. Permanent Cavity is his first more widely distributed album release. Altar of Flies is extremely uncompromising, creating organic, dark, unpleasant extreme electronic music through tape loops, analog synths and effects. Positiveness is nothing you will find over at the Altar of Flies, but a carefully executed armery of edgy sounds and atmospheres.
So – discover the power of Altar of Flies.
ANBB: Alva Noto & Blixa Bargeld
Ret Marut Handshake
12″ raster-noton r-n 120
Release date: June 21
being friends and admirers of each other’s work for a long time, electronic music composer / visual artist alva noto (carsten nicolai) and composer / voiceartist blixa bargeld (also known as singer of einstürzende neubauten and guitarist of nick cave and the bad seeds) decided to join forces to initiate a collaborative project in 2007.
together they developed a musical concept based on the combination of improvisation and abstraction. the impulsive live performance of blixa bargeld and the elaborated beat structures and sound landscapes of alva noto merge to a surprising and unexpected result. working on their own experimental material that gains its strength from the spontaneity of the live-performance of bargeld’s voice as well as rethinking traditional songs in their own special manner, they deliver an outstanding and inspiring musical blend for their audience.
“crystalline noise formations. phrases, words, syllables of pure sound isolated until normal sense disappears, leaving new, unexpected abstractions to emerge. […] the most suggestive and nuanced version of “i wish i was a mole in the ground” since bob dylan.” – sam davies (the wire 12/09, uk)
the collaboration first staged in september 2007 when they united for a special appearance in san francisco to perform at recombinant media labs studios. since then they have recorded several tracks, five of which will be released on a preliminary ep on raster-noton (r-n 120) in spring 2010. a full length album with 10 tracks (r-n 121) will be released some weeks later. the release will be followed by a live tour at various festivals and concert halls in europe in june/september 2010.
a1. ret marut handshake 6:10
a2. one 2:49
b1. electricity is fiction 4:15
b2. bernsteinzimmer 3:21
b3. i wish i was a mole in the ground 1:54
“Retaliate” video
Les écoutis le caire
CD Gruenrekorder gruen061
Les écoutis le caire is a dual work that comprises a sound composition by Gilles Aubry and a poetic text in French by Stéphane Montavon. Materials for both elements were collected during a six-week residency in Cairo in February and March 2007.
The sound piece is based on the principle of ‘indirect listening’ to a busy city soundscape. It features recordings of several enclosed spaces chosen for their resonant properties and predominantly silent contexts: a bathroom, a market hall, a basilica, a courtyard, a refrigerator and a parking house. Throughout the piece the identification of the sound sources remains uncertain, as the distant hubbub of life in the streets diffuses inside the recorded spaces. Such ambiguity – further extended through the editing process – requires that the listener pay closer attention, and at the same time allows for a more intense musical experience.
The textual counterpart to the audio work is presented as a large wordmap that drifts through the various recording locations, as well as other places in Cairo. Rendering the rhythmical confrontations of diverse urban situations, the text focuses on their audiovisual discrepancies. In its fragmentary way, the poem sketches some of the city’s acoustical configurations, also taking aural snapshots of characters and scenes. These singular encounters are woven into a
partial word-tapestry of gestures, images and sounds, providing a complementary glimpse into another indirect, though equally voyeuristic, form of listening to the city.
Graphic design by Gilles Lepore
LP Minority Records MIN24
Minority Records proudly presents the latest album of Milanese electro-acoustic improviser, Giuseppe Ielasi, his very first full-length album appearance on lovely vinyl. Aix is the latest work of unconventional minimal structures and the follow-up to 2007’s August on 12K. Ielasi
relied heavily on numerous short samples and combining them in ways that fell into his groove; some found from others’ recordings and many more recorded during the past year. We hear fragments of percussive (acoustic) objects, drums, piano, trumpet, guitar, and, of course, synthetic textures.
