Thu, September 10 2020, 20:00 ///
quitch, Untere Donaulände 10, Linz ///

Alobhe is a contemporary artist residing in Berlin. In her practice she works with sound as sculpture reaching across a wide range of genres. In the recent past, she has experimented with club-culture, combining elements of noize, dark ambient, low-fi and black metal among other genres — often into a foreboding sonic assault with an underlying impulse towards the industrial and rave dancefloor. Recent releases include her debut EP “State Space” on Tobago Tracks in late 2017, followed by a collaboration with Acolytres for the “Nervous System” compilation on Alien Jams and contributions to compilations by Intruder Alert and Nyx Unchained. She has performed at OHM and Berghain in Berlin, CTM Festival in Berlin, Sonic Acts Festival in Amsterdam, Creepy Teepee Festival in Kutná Hora, and Fuchsbau Festival in Lehrte.

In her live shows, themed around zeitgeist-hyperreality with a critical outlook into future perspectives (the philosophical, sociological and political cyber-human mechanics), Alobhe explores the intimate nature of sound and most importantly its role as a form of honest communication and its direct impact on ones perception of reality.

youtube.com/watch?v=Z5sugROQ_w4
soundcloud.com/alobhe

Fri, October 25 2019, 20:30 ///
quitch, Untere Donaulände 10, Linz ///

“It was whilst Auvinen was in New York that she met Bryan from The Bunker New York from frequently attending their parties and earlier this year the label released the first LDY OSC single on their 15 year anniversary compilation. With the next step naturally to be to release a full EP, LDY OSC’s debut is out on the label now and highlights her experimental productions as she plays around with different natural effects in order to create unique textures.” (untitled909.com/the-lowdown-ldy-osc)

“When asked whether Kaiser still felt free when putting together the acts for musical events with all the self-imposed quotas, the curator says: ‘You restrict yourself when you bring the penis line-up to the stage, which always sounds the same.’ ”  (www.tt.com/kultur/musik/15464856/therese-terror-in-innsbruck-eine-andere-platte-fuer-die-elektroszene)

Alyssa Barrera Auvinen ist eine seit kurzem in Wien ansässige Produzentin, DJ und Multi-Instrumentalistin aus Mexiko. Neben der Produktion von Techno unter dem Namen LDY OSC ist sie u. a. Teil der Band Artefactos de Dolor (Helic.al Records), beschäftigt sich mit der Reparatur von Vintage-Synthesizern und Sound-Engineering-Projekten. Aufgewachsen in Laredo, Texas, an der Konfliktgrenze zwischen den Vereinigten Staaten und Mexiko, begann sie früh mit DJing und spielte in zahlreichen Clubs im Norden Mexikos. In New York City schloss sie ihre Ausbildung mit einem BFA in Liberal Arts and Science und einem Major in Music and Sound Engineering ab. Während dieser Zeit erhielt sie auch den Namen Lady Oscillator aka LDY OSC.

Alyssa Barrera Auvinen is a producer, DJ and multi-instrumentalist from Mexico who recently moved to Vienna. In addition to producing techno under the name LDY OSC, she is part of the band Artefactos de Dolor (Helic.al Records), deals with the repair of vintage synthesizers and sound engineering projects. Raised in Laredo, Texas, on the border of conflict between the United States and Mexico, she started DJing early and played in numerous clubs in northern Mexico. In New York City she completed her education with a BFA in Liberal Arts and Science and a Major in Music and Sound Engineering. During this time she also received the name Lady Oscillator aka LDY OSC.

Sie arbeitet mit der Theater- und Street-art-Performance-Gruppe “Ritual Maya of Tulum” und Grant Aaron (Mysteries of the Deep) zusammen, beschäftigt sich mit Ambient- und Experimentalmusik, und ist inspiriert von Labels und Künstler*innen wie Liaisons Dangereuses, Pan Sonic, Biosphere, Kontra Musik oder Sähkö Recordings. 2018 erschien ihr Album “EP Magic² of 8” auf Bunker Records. Brandneu ist ihre aktuelle Veröffentlichung “sōt” auf Kontra-Musik.

She collaborates with the theatre and street art performance group “Ritual Maya of Tulum” and Grant Aaron (Mysteries of the Deep), deals with ambient and experimental music, and is inspired by labels and artists such as Liaisons Dangereuses, Pan Sonic, Biosphere, Kontra Musik or Sähkö Recordings. In 2018 her album “EP Magic² of 8” was released on Bunker Records. Her latest release “sōt” on contra music is brand new.

