Podcasts about unsound festival

- Nie wiem, czym Unsound można porównać do człowieka czy bardziej do ośmiornicy. Wielopalczasta postać chyba lepiej tu pasuje, bo te macki rzeczywiście prowadzącą do różnych dziedzin, miejsc i gatunków muzycznych - mówiła w Dwójce Małgorzata Płysa, dyrektorka generalna Unsound Festival.

Podcast Jarka Szubrychta "La La Live" to opowieść o muzyce nie przez pryzmat nowych singli i płyt, ale z perspektywy życia koncertowego i festiwalowego. To rozmowy zza kulis, mniej skupiające się na samych artystach, a bardziej na tych, którzy poza zasięgiem naszego wzroku ciężko pracują na to, by wszystko dobrze brzmiało i wyglądało. Gościnią tego odcinka „La La Live” jest Małgorzata Płysa, dyrektorka wykonawcza Unsound Festival i prezeska Fundacji Tone. Festiwal kiełkował od 2003 roku w piwnicach krakowskich barów, aż rozrósł się poza granice Polski do Adelajdy, Nowego Jorku, Mińska, Tbilisi czy Londynu. Gromadzi entuzjastów szeroko pojmowanej muzyki elektronicznej i eksperymentalnej. Unsound dociera do nich poprzez inne zmysły niż tylko słuch. Łączy muzykę ze sztuką wizualną, na przykład z niemymi filmami Andy'ego Warhola. W 2014 roku Unsound uruchomił projekt Ephemera, łączący doznania dźwiękowe z zapachowymi. - Wydajemy, edukujemy, angażujemy się społecznie. To nie jest tylko festiwal. - mówi Małgorzata Płysa.

- Duch "dada" był i jest obecny chyba w każdej edycji, bo to festiwal poszukujący. W tym roku szczególnie chcieliśmy to podkreślić, włączając w proces programowania, organizowania i komunikowania festiwalu sztuczną inteligencję - mówiła w Dwójce Małgorzata Płysa, dyrektorka Festiwalu Unsound.

Anastasia Kristensen's greatest gift is to weave an electrifying sonic thread through her DJ Sets. She gathers sounds from a vast array of styles, enthusiastically researches off-grid electronics and blends them together through an adventurous, if not infectious, mixing technique. Dance oriented Avantgarde - that is exactly her edge. Her BBC Radio 1 Essential Mix turned so many heads that it got nominated for the Best Essential Mix of 2022 and is a testament to her ability to select and synthesize.
To become the selector that she is today, Anastasia embraced non - conformity and fortitude throughout her life. Non - conformity, that means a musical curiosity that explores the less conventional places in electronic music, but it also means continuously aiming for her audience to let go on the dancefloor. At present she hosts regular all-nighters at Den Anden Side, a new underground venue in her hometown Copenhagen and holds a residency at Mainstream, the city's most reputable LGBTQ party. Both platforms stand for her versatility and community orientation and are key contributors to her experience of playing foggy high quality basements and festival stages dexterously and with devotion. I's a rare quality to perform with such an ease in these divergent ambiances. Even more so, to provide such an engaging variety of sounds there and to captivate the audiences in an instant. Whoever attends one of Kristensen's kaleidoscopic sets should be ready to get lost and experience the unpredictable. Having played the experimental UNSOUND Festival, and clubs like FOLD, BLITZ and Elysia in Basel, the Danish DJ convinced many knowledgeable crowds and gained praise for it. This is no different for her rare live performances - like the opening of the CTM Festival in 2018. To care for a community and to further build it up is of significant importance for the artist. Her 2020 efforts to curate the compilation “Rewire and Acquire” and bring 18 producers together in service of the organization “Equality Now”, show that she walks the talk intrepidly.
Being a producer, too, the energy of dance - oriented Avantgarde is detectable in her releases and remixes. Following the debut “Maxima” (2019) on the cutting edge outlet Houndstooth, the EP “Ascetic” on Warps sub- label Arcola exhibits a futuristic genre blend between electro, IDM and spooky techno. Houndstooth is also the home for her latest release “Volshebno” that captures mesmerizing dancefloor moments. Fittingly, “Volshebno” stands for “magic” in Anastasia's mother tongue, Russian. 2023 will be a continuation of her mission to represent musical curiosity and community, as Anastasia will host listening sessions in Copenhagen. Community Members will showcase music they love and tell the connected stories around them. Besides that, she will hold a residency at the highly reputable NTS Radio. By embodying authentic, tasteful curation and selection, by connecting individuals in communities they feel belonging to, Anastasia Kristensen will no doubt further transcend her inspiring artistic footprint into the electronic realm. Tracklist via -Spotify: http://bit.ly/SRonSpotify -Reddit: www.reddit.com/r/Slam_Radio/ -Facebook: bit.ly/SlamRadioGroup Archive on Mixcloud: www.mixcloud.com/slam/ Subscribe to our podcast on -iTunes: apple.co/2RQ1xdh -Amazon Music: amzn.to/2RPYnX3 -Google Podcasts: bit.ly/SRGooglePodcasts -Deezer: bit.ly/SlamRadioDeezer Keep up with SLAM: fanlink.to/Slam Keep up with Soma Records: fanlink.to/SomaRecords For syndication or radio queries: harry@somarecords.com & conor@glowcast.co.uk Slam Radio is produced at www.glowcast.co.uk

Vens, Hartwigwww.deutschlandfunkkultur.de, KompressorDirekter Link zur Audiodatei

- Ideą festiwalu jest przebijanie "baniek" – łączenie się, spotykanie, wprowadzanie większej różnorodności do sceny muzycznej. Łączenie gatunków i scen pozornie do siebie niepasujących. Z jednej strony bańka muzyki poważnej i współczesnej, a drugiej - bańka muzyki klubowej. Na Unsoundzie przenikanie się wielu różnych scen jest możliwe - mówiła w Dwójce Gosia Płysa, szefowa Unsound Festival. W tym roku wydarzenie organizowane jest po raz dwudziesty i odbywa się pod patronatem Programu 2 Polskiego Radia.

China's 33EMYBW is part of a wave of producers around the world who are bringing a wealth of new ideas and plenty of fresh energy to the club music realm. She releases what she calls "limb dance" on Shanghai label SVBKVLT and is inspired by "insects, spiders, crustaceans and other exoskeletal creatures", which she tries to translate into music that gives the perception that you are surrounded by tiny dancing creatures. She has been busy recently, too, with a new composition called 'Intermission' coming out on the forthcoming Unsound Festival album, as well as a new track coming out in December on the second 'Cache' compilation on SVBKVLT. For this week's podcast, 33EMYBW serves us up a live recording, made exclusively from her own music and mostly unreleased, with plenty of demos, new ideas and improvised sections included along the way. It is a fine snapshot of where she is at right now - which seems to be somewhere in an extra-terrestrial realm inhabited by impish spirits and alien lifeforms. Her synth lines ping pong about the mix with a mind of their own, her samples are mangled and distorted and her drum patterns wilfully off grid. It's a trippy world of sound that still manages to explore plenty of emotional nuances despite the otherworldly vibe and pure physicality of it all.