Born in 1974, lives near Milan since 1990. Started playing guitar in 1988, and worked for many years in the area of ‘improvised music’ (long term collaborations with Renato Rinaldi in the duo Oreledigneur, Thomas Ankersmit, Michel Doneda, Ingar Zach, Dean Roberts). Between 1997 and 2006 he has performed live with Taku Sugimoto, Jerome Noetinger, Mark Wastell, Martin Siewert, Nmperign, Brandon Labelle, Nikos Veliotis, Alessandro Bosetti, Gert-Jan Prins, Phill Niblock, Oren Ambarchi, and many others. From 2007 on, his main interest has been in site-specific solo performances, still using guitars as primary sound sources but integrating microphones and multi-channel speaker systems in order to create complex networks for sound diffusion in relationship to space.
He recently started a collaboration with Austrian video artist Michaela Grill (US tour in 2007, participations at the Rotterdam Film Festival, Evolution Festival in Leed, FilmSoundFilm in Marfa,TX) and is more and more involved in performances and installations with Renato Rinaldi and Armin Linke (ZKM Karlsruhe, Villa Romana Florence, Kunsthalle Berlin, Festival
della Scienza Genova).
In 1998 he founded the Fringes recordings label, closed in 2005, and co-founded Schoolmap Records in 2006.
CD/DL Monika Enterprise 69
Release date: June 11
With their new project Baustelle ANTYE GREIE and GUDRUN GUT are entering the world of chainsaws and pneumatic hammers: a world of murmurs and hissing, hammering and sawing. The Greie Gut Fraktion have captured hours of field recordings from contruction sites and used the most exciting sounds as the building blocks for their collaboration. And it’s this omni-present construction site noise, with all ist scraping, scratching, drilling and chiseling, that povides the red thread throughout this album. But however great the temptation might be to make purely industrial music with these building site sounds, the two ladies haven’t fallen for it. On the contrary, the beats on Baustelle are of course gripping and the sounds direct, but there’s nothing too pushy so that you feel overpowered. Instead the Fraktion takes us by the hand for a guided tour of the construction site. Produced with great tact and attention to detail, intimate tunes and raw beats take turns and become intertwined. Despite the huge diversity in the songs, one still has the impression that it all belongs together. And Baustelle is nothing if not diverse. Guitar-noise becomes entangled in downtempo beats. Then there’s laid back dub like on “Drilling An Ocean”, a track that peters out, frayed, after a couple minutes, only to take a breath and return to its calm flow. And there’s a super-cool grooving version of the Palais Schaumburg hit “Wir bauen eine neue Stadt”.
This Baustelle opens up many rooms. One of the reasons for this is certainly the detail of production and liveliness of the field recordings used. On the other hand, its down to the depth with which this music looks back on a sense of timing as we know it from new crossover music, conceptual beat and even post-kraut-dub-industrialtechno. You can lose yourself in this music – it draws you into its endlessness.
The fragments of text that are included are repeated with variations, circling associatively around the topic at hand. The words are whispered, spoken, shouted and sung, although cool and somewhat distant, in this way every track holds a surprise in store. The two-tone-melodie (“break it down, build it up”) in “make it work” quite unexpectedly turns tribal drumming into a soul nummer. Or there’s the Baustelle-eroticism of “Betongiessen” (“a man in full bloom, his legs wide openŠ”), a purely spoken word piece set against the backround of swelling layers of sound which clearly have their origin in looped machines and work-sounds.
It all started in winter 2008 when Antye Greie first invited Gudrun Gut to collaborate on a commision for the BBC’s Late Junction. From then on the two artists have combined their creative forces to come up with Baustelle. The initial timbers were laid at Greie’s home in Finnland. The tracks then gradually took shape throughout 2009 via an online exchange. And the working partnership was solidified through live performances of the Baustelle material e.g. in Copenhagen, so that the project became concrete reality for both women. The album was produced by Gudrun Gut and Antje Greie in their respective studios in Berlin and Finnland and result has been masterfully mixed by Antye Greie.
Especially in the case of GUDRUN GUT one might think that with a subject like Baustelle (trans. construction site) she would be recalling industrial. Einstürzende Neubauten were after all an important milestone in her musical career. But the boss of label monika enterprise has swam in many musical waters and in her role as radio presenter (oceanclub on RBB Radio Eins, Berlin) has constantly got her ears on the currents of fresh music. 2009 saw her play as a solo artist, with her album I Put a Record on, in such countries as New Zealand, Australia, China, USA, Russia, Scandinavia, Italy, Spain, France and many more.
