after

MISANTHROPY LOUNGE
djs play the worst hits of: noise,techno,punk,power elecronics,industrial,ebm, metal, schlager.....

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VVK 10euro AK 12euro
first 30 tickets in special package

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http://bakurita.blogspot.com/
http://www.myspace.com/OxIx
http://antropofagoateo.blogspot.com/
http://forcedbloom.com/unexamine.mp3
http://monolithische-aktion.com/
http://www.myspace.com/diereitendenleichen
http://www.myspace.com/tarsus42
http://www.realicide.com


HARSH NOISE,HARSH NOISE WALLS,POWER DRONE, MINIMAL

TO ORDER TICKETS EMAIL:
BUCKETTOVSISSORS -AT- WIDERSTAND-DOT-ORG






The Rita, a sound art project by Sam McKinlay, practices in the media arts audio genre termed as ‘harsh noise’. The Rita’s first recorded document was released in 1996 and has participated in live audio performances since 2002. Many of McKinlay’s international audio CD, LP, cassettes, and live performances are also under his sound art moniker The Rita. The genre of ‘harsh noise’ is a part of the world of academic experimental sound and performance with the use of various live and pre- recorded analog sources, distortion pedals, large amplifiers, and sometimes visuals. The Rita’s live audio sets are characterized as being very loud, abrasive, textural, dynamic, and visceral as the live shows and recorded documents are powerful examples of the possibilities of abstracted sound and its effect on the listeners.
The investigatory audio academia of the deconstruction of sound in the works of other
artists of the past century such as The Futurists, Philip Corner, LaMonte Young, Zbigniew
Karkowski, Bernhard Gunter, and the Scott Konzelmann’s project Chop Shop play a critical role
in the establishment of the textural and abrasive audio documents and performances of ‘harsh
noise’ into the late 1970s, '80s and '90s. Post 70s legendary international sound art artists like
Pierpaolo Zoppo / Mauthausen Orchestra, Masami Akita / Merzbow, Jojo Hiroshige /
Hijokaidan, GX Jupitter-Larsen / The Haters, and Toshiji Mikawa / Incapacitants took form with
an acute knowledge of the past academic sound art techniques and ideologies. Via the intense
academic study of past and contemporary sound artist’s works, Sam McKinlay’s harsh noise project The Rita also explores the tangible documents of historical sound works in respect to the parallels of sculpture, installation, and landscape works; all the while keeping the analog media arts studies directed at his personal creativity in the audio genre and the directed textural sound studies.
Practically all through McKinlay’s past years in University, he was heavily interested in minimalist painting that evolved into floor works, landscape pieces, and eventually concept based textual and photographic interpretations of areas and space. McKinlay was and still is heavily influenced by visual artists the likes of Ad Reinhardt, Richard Serra, Barnett Newman, Ellsworth Kelly, Richard Long, George Trakas, and Kasimir Malevich. He found these days at University very important to his sound work as it gave him an intense look into the themes of installation, landscape, and painting, but paralleled with audio textures, tonal structures, and dramatic movements from sheets of shifting audio. McKinlay also have a keen interest in studying the visual and historical details of the Canadian landscape paintings of the 1800s and how they can translate into sound works via the parallels of balance, texture, dynamism, and themes of the sublime; one example being the works of painter Cornelius Kreighoff paralleled with the contemporary sound works of Toshiji Mikawa / The Incapacitants. In The Rita works, McKinlay focus on recognizing spatial areas, installation, and performance, all culminating into sound works that further exemplify the minimalist and deconstructed ideologies that he has been participating in during his career of international audio documents and live performances.
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Established in 2001, Oscillating Innards is a sound art project of Gordon Ashworth (of Portland, Oregon USA). Developed through influence and experience in the experimental noise, musique concrete and collage-based areas of sound art, Oscillating Innards has released over forty international audio documents and has performed live nearly one hundred times.

Since first touring in 2004, Gordon Ashworth has taken a very direct, unpretentious and vigorous approach to audio performance and interaction. Often performing in a different city every night for several weeks at a time, Ashworth has performed in over 80 cities in 20 countries. These performances have been in a myriad of venues, including massive warehouses, art galleries, museums, cafes, record stores, jazz clubs, punk squats, and generator-powered guerilla venues.

The dynamic live sets of Oscillating Innards consist of visceral electro-acoustic noise, textural collages of tape manipulation, and overwhelmingly cathartic vocal and physical presence. Performances and audio documents have often used acoustic objects in unusual but highly effective manners, i.e. an entire car door and bumper, a metal file cabinet, a boat propeller, a prepared piano, a power drill and broken cymbals. Use of such objects lends to a form a physical, concrete parallel to the aural impressionism.

Musically, Oscillating Innards strives to be a unique and progressive project that combines elements of analogue electronics, nonmusical objects, prepared instruments, tape manipulation, field recordings and voice. The results are carefully structured and tense compositions, expressed in classical-like movements of recurring tonal themes and violent revelations, supplemented by metaphorical, narrative lyrics. The 2008 album "Nadir Emergence" has been described as "a testament to the importance of subtle moments" (Blood Ties) and the "Grey Variables" LP as "a circumspect composition of laying heavy assaults from physical strength and depressive electronics" (Kotomi Kuroda). His album “Rendition of Hell” will be released in late 2010, following a lengthy tour of several cities in Japan, Europe and the United States.

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UNEXAMINE is the harsh noise project of Charlie Mumma focusing on minimalism,
distortion pedal worship and occasional screamed vocals. Themes currently
revolve around the distance between revolutionary militancy and bourgeois
sentimentality. Early executions are explorations of the 1917 Russian
Revolution based books Doctor Zhivago by Boris Pasternak, Ten Days That Shook
The World by John Reed and Out Of The Night by Jan Valtin. He currently plays
drums in Knelt Rote and Vile Horrendous Aerial Bombardment and has been in
Sissy Spacek, Skin Culture, Sleetmute Nightmute and Splatterhouse. "