S2E28 I just got back from Unsound Festival in Poland yesterday. I talk about the panel and talk I did, and some of the artists I saw live. Also being inspired by hanging out with inspiring people. --- Permanently moved is a personal podcast 301 seconds in length, written and recorded in one hour by @thejaymo Website: https://www.thejaymo.net/ Podcast: http://permanentlymoved.online Zine: http://startselectreset.com

S2E25 Back From Holiday so settling back in. Prepare for my talk and a panel at Unsound Festival  Finish Land As Platform Make an audio comic? Finish some music Thank you to everyone who has downloaded and shared my zine! Links: Guild: http://guild.is Unsound Poland: https://www.unsound.pl/solidarity/events Primer: http://primer.dkUnseen Audio Comic: https://www.unseencomic.com --- Permanently moved is a personal podcast 301 seconds in length, written and recorded in one hour by @thejaymo Website: https://www.thejaymo.net/ Podcast: http://permanentlymoved.online Zine: http://startselectreset.com

First breaking out at the G-Star Raw x Boiler Room Sessions in Johannesburg and the 2016 Cape Town Electronic Music Festival, South Africa's unstoppable DJ Lag makes his Egg LDN debut bringing his Gqom sound to head up the Night Slugs ‘Hardbody' party on Friday August 16th. Enjoying huge props currently for his ‘My Power' track on Beyonce's ‘Lion King:The Gift' album, this Gqom sound pioneer has taken the global stage by storm over the last 3 years. Still only in his early 20's, DJ Lag has racked up sets at Poland's Unsound Festival, Seoul's Cake Shop, Afropunk NYC and has circled the world twice over with his #GqomIsThePresent Tour. And with a residency on Rinse FM, an acclaimed EP under his belt and DJ Lag is just getting started. Check out his Exclusive mix

An interview with the founders of Pink Noise Zine also features in this month's episode.

An interview with the founders of Pink Noise Zine also features in this month's episode.

Udover at snakke Unsound Festival med sin gæst i studiet, runder Pernille også en håndfuld splinternye danske udgivelser.Pernille Krog Mogensen har fingeren på pulsen, når det kommer til elektronisk musik – hvad end det er house, techno, ambient, dub eller glitch.B From E – VengaAge Coin – She Who Sold Me Told MeXenia Xamanek – A Very Large Body of WaterCR Hougaard – Funktion #1Birch – Slitted PathsSystem – FremOni Ayhun – OAR003-B (Original Mix)Eartheater – InclinedCaterina Barbieri – Virgo RebellionJlin – Never Created, Never DestroyedJlin – Carbon 12Ziúr – CipherJASSS – DanzarRoxymore – bRINGTHEbRAVEMarie Davidson – LaraDJ Lilocox – Vozes RicasBamba Pana – Agaba KibatiGabor Lazar – OverallAmnesia Scanner – Too WrongJóhann Jóhannsson & Hildur Guðnadóttir – A Deal With Chaos

Episode 26 - One Foot Forward This Episode contains a brief overview of Unsound Festival. A shout out to old friends and I talk about the Hexen 2.0 Tarot Reading I did this week. Different Times Podcast Holy Roar Podcast You can subscribe to Permanently Moved in itunes: permanentlymoved.online/itunes or search in all your favourite podcatchers. Permanently moved is a personal podcast 301 seconds in length, written and recorded in one hour by @thejaymo  

Based in Brooklyn, RVNG Intl. is a music institution that operates on few but heavily fortified principals, dealing with forward-reaching artists sometimes categorized as electronic, avant-garde, free, experimental, ambient, etc. Besides the main exercise of publishing new artists and repressing old archives, RVNG collaborates with New York City’s White Columns Gallery, London’s Barbican Center, curates MoMa PS1’s Summer Warm Up series and works extensively with Krakow’s Unsound Festival. The episode features: Pauline Ann Strom, Robert Aiki Aubrey Lowe & Ariel Kalma, Julianna Barwick & Ikue Mori, Sugai Ken, Bing & Ruth, Blues Control & Laraaji, Craig Leon and Clean Plate.

Harm van den Dorpel is a Berlin-based dutch conceptual artist regarded a key figure in post-internet art movement. Alongside with other contemporaries, they developed a new way of exploring technology, digital footprints and social networks. He was at Unsound Krakow 2016 bringing the visual element to Lexachast, a project by Bill Kouligas and Amnesia