Digital songwriter and electronic-poet, ANTYE GREIE, has also amassed countless concerts and sound-installations throughout Europa, North-America and Asia. She has played at Festivals such as Ars Electronica Linz, Sonar Barcelona, CTM Berlin, GRM Festival Paris, Roskilde, Sync Festival Athen, AudioVisiva Milano, Intern. Open Book Festival Moskau or Sonic Acts Amsterdam. As a soloist she has been guest at such places as the Pompidoe Paris, ICC Tokyo, Akademie der Kuenste Berlin, ICA London and many more. While Craig Armstrong, Vladislav Delay, Ellen Allien, Eliane Radigue and Kaffe Matthews count amongst her other many collaborators with whom she has worked together.
Midnight Colour
2LP/CD/DL Planet Mu Records ZIQ272
Release date: June 7
Brighton based producer ALAN MYSON’s Ital Tek project returns to Planet Mu for a second long player.
Meeting dubstep and garage’s matrix of sub bass and lurching 2-step rhythms half-way with electronica at its most melodic, Midnight Colour is its name and it’s epic. The mood has lightened since his debut Cyclical plus the tempo has dropped to a more languorous 130 bpm creating more space to enfold the melody and texture.
Songs like “Moonbow” or “Subgiant” embody an optimistic nocturnal reverie that could count the Black Dog’s Bytes album as its ancestor. In contrast, “Satellite” has a darker feel with its New Romantic style synth melodies set to a skeletal rhythm, and “Black and White”‘s surging, wordless vocals are carried by gentle synths and bass arrangements. “Strangelove” has a more stepping feel, set to a tough 4/4 beat and “Infinite” marries throbbing bass with marimba and echoing Timpani crashes. The album fittingly culminates with “Restless Tundra”, a song that features the vocals of Anneka, which feature in sampled slithers throughout many of the tracks, the piece summing up the reflective mood of the album.
LP hrönir hr0067
Release date: July 17
All music & photgraphs by Jocelyn Robert
Mastering and vinyl cut at D+M by Rashad Becker
Limted edition of 300
No CD/download coming
Thanks to Philippe Franck, Denis Villeneuve, Avatar
Monsonics was done in two steps, both for the Citysonics Festival in Mons, Belgium, in June 2009. Two of the pieces – “L’air circulaire” and “L’abbatoir des Droits de l’Homme” – were first composed as soundwalks. I first went to Mons to choose interesting paths, then made the works to fit to them. For the festival, one could borrow maps and mp3 players from the organization, or one could download the soundtracks and a map from the website of the festival and live the experience on site. The pieces that appear on the lp are sligthly reworked versions. The two “La Chapelle des FUCAM” pieces are performance works made for the Festival. They are numbered 1 & 3: there were other versions, but these two seemed to fit better with the other pieces on the LP. There are no overdubs: they were made live using software developed at Avatar, Quebec city. The software can be downloaded for free at avatarquebec.org/ohm/index.php?page=logiciel&id=1. – Jocelyn Robert
Jocelyn Robert lives in Québec, Canada. He works in audio art, performance art, installation, video and writing. He did many performances, solo or with Diane Landry, Laetitia Sonami and Bruit TTV. He published about fifteen CDs, and participed in over twenty others. He was awarded First Prize, Image category, at the Berlin Transmediale in 2002, and the Prix du Rayonnement International from the Conseil de la Culture de Québec in 2006. He had numerous solo shows, and also teamed up with Emile Morin and Daniel Jolliffe for many installations. His work has been shown in Canada, United States, Mexico, Chile, Australia, and in Europe. His texts have been published by Le Quartanier (Montréal), Ohm Éditions (Québec), Errant Bodies Press (Los Angeles/Berlin), Semiotext(e) (New York), and in many catalogues, notably from Ars Electronica (Austria) and Sonambiante (Germany). In 1993, he founded the art centre Avatar, in Quebec City. He currently teaches at l’École des arts visuels de l’Université Laval, Québec.
Slice Repair
CD/DL Baskaru karu:16
Lugano Fell is the solo project of JAMES TAYLOR, a founding member of UK tech house duo SWAYZAK. After 12 years spent perfecting the pumping house music of Swayzak (whose seminal album Snowboarding in Argentina has been reissued in 2009), Taylor felt like trying something totally different, quieter, and more detail-focused.
