THE NEW BLOCKADERS(uk)
TUNNELS OF AH(uk)
Running order for individual days, tickets, hotels and more information very soon.
The New Blockaders may sound like a hip Indie Rock band, and they may want you to believe such a thing to lure unsuspecting listeners. As merchants of ‘anti-music,’ they embrace Luigi Russolo’s The Art of Noises manifesto (1913) and although Russolo is widely credited as being the first major noise theorist, contemporary Noise artists like TNB were the first to progress from the use of noise as assault on tonality to the development of a rich, complex language capable of subtleties of shade and nuance without sacrificing any of its feral power or ability to unlock repressed personae in the listener.
Their manifesto (1982) proclaims, ‘Blockade is resistance. It is our duty to blockade and induce others to blockade: Anti-music, anti-art, anti-books, anti-films, anti-communications. We will make anti-statements about anything and everything. We will make a point of being pointless…’ Everything about TNB entails refusal. The title of their collection Gesamtnichtswerk is important here. It reminds us of Wagner’s dream of the ‘total art work’ – the Gesamtkunstwerk, but the art is replaced by nothing.
Lazier souls than I would place TNB within the pantheon-lineage of UK Industrial, although I see them as a free-standing unit with more in common with the Futurists and (maybe) Einsturzende Neubauten (without the ‘songs’): Electrical tools, metal, ear-shredding static noise – the very definition of nihilism through sound. Superficial similarities exist to forbearers like AMM’s free form music aesthetic, Throbbing Gristle’s Second Annual Report and Lou Reed’s one-off decadent, noise-loop experimentation Metal Machine Music. TNB differ in that they have never burdened themselves with writing excessive, sleazy Rock Pop put on, prone to current Pop culture sampling obsessions or attempts at confining unruly, nihilistic sounds. They create a true musical sound cluster of destruction to such an extent that their so-called ‘anti-music’ transcends nihilism into positivism/optimism suggesting new music.
TNB always suggested more than a band or musical project. They are bent almost as much on philosophy and literary ambitions, issuing manifestos and texts and referencing the likes of Debussy and Nietzsche.TNB never set out to be part of a self-glorifying youth movement where pompous, romanticized bullshit dies hard in an endless, capitalistic magic show. Instead, they depict the emotional tonalities of an ambivalent, ambiguous new century with no form and direction. Their musical legacy offers respite from the fraudulent herd of co-opted streamlined sounds, which masquerade as experimental.
They served as a major influence on legendary Noise pioneers as Merzbow and their influence on the current crop of popular crossover Noise artists such as Prurient and Wolf Eyes is immeasurable. Collaborations in recent years with artists such as Sonic Youth’s Thurston Moore have brought their anti-sound to a younger and diverse audience. The metal-bashing of K2, the awkwardness of Runzelstirn & Gurgelstock, the density of Macronympha and the abrasiveness of Merzbow all owe something to the anti-music of TNB. They, more than any other, define the essence of true Noise music both in art and in act.
born 1995, died in 2005 & resurrected in 2010
mutated powerelectronics, disturbed rhythms & forced noise riots for a
decaying human mass
the main releases:
Final Movement 2001
This Summer Suicide 2003
New Heroes 2005
thorofon presents a very special classic show with blasting tracks from
the early years (1995 – 2001): maximum noise, minimal pop
Ke/Hil is habitat industrial, field work closely observing a deprived and callous population’s behaviour in a hostile environment, while seeking to wipe away the neon gloss from facades, showing gloom and bleakness lurking behind, exposing the ultimate cause for resistance without anything to achieve but resistance going on…- a look from inside a precarious scenery!
Cathartic Post Industrial delving deep into the psyche – the core of inner regions violently exposed. IRM is a physical theatre,where the shell of the body and mind has cracked – an offending encounter with the human mind.”
With more than ten years in the making IRM have established themselves as an unique high profile act and released several albums on Cold Meat Industry, Segerhuva, Annihilvs and Autarkeia.
IRM are currently busy finishing the follow up to their Order4 album (2010). The new album will be entitled Closure… and it will be the concluding part of the triology that started out with the Indications of Nigredo EP (2008).
Closure… will be released sometime during 2014.
IRMs live performances can be described as vivid, organic and auido-schmerzed manifestations of personal Catharsis and Self-renunication/salvation.
Either if you like it or not; Indifference is not an option here!”
The noise artists Brigant Moloch (Anenzephalia) and Dan Courtman (Thorofon/The Musick Wreckers) came together to make something completely different. Touching on the sound of D.A.F., Dogpop makes strange danceable music with industrial roots. In 2003 there was an LP named “Popgod”, four years later a very limited cd called “Live Without Band” and recently the first real album “Jahrmarkt Der Verlorenen Kinder” was made available. All releases are self released (UMB Kollektif).
LIPGLOSS DOLCE was founded a long time ago, when INSTITUTION D.O.L. was still Matthias (aka Barbie B.) main project. But until 2013 it was like a tottering drunk in the dark gutter of this universe. the project started to take real form in the Summer of 2013, when Matthias visited Rome again. It was the flavor of the Eternal City which let him reflect under the roman sun. And then he knew, time had come to make the next step. And this step meant the decision to develop LIPGLOSS DOLCE from being just an idea to a real project. LIPGLOSS DOLCE is pure romanticism, pure nostalgia, a Campari-drenched portrait where Pier Paolo Pasolini, Federico Fellini, the decadence of this world, Kenneth Anger & Aleister Crowley made the brushstrokes. in a modern and melodramatic multimediatic mode. Beautiful songs shall be the theme music for the construction of a tower of babel and the joy of life shall be the power of all things and a weapon against existing symptoms of decline. NO MORE PRO-GRESS, BECAUSE RE-GRESS IS THE ONLY HOPE! Cultura Vita!
Representing the unseen forces of liberation through sex and death, Rachael Kozak has been releasing records under the guise of Hecate since 1996. After starting her imprint Zhark in NYC, she went on to test the limits of electronic music on several levels internationally, releasing both her own music and many other talented artists until 2010. In addition to writing and producing some of the darkest and deepest broken industrial records, Hecate has also been extremely active in the domain of Extreme Metal working alongside Belphegor for the past eight years. As a lyricist and offical band Sukkubus, she has featured in both video and stage performances with the Austrian Black Death outfit. Moving to Vienna in 2012, she continued to expand her recording experience working with Tomoroh Hidari on the forthcoming Anathemasochist project, which should see the light of day late May on Albin Julius´s Hau Ruck! label. Besides being active in the world of experimental music, she is also known as an infamous sadomasochist, painter, and video artist.