Therese Terror ist DJ und Veranstalterin, hat das Electric Spring 2018 kuratiert und sich in der Wiener Szene als Leiterin des Business Riot & Rrrriot Festivals sowie als Gründungsmitglied der Plattform Femdex, die über 500 weibliche Acts listet, einen Namen gemacht. Sie schätzt die Vielfalt österreichischer elektronischer Künstler*innen und sorgt selbst für anspruchsvolle und zugleich kraftvolle und mehr als tanzbare Sets. Therese Terror aka Therese Kaiser hat vor einigen Jahren im DJ-Kollektiv “Terror & Martina” mit dem Auflegen begonnen. Eine ihrer anfänglichen Motivationen war, dass sie mehr weibliche DJs hinter den Decks sehen wollte. Ein Zustand, der sich über die letzten Jahre etwas gebessert hat, auch durch ihren eigenen Aktivismus.

Therese Terror is DJ and promoter, has curated Electric Spring 2018 and made a name for herself in the Viennese scene as director of the Business Riot & Rrrriot Festival as well as a founding member of the Femdex platform, which lists over 500 female acts. She appreciates the diversity of Austrian electronic artists and provides herself for sophisticated and at the same time powerful and more than danceable sets. Therese Terror aka Therese Kaiser started DJing in the DJ collective “Terror & Martina” some years ago. One of her initial motivations was to see more female DJs behind the decks. A condition that has improved somewhat over the last few years, also due to her own activism.

Her — in the best sense — unpredictable sets range from pop and house to techno, electro and acid: “Many people are a bit afraid to book me because they don’t know exactly what I’m going to do. But basically I can guarantee that I will make people dance. I don’t play genre-related, I try to do a certain vibe.”

soundcloud.com/ldyosc
soundcloud.com/kontramusik/km054-ldy-osc-sot-preview
soundcloud.com/thereseterror
femdex.net

Fri, June 28 2019 ///
Open Air Ottensheim 2019 ///

PussyVision aka Finley Janes is a gender queer witch house producer, performance artist and noise musician. She describes herself as “living looneytune” and her genre as “dark industrial hell”. To say that Finley Janes is producing experimental electronic music in this project would be an understatement.

An article in the Phoenix New Times states: “7 Women Noise Musicians You Need to Know: Experimental artist Finley Janes performs as an alter-ego named Pussy. Combining spoken word with performance art elements (like masks and strange costumes), PussyVision plays music that mixes together harsh industrial noise with queer pop. Her oeuvre is engaging yet unnerving — her sounds and visions dare you to come a little bit closer and pay attention, while the vocals and gnarled noises emanating from the speakers are lacerating your senses.” (https://www.phoenixnewtimes.com/music/women-noise-musicians-lana-del-rabies-irene-moon-pussyvision-e-alo-9596279)

In summer 2018 her album Replicate:// came out, the announced Hazardville:// is eagerly awaited. Her style combines harsh electronics, heavy beats and haunting vocals to create brutal images of trauma and recovery. PussyVision creates dynamic tracks live on stage with analog synths, an MPC 1000 and loop pedals. She oscillates unpredictably between ethereal singing, bloodthirsty screams, childish sobs and throaty howls with lyrics that speak intimately of fear, dissociation, violent fantasies and the regaining of strength after a trauma.

The live performances of PussyVision (complete with homemade masks and costumes, often glittering with fur) are sometimes described as “experiencing industrial hell” and “witnessing a delusional cyberwitch”. Or as a cacophonous soundscape that could be interpreted as a nature-fighting industry — an overgrown industrial district hostile to plants and birds, but still rebounding from the ruins of a former self.

PussyVision comes to Europe for the first time in summer 2019. As part of qujOchÖ’s 100% Female series she will perform at this year’s Open Air Ottensheim.

Links:
https://openair.ottensheim.at/line-up

Sat, June 8 2019, 20:30 ///
quitch, Untere Donaulände 10, Linz ///

AJA’s industrial beats and distorted drones, combined with a psycho-visceral, intense performance, challenge the audience by breaking down barriers and pushing limits sonically and visually. Disturbing noise, desperate screams, handmade electronics from found and collected elements.

She has been producing an array of genres from grind noise to techno for the past years. Before focusing on her new solo projects, she was living and working in Berlin and playing in the noise ensemble Batalj. Inspired by the Berlin noise scene, she returned to the UK to start her new live performance project, which is influenced and inspired by artists exploring the boundaries between industrial and noise like Puce Mary, Emptyset and Pharmakon.

AJA played at the Berlin Alternative Fashion Week for designer LU LA LOOP, live on NTS radio, was featured artist of the English collective for electroacoustic music and performance metanast, and after designing the sound for musician Joey Holder for the piece “Ophiux”, she was nominated for the PRS-funded Oram Award.