>From the noisy (i.e. loud) and pulsating soundworld of Swayzak, Taylor has sliced and spliced his way to a noisy (i.e. sound-based) and textural soundworld. The music of Lugano Fell is made of unrelated sounds, found sounds, prepared sounds, even sounds made with actual musical instruments or salvaged from the media. These sounds – a part of which is treated while others are left clearly identifiable – are arranged into short pieces filled with images and action, but too concise and sharply edited to be described as cinematic.
This record features diverse moods (walls of sound samples, esthetically-sophisticated vacant spaces, a duet between a stuttering CD player and a hesitating acoustic guitar). This music draws from sound collage, experimental ambient electronica, noise music, and ready-mades. It doesn’t force itself upon you; it’s there, physically present, and suddenly it isn’t anymore. And it weaves sense like a spider weaves its web, away from prying eyes, hiding behind flurries of sounds.
Slice Repair is Lugano Fell’s first official CD and has been carefully compiled from two CDRs released in 2008-2009. The whole album has been mastered by ambient experimental guru Lawrence English.
CD/LP/DL Editions Mego eMEGO 104
Release date: June 18
All music by Daniel Lopatin
Recorded and mixed at Ridge Valley Digital, Massachusetts July – August 09 & February 10
Akai AX-60, Roland Juno-60, Roland MSQ-700, Korg Electribe ES-1, Voice
Recorded using a personal computer
Mastered by James Plotkin
Tape-op & additional engineering by Al Carlson
Vinyl cut at Dubplates & Mastering, Berlin, April 1st, 2010
Design by Stephen O’Malley
Photography by Yelena Avenesova
‘Returnal’ is the fourth album from Daniel Lopatin’s Oneohtrix Point Never project, after ‘Betrayed In The Octagon’ (Deception Island, 2007), ‘Zones Without People’ (Arbor, 2009) and ‘Russian Mind’ (No Fun, 2009). All 3 albums being superbly compiled on the ‘Rifts’ double CD set (No Fun, 2009).
It sees Lopatin Þne tune his craft for creation of deep atmospheres and texture even further. Starting off with the mind blowing triptych of ‘Nil Admiari’/’Describing Bodies’/’Stress Waves’, which Þres off into a noise/rhythm excess before entering a zone of relative calm building to the melancholy of the Þnal part.
This set the tone perfectly for the albums title track, a stunning out of this world ballad featuring Lopatin’s near desperate vocal delivery, ending what could be seen as one of his most chilling and thought provoking sides to date.
The atmosphere is slightly lifted as the darkened sun comes up over the ruins on ‘Pelham Island Road’ and ‘Where Does Time Go’, with the album closing with edgy broken beats and fourth world possible landscapes of ‘Preyouandi’, which fades into the distance with echoes of the ‘Returnal’ chorus, closing the loop.
What’s burnt into memory here is Lopatin’s love affair with the long, slow path back home… the cycle… the hypnotic sector… the ghost in the machine… and whether people are making dance music or hip hop or space head music or metal, the ouroboros is present in every sector — as it was  in Bach’s study, and in the elephant songs of the Ituri forests.
Available on CD in digipack and LP in gatefold cover.
May 27th UK Brighton
May 28th UK Nottingham
May 29th UK Glasgow
May 30th UK Leeds
May 31st UK London @ CARGO
June 2nd FR Paris, Villette Sonique Festival
Night and Day
2LP/CD/DL Planet Mu ZIQ275
Release date: July 19
We’re really happy to present our new signing Oriol to the world. His debut album Night and Day has the depth of musicality and subtlety of an artist who knows exactly what he wants, and it’s also the perfect summer album.
The facts are these: his real name is ORIOL SINGHJI, and he was born in Barcelona but now lives between London and Cambridge. He’s spent some time in Boston studying music and Oriol’s got musical skills that set him above his peers.
Night and Day connects the dots between his musical tastes, from the 70’s fusion and experimentation of Herbie Hancock and Stevie Wonder to the lush house of Theo Parrish, Larry Heard and Recloose, into drum and bass and dubstep, he rewires these influences into something that’s totally exuberant and fresh, a soulful fantasy, indebted to older musical styles but still sounding bang up to date, surpassing any niggles you might have that this isn’t just seriously good music.
The album opens with ‘Joy FM’, mixing moog melodies with warm early Detroit techno. The next track ‘Spiral’ builds vox chords against diva vocals and rich talk box harmonies, while ‘Memories’ works up a nervous melody with staccato chords. ‘Jam’ lets things roll out with a loose musicality, irresistible early 80’s soul stylings and big moog synth. ‘The Process’ works broken beats under Philip Glass-like chords and funky keyboards, while ‘Flux’ crosses warm arpeggios with disco beats. Night and Day captures the ambience of a party at sunrise at a Tropical destination, bittersweet and beautiful, followed by ‘Fantasy for N’ where beatless layers of electronics create a dreamy mood. ‘LW’ is a graceful mix of Jeff Mills techno energy and stringy disco, while ‘5 Bars’ finishes the album with tough beats and chords mixing it up with ambient atmosphere.
