Fun Fare are a Leipzig based postpunk quartet, that since 2015 connects their weird melodic, melancholic
Postpunk with a psychy foundation and wave alike grumpy vocal lines. April 2016 saw the first release
»Wrong Gong« on »Hartnack Records« a local DIY Label.
Thurston Moore Group
Since the 2014 Release »The Best Day« (Matador) Thurston Moore is touring and releasing music with his
Group, that includes profilic musicians such as James Sedwards (Nought), Deb Googe (My Bloody Valentine)
and Steve Shelley (Sonic Youth, Disappears). Of course one can’t deny that there is similiarities to the alternative rock moments of Moore’s legendary Sonic Youth, the difference is that this recent project creates more repetetive structures and more controlled noise.
It rather avoids big moments of chaos and feedback, which doesn’t mean that this is pop. The Thurston Moore Group creates a perfect mix of tribal drumming, Krautrock and something that could be described as Shoegaze, Moore’s whispering and sometimes spoken word singing sits on top of this perfect, trippy Art-Rock soundworld.
In the past year Alex Cameron was wearing a hearing aid device, masked his face with wrinkles and pockmarks
to perfectly play his alter ego: a failed entertainer. Today Cameron is more of a stalker in a trenchoat,
the one’s that use the gloom of the dancefloor to creep a move on the girls. But it would be to simple to only
see the downside of things, this alter ego also carries a soul harrassed by shame, guilt and regrets, he admits:
»So I live with a deep regret / Of all I do on the internet / And I’m filled with a dirty white guilt«. Harrassed—
yes, but also fucking cool.
His 2016 Release »Jumping the Shark« sings the blues of Showbusiness, while his newest piece »Forced Witness« parodies all kinds of Show-Off’s and impersonates the downfall of white manhood, all trenched in kitch 80’s sounds, tropical groove and Roy Molloys (Mr. Camerons Businesspartner) velvet »Sexyphone« playing.
After 22 years in between all cracks of genres, from folk to kraut to library-music, playing in two bands and also splitting them up (Kill Laura and Misty Dixon) and a further training to become Label CEO, the liverpool born and raised artist finally arrived: right at the beginning. Her recent, eighth solorecord »Modern
Kosmology» is actually her third, because it circles back to where the forelast record (»The Silver Globe«)
and all the phantasmagoria started. This latest release is like a summer on polaroid, and it contains a number
of things such as: Kraut-Rock (the K in Kosmology), Psychedelic, Folk as well as Dreampop and Shoegaze, it is warm and spreads gritty vintage feelings and makes you want to drift.
Obviously influenced by the likes
of »Amon Düül«, »Broadcast« and »Can« Jane Weavers versatile songwriting makes a difference, because it’s served with intelligent pop attitude, overwhelming and very unique vocals and comes with an opulent synthesizer-choir. »Epic kraut-pop opera teeming with motorik rhythms and analogue synths.« (NPR)
DOMINO/UPSET THE RHYTHM
Things have been very quite around John Maus, if his recent doctor’s degree graduation in political sciences is the reason remains uncertain. Whats very certain is that Maus connects his world of thoughts and music very different to many others. He composes music that taps into melancholic fantasy and affirms that we are all truly alive. Questing synthesizers, tensely strung bass lines and chasing drum machines provide the perfect backdrop for John’s deeply resonant reverb-drenched vocal. Born in the decade of synth pop and sharing his birthday with »Georg Friedrich Händel«, John started making music when Nirvana posters went up on every teenager’s wall.
It’s this curious conflux of influences that partially helps to describe John’s music. It’s a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. Fact is, and this should be written inside your cerebral cortex: John Maus is back, and he’s bringing a full band, and this may be the one rare occasion before the next leap year for you to attend it.
If there’s a single guiding motif to Love Theme’s debut record, it’s the melancholic throb of love learnt and
love lost; a descent that tumbles and slips through the overall feeling of looking back. Comprised of Alex
Zhang Hungtai, formerly of Dirty Beaches and who made a recent appearance on Twin Peaks, along with Austin Milne and Simon Frank, the new group’s work follows a travel narrative, moving across a series of
landscapes reflecting the innate experiences of death and resurrection. Like a memory morphing as it is observed.
Midori Takada is a masterful Japanese composer and percussionist whose output over the past 40 years weaves through solo, group and theatrical practices. Her deep quests into traditional Asian and African percussive language are captured on a series of now highly sought after albums including her masterpiece »Through The Looking Glass« (1981) and her collaboration with Masahiko Satoh »Lunar Cruise« (1990). Both re-released in 2017.
In chime with the peak period ambient and Fourth World musics explored by Jon Hassell, Don Cherry and Brian Eno, but born of a distinctly Japanese ceremonial and meditative musical sensibility, her work has a crystalline quality that distills rhythms from around the world into minimalist instrumental dreamscapes featuring marimba and an array of percussion.
Olimpia Splendid plays hypnotic and out-of tune electric guitar music. The trio was founded in the summer
of 2010 in Helsinki. Noisy and playful songs with haunted vocals and drum machine loops are composed and
performed by Heta Bilaletdin, Jonna Karanka and Katri Sipiläinen. All Songtitles are finish, but the singing
do sounds like some sort of english, or is it something else? The rattling beat add’s some stiffness to the sonic
image, but also prevents from making their kind of psych sound to soft.
It’s irritating to think that these non
rock nor electronic pieces can be called »Songs«, instead the three-piece builds dissonant elements with minimal guitar sounds, to be compared with a tone Spacemen 3 would have liked on their legendary album »The Perfect Prescription«. It’s something not heard before, some sort of modern Voodoo-Music.
BA DA BING/
Roy Montgomery is a guitarist and academic from New Zealand. A key protagonist in the Christchurch 80s noise rock scene, his minimalist post-punk band The Pin Group were the first act to release on Flying Nun and lead to other explorations in short-lived drone project The Shallows and the gloriously open-ended freedoms of noise pop outfit Dadamah. After a quiet spell, he returned in the late 90s, producing towering spires of guitar lines that exposed fragility between the strums.
With his solo releases and in collaboration with Flying Saucer Attack, Bardo Pond (Hash Jar Tempo), and Chris Heaphy (Dissolve), his focus shifted from the truth-mining of rock music to epic celestialism. His ambitious yet humble tracks outstrip their origins, and Montgomery toured the world sitting cross-legged on the floor, playing twenty-plus-minute compositions.
Wisp Kollektiv is an initiative based in the east of Leipzig. Together they organize events and research projects with an interdisciplinary scientific approach and support the exchange of ideas with regard to societal, political and scientifically relevant questions.
During TCU II Wisp will contribute their expertise in »VJ-ing« and video mapping aiming to explore the possibilities of live video projections and visual scenography.
04277 Leipzig, DE
Tickets are available at Buchhandlung W. Otto Nachf. and Culton Tickets in Leipzig or online via the link above.
© 2017 / Presented by:
UT Connewitz e.V.
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