Her latest tracks can be heard in “Pageant Crack” released on Opal Tapes and on Perc’s new album Bitter Music.

“She’s the antithesis of the macho tropes that have for years surrounded noise music. Falling somewhere under the umbrella of ‘New Weird Britain’, her live shows symptomatic of it. Built upon the idea of audience immersion, Aja beckons you to share the extreme emotion her performances convey and the strangeness that surrounds it.” (thequietus.com/articles/24493-aja-ireland-interview)

“Psychosexual rhythmic noise, blackest ever beats, tortured banshee wails and skullcaving drone. Sonic, visual and physical over-stimulation.” (residentadvisor.net/dj/aja)

CLAIRE GRUBE is a member of the living room and dancefloor go-to-party animals madhou5e. Together with RHOTAR and DJANE HELL (Cesky Urfahr) she provides plenty of bass, extreme house electro and techno music, and is currently one of the insider tips in Linz.
One more time. But different.

Whether solo, as a couple or as a trio, the three musicians in their different constellations always reliably bring stirring sets that surprise and mix up the usual house and techno encodings to the delight of all dance-tested hips.

Links:
ajamusicblog.wordpress.com
opaltapes.com/album/aja
soundcloud.com/opal-tapes
madhou5e.tv/artist/claire-grube
www.mixcloud.com/madhou5e/188

Sat, June 23 2018, 20:30 /// 
quitch, Untere Donaulände 10, Linz ///

EWA JUSTKA is a polish electronic acid-technoise artist, self taught instruments builder and electronics teacher based in London. She is also interested in the notion of materiality of objects, vibrant, ontological systems (human bodies, electronic circuits, integrated circuits: varied range of micro and macro environments and relations between them) and an investigation of modes of quasi-direct perception through extreme light and sound actions, electronics, hardware hacking, breaking, deconstructing, wiring — or, to put it bluntly — designing synths and playing hard techno. EWA JUSTKA has performed and led workshops at festivals and venues like Loop Festival, Sonic Acts, Supernormal Festival, Club Transmediale, STEIM, Colour out of Space, Unsound Festival, Norberg Festival, Insomnia Festial, Cafe Oto, and more.

For Linz-based artist YEN TZU CHANG art is a language for expression. Since 2011, she has been working in various fields and combining them with art and technology, including interdisciplinary art and experimental performances based on sound installations. Her early works were audio-visual and installations mixed with video art. During this time, she gradually got interested in making installations, which combine her experience on stages. She began to develop her own electronic instruments. In her sound performance, she attempts to build the relationship between sound, instrument and one of her characters. The more experiments for concerts she conducts, the more possibilities for different characters she can play on the stage.

Links:
ewajustka.tumblr.com
changyentzu.com

Thu, May 17 2018, 21:00 /// 
quitch, Untere Donaulände 10, Linz ///

There she is, sitting in her self-built mobile sauna in the middle of the Loyal Gallery in Kassel. Only her head sticks out, sometimes also her hands to make selfies and share them in a messenger group. Included: Six bottles of vodka that slowly evaporate over her head for three hours: “Have a drink with me too… I get … give one … my brains!” The performance of Hamburg based artist TinTin Patrone is simply named “sauna”, but could also be called “How to get fully drunk in a meaningless way”.

The conceptual, multi-layered and comprehensive approach seems to be on the search for sobriety in a world of drunkenness. This applies to many of the works of TinTin Patrone, who is a composer, musician, actress, film and music producer, painter and author in one. She jumps from here to there and to the side and seems to effortlessly combine music, sound, noise, art, performance and everything that gets into her hands to surprise the audience again and again. qujOchÖ means with loving gesture: TinTin Patrone is a bit crazy and that’s good so.

TinTin Patrone will be supported by States of Clay aka Anna Masala. In addition to her education ala Marina Abramović and her temporary life as a professor, she devotes herself mainly to the search for the unexpected. In State of Clay’s performances, string and percussion instruments meet voice, hands and feet, are interwoven through repetition and difference to experimental, unconventional and dissonant songs and sometimes end up in nirvana. qujOchÖ means with loving gesture: States of Clay is a bit crazy and that’s good so.

Both concerts will take place on the second day of the biennial festival “Art Meets Radical Openness”. AMRO18 explores and discusses current challenges in the context of digital culture, art, everyday life, education, politics and action. The festival, initiated and organized by servus.at, offers lectures, workshops and performances at afo architekturforum oö and Stadtwerkstatt.