Listening to Night and Day is like being given an invite to an off-world utopia, and within time you’ll be grinning from ear to ear, as this is serious fun.
Music for the Fire
CD/DL Illegal Art IA121
The fruit of many years of work, this album began as People Like Us & Wobbly collected and collaged their way through various depictions of misfired communications and heartbreak sourced from popular culture for a series of live improvisations. Music For The Fire is a plunderphonic concept album depicting the lifespan of a relationship, as told through samples of hundreds of different songs and voices who had no idea they were all telling the same story until they were all spliced together.
Strangely direct and evocative for an album assembled entirely from a patchwork of disparate sources and music both obscure and over-familiar, Music For The Fire comes with an illustrated lyric sheet which reproduces the countless sampled voices as a single if utterly schizophrenic text — a bedtime story that is wildly inappropriate for actual children.  No reliable narrators, just the familiar and absurd, which on different spins of the disc might strike you as either maudlin, poignant or almost painfully hilarious. There is a way out of the maze, but it’s up to you to find it.
Since 1991 British artist Vicki Bennett (aka People Like Us) has been an influential figure in the field of audio visual collage, through her innovative sampling, appropriating and cutting up of found footage and archives. She has shown work at, amongst others, Tate Modern, the National Film Theatre, Purcell Room, Pompidou Center, Sonar in Barcelona, the Walker Art Center in Minneapolis, the BBC and Channel 4, released albums of her work on labels such as Tigerbeat6, Soleilmoon and Touch, both solo and in collaboration with Matmos, Ergo Phizmiz, Christian Marclay and members of Negativland.  2010 will see the completion of a commission for the Edinburgh Art Festival as well as concert appearances at the AV Festival, MACBA, Liverpool Sound City, Copenhagen & Jerusalem.
Wobbly is the long-running collage project of Jon Leidecker (US), who improvises live with pre-recordings to coax the harmonies out of recorded sounds of individuals and animals from disparate cultures. Albums have been released on the labels Alku, Phthalo, Illegal Art, Tigerbeat6 and Vague Terrain.  Previous and ongoing projects include the bands Chopping Channel, Sagan, the Freddy McGuire Show and Amen Seat, as well as various collaborations with Negativland, Matmos, Thomas Dimuzio, Blevin Blectum, Lesser, Tim Perkis & Xopher Davidson, Otomo Yoshihide and MaryClare Bryztwa.  In 2009 he was commissioned by the Museum of Contemporary Art in Barcelona to produce “Variations”, a podcast and lecture series overview of the history of musical collage & sampling.
People Like Us & Wobbly have been collaborating since her first visit to the San Francisco Bay Area in 1998.  Early improvisations as a trio (with The Jet Black Hair People, aka Peter Conheim of Negativland) are documented by the online album What’s The Use, as well as archives of numerous radio and concert appearances recorded both in California and London, including on BBC Radio 3’s “Mixing It”.  The present album for Illegal Art is composed from live recordings, carefully and obsessively edited over a great deal of time, and is their funniest, darkest and yet somehow strangely compassionate work, Music For The Fire tells a story which every listener will recognize in their own unique way.
With the release of People Like Us & Wobbly’s Music For The Fire, Illegal Art continues to embrace a pay-what-you-want business model for high-quality downloads.  All label releases over the last four years have been issued (or reissued) under a the flexible payment system, and the entire Illegal Art back catalog should be subsumed by the end of 2010.  People Like Us & Wobbly also have a history of offering free downloads of entire projects, both new and old.  Vicki Bennett is such a firm endorser of the gift economy that she is the top downloaded audio artist on UbuWeb.  Her online-only album Abridged Too Far (2004) garnered over 25,000 downloads in its first month, and she adamantly defends such free offerings as beneficial to both the artist and consumer.
Press Quotes:
“… a freeform, unfolding imaginary landscape that is liberally peppered with slapstick.” – Phil England, The Wire

“Bennett has continued to impress us with her technical ability and her wonderful sense of the ridiculous.” – Olli Siebelt, BBC

“… beautiful, compelling, funny, crazy stuff.  I listen to [People Like Us] while sitting at my drawing board.” – Matt Groening

“… it is that delirious adventure to tune in Disney cartoons while we administered a strong dose of amphetamines, LSD, and any other lysergic cocktail.” – J. Carlos Vellamueva, Rolling Stone (Mexico)

“… after prolonged exposure to the alchemical work of Vicki Bennett, we see and hear our own everyday world as one big joke which is already cut to pieces.  You’ll laugh, you’ll cry.” – Drew Daniel, Matmos

“… warped-out easy easy-listening goddess and sample abuser extraordinaire.” – Ben Willmott, NME

“Bennett has taken Eisenstein’s montage collisions and refashioned them as bumper cars at a seaside carnival.” – Jim Supanick, Film Society of Lincoln Center

“If only one album were to be timecapsuled for the turn of this century, Wild Why would be a worthy candidate” – Pataphysics Lab

“The head is dazzling of all the cut up and collage which go by in highspeed” – Frans de Waard, Vital Weekly

“It would be pointless to try and characterize any of the sessions because the range of material they draw on is so diverse that the tracks are constantly changing direction” – Ben Borthwick, The Wire

“An expert at sculpting cohesive harmonies out of seemingly disjointed fragment.” – George Zahora, Splendid

“… a hewn diamond that, although beautiful, cuts through the most impermeable of solid bullshit.” – Tobias C. Van Veen, Stylus

“Wild Why is a staggering deconstruction of commercial urban radio, breaking down mainstream hip-hop and R&B into a sludge of guttural samples and low-end goo…  the rules holding our own world together bend wildly under even the slightest pressure.” – Philip Sherburne, Needle Drops
CD Utech Records URCD045
Reflex is the fifth solo album by Switzerland’s RETO MÄDER (Ural Umbo, Sum of R, Pendulum Nisum) as RM74. A creepy, paranoid record of sinister melody and complex structure. Electronics, organ, synthesizer, guitars and other instrumentation drifts in and out of bizarre atmospherics. The tracks gain emotional resonance as they move among vexing swells of dense, rotting psychedelia.
Photograph: Phillip Nesmith
Design: Keith Utech
Recorded at Hinterzimmer, Bern, 2007-2010
Reto Mäder: Guitars, strings, percussion, piano, electronics, kalimba, organ, synthesizer, effects
29/05 dk | odense | klub golem
26/06 de | lärz / neustrelitz | fusion
17.05. – Fred Bigot presents Mono Stereo – Limbus Europae – BERLIN (D)
23.05. – DJ set-conference curated by Jerome Poret – MACVAL – VITRY/SEINE (F)
01.06. – ‘Screen Realities’ exhibition, curated by Catriona Shaw at IG Bildende Kunst – VIENNA (A)
05.06. – Electronicat + Mirror Shades perf – Fluc – VIENNA (A)
01.07. – Bader Motor (Bigot Epplay Maguet) – Villa Arson – Opening Nicolas Moulin & Grautag release party – NICE (F)
23-May CH Fribourg – FRI-SON
25-May CZ PRAG – NOD
27-May NL NIJMEGEN – Onderbroek
May 20 DE Koln, Tsunami
May 21 DE Leipzig, Conne Island
May 22 DE Berlin, Raum 18
May 27th UK Brighton
May 28th UK Nottingham
May 29th UK Glasgow
May 30th UK Leeds
May 31st UK London @ CARGO
June 2nd FR Paris, Villette Sonique Festival
Thanks for reading & best wishes
Dense Promotion
Ed Benndorf
Reichenberger Str. 147
10999 Berlin

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