V Wrocław Industrial Festival

6-12.11.2006

DIVE

(B)

GAE BOLG

(F)

AH CAMA-SOTZ

(B)

ARANOS

(IRL)

HEKATE

(D)

MONOLITH

(B)

SCIVIAS

(HU)

CLAUSTRUM

(LT)

EINLEITUNGSZEIT

(SK)

COLD FUSION/RUKKANOR

(POL)

IDIOT SAINT CRAZY

(F)

SYNTA[XE]RROR

(POL)

MOAN

(POL)

DO SHASKA!

(CZ)

AH CAMA - SOTZ (B)

Ah Cama - Sotz has been standing out on the rhythm noise scene since the 1990s, but its founder, Herman Klapholz from Antwerp, had already taken his first steps in the world of dark sound a decade earlier as a participant in the famous project Hybryds. He has collaborated with The Klinik, Vidna Obmana and other artists associated with the industrial scene of northern Europe. Ah Cama-Sotz started with a solid, perfectly produced rhythm noise and released his output through labels such as Hands. The common feature of most of that work was the extremely boosted low frequencies. The aim of Ah Cama-Sotz's music is to activate the mind and take the audience into something like an infinite tunnel and on a journey into the infinite depths of consciousness. The whole thing is spiced with a demonic flavour. Each fragment is provided with an exposition of irrational, dark powers, embodied in the figure of a predatory bloodsucking bat. Herman Klapholz has always refused to conform to any stylistic limitations. While, in his youth, he was fascinated by classical symphonic music, in his own work one can hear many elements - from serial and minimalist rhythm to dark ambient, from ritual trance music to sub-bass drone. In the later stages of his career, around the middle of the first decade of the 21st century, Ah Cama-Sotz's music evolved into techno-like and break forms. Klapholz's love for low frequencies led him to incorporate drum'n'bass motifs in his work, a result of which is ethno-tribal industrial music with a powerful dance vibe. The previous appearance of Ah Cama-Sotz at WIF was received enthusiastically, so we may safely assume that also this time, the artist will seduce and electrify the Gothic Hall. [ws]

http://www.ahcama-sotz.com

C.H. DISTRICT (PL)

Ch District

Existing since 1998, C. H. District is a project of Mirosław Matyasik that combines industrial sounds with contemporary productions based in intelligent electronics. Even the most picky and extravagant connoisseurs of the musical experimentation get swayed by the District’s strong, dynamic beats, recurring melodic lines and broken rhythms. Be warned though! By no means can C. H. District be associated with monotonous and simplistic versions of techno—in their compositions the familiar design elements of dance music are radically deconstructed, classic bit structures are transformed into an unconventional rhythmic concoction packed with glitches, and heavy bass lines are marked by radical tonal experiments . It is a deep, multi-layered music based on ambient landscapes and complemented with a whole range of often unexpected glitches, noise, feedback and rhythmic clicks. One can hear all kinds of influence and all kinds of elements of electronic and technoid industrial music. Although inspirations with the various fresh sounds of the past is clearly visible, the tracks still show genuine character as well as the musicians’ bravado in experimenting with rhythm—typically associated with the masters of IDM. Music of C. H. District is filled to the brim with originality, creativity, clearness and attention to every detail—every sound has its own clearly defined place. A must-hear for fans of such bands as Autechre, Aphex Twin and Black Lung or such producers as Warp, Hymen, Ant-Zen or Metropolis. From 2012 the band can boast with a new member: Adam Białoń, known from bands such as Garaż w Leeds, Nowy Horyzont and Dusseldorf.

http://www.chdistrict.com/

DIVE (B)

Working under the moniker DIVE, Dirk Ivens (ex-The Klinik / Absolute Body Control / Sonar / Motor!k), a producer WIF regulars are well familiar with, is one of the pioneers of the Electro Body Music style, which originated in Belgium in the 80s and significantly influenced both electronic and dance music styles. During this time, Ivens co-founded THE KLINIK, a group that would later on gain a cult status among enthusiasts of the genre. In the following decade, he focused on working for his own record label Daft Records, making music as a member of the duo SONAR, as well as pursuing his solo project DIVE, whose music can be simply described as power noise – a mixture of minimalist, hypnotic, and rhythmic beats combined with distortion-heavy vocals and lyrics about hope, death, love and fear. On stage, armed only with a megaphone and stroboscopes, the artist creates a powerful, noisy, raw, and experimental show, which proves the validity of the "less is more" ethos.

http://www.dirkivens.com

IN THE NURSERY (UK)

'Artisans of Civilisation' by IN THE NURSERY

Existing from over 30 years and co-starred by twins: Klive and Nigel Homberstone, the band In The Nursery has never shied away from experimentation and looking for an alternative path towards progress. Although the early steps of the formation were definitely industrial in style, with every consecutive album the group has gradually left the industrial behind, and created their own recognizable form in return. Homberstone’s initial fascination with post-punk Joy Division was replaced by infatuation with neoclassical style, which soon became the very marrow of In The Nursery. The team left the grinding sounds of industrial in order to pursue more sophisticated and subtle means of expression. From that point on, the project has primarily associated itself with classical instruments assisted by computer sequencers. It is through that combination the band manages to evoke thrill, excitement and also unique atmosphere. Compositions of In The Nursery, are achieved by the latest technology combined with the classical style and orchestral drum-work. They possess a unique charm and power—which is precisely why the team has been recognized by the producers and their songs regularly appear in the soundtracks of many well-known films (eg. Gran Torino, Beowulf, Aviator, Interview with the Vampire, and many, many others). The group is also famous due to their original self-composed soundtracks for many silent films such as The Cabinet of Dr. Caligari, Man With a Movie Camera and The Passion of Joan of Arc.

http://www.inthenursery.com/

JOB KARMA (PL)

Job Karma treats industrial as a starting point for artistic freedom, exploration and unlimited experiments. As a codeword which involves industrial noise, elaborate, multilayer ambient as well as dance beat. The principle behind the music of Job Karma was always: no limits. A distinctive, immediately recognizable aspect of Job Karma's music is the sound created from age-old low and high frequency generators and oscillators, sine waves. Unique sounds of devices, which were not originally designed to be musical instruments, links with modulated by timbres of old analog synthesizers. The pieces are constructed on loops, timbre spots, blends and sequences. The integral element of Job Karma's tracks are samples discovered in the archives and those recorded by the sound artists themselves, on different continents. Mostly in North Africa and Asia Minor. In trance forms, rituals of vision and sound, Job Karma's music work joins urban primitivism and reflects cyivilisation overload. The project debuted in 1997 as a duo formed by Maciej Frett and Aurelisz Pisarzewski, with permanent collaboration of a visual artist Arkadiusz Baginski, enriching their concerts with video projections of his auteur films. Musical activity comes along with popularisation activity. The members of Job Karma are also the curators of the festival we are attending now

http://jobkarma.pl/

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V Wrocław Industrial Festival

6-12.11.2006