Links:
http://www.tintinpatrone.com
https://soundcloud.com/annamasala
https://epilepticmedia.bandcamp.com/album/getting-over
https://www.radical-openness.org

Live-Set States of Clay:
[sc_embed_player_template1 fileurl=“https://archive.org/download/radjaidah/Radjaidah_States_of_Clay.mp3”]

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Live-Set TinTin Patrone:
[sc_embed_player_template1 fileurl=“https://archive.org/download/radjaidah/Radjaidah_Tintin_Patrone.mp3”]

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Complete Recordings at archive.org

Fri, November 3 2017, 20:00 /// 
quitch, Untere Donaulände 10, Linz ///

Rough basses, rough texts, rough vocoders, a constantly programmed system crash: “I am the I‑want-to-sell-my-ova-online-at-a-high-price-although-they-have-not-been-in-the-cold-chain-feminism”. This is electrifying, this creates a continuous “Whaaaat?”, this is KLITCLIQUE. When G‑udit and $chwanger, sometimes accompanied by Fauna aka G‑auna, dedicate themselves to the boundaries between art system (“Your gallerist is your best friend”), feminism (“I am the capitalized I in the middle”) and hip hop (“So good in rap, so bad in bed”) in their self-ironical performances everything heads directly into one direction: Everything is getting crushed! Or not?
https://klitclique.wordpress.com
https://klitclique.bandcamp.com

As local support ABU GABI will appear on the quitchy stage of qujOchÖ, formerly and actually active in collaborations like Fudkanista or DVRST. We don’t know what will happen here but we trust in Tanja. Rumors have it that it will be dope, punk, deep, mysterious und glamorous at the same time.
https://soundcloud.com/abugabi

Wed, September 6 2017, 20:30 /// 
quitch, Untere Donaulände 10, Linz ///

Through infectious harmony and melody, Russian artist Kate Shilonosova makes joyful and adventurous pop music. It is also patient, playful deceptively simple but masterfully constructed, at times charming and bittersweet. Some points of influence include a pink-to-blue gradient Japanese 80s mallet-pop feeling and synth-wave tones, which Kate absorbs perfectly into her own bold musical identity. (Orange Milk Records 2016)
http://soundcloud.com/kate-nv

Monica Vlad designs and develops new media installations and spaces. She uses new technology as an artistic medium of expression and as a medium for the interactive and audio visual communication. The sound of her performances is mainly based on noise, ambient, experimental music, ranging from low to very high frequences that one can barely hear, from minimal to glitch, from analog to digital.
http://monicavlad.com/

(Photos: Julia Vogt)

Live-Set Kate NV:
[sc_embed_player_template1 fileurl=“https://archive.org/download/LikeCasioInTheSunshine/Like_Casio_In_The_Sunshine_Kate_NV.mp3”]

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Live-Set Monica Vlad:
[sc_embed_player_template1 fileurl=“https://archive.org/download/LikeCasioInTheSunshine/Like_Casio_In_The_Sunshine_Monica_Vlad.mp3”]

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Complete Recordings at archive.org

Sat, May 27 2017, 21:00 /// 
quitch, Untere Donaulände 10, Linz ///

Golden Diskó Ship is Theresa Stroetges, a Berlin-based multi-instrumentalist and video artist who performs live as a one-girl orchestra: “Her imaginative soundscapes, shifting from delicate melodic lines steeped in nostalgia to the feedback arcs and textured distortion of machine abuse, evoke lucid dreams and have won critical praise for their fresh, eclectic collages of electronic and acoustic sound […]” (CTM concerts) Golden Diskó Ship is docking at qujOchÖs harbour bringing along her 3rd album called Imaginary Boys: “[…] One dominant compositional element of Imaginary Boys is a deliberate use of time, influenced by the perception of electronic music and techno.” (Karlrecords)
http://www.goldendiskoship.com/

Canned Fit aka Christine Schörkhuber is influenced by singer/songwriting, dance music, garage punk, New Music, experimental electronics and muzak – but above all by listening closely to the constant sound of the world and its people all around. Circuit-bending, motorized cans, sounding stovepipes, machines, metal, glass, pottery shards, stone, electronic constructions and minimalistic instrumental melodies are as well part of her peculiar sound aesthetics as drones, feedback, field recordings, intricate beats and of course her special voice. Her electronic interfaces are built by herself.
http://www.cannedfit.net/

(Camera/Editing: Parisa Ghasemi)

(Photos: Eva777)

Live-Set Golden Diskó Ship:
[sc_embed_player_template1 fileurl=“https://archive.org/download/LowDoseFizzyPop/Low_Dose_Fizzy_Pop_GOLDEN_DISKO_SHIP.mp3”]

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Live-Set Canned Fit:
[sc_embed_player_template1 fileurl=“https://archive.org/download/LowDoseFizzyPop/Low_Dose_Fizzy_Pop_CANNED_FIT.mp3”]

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Complete Recordings at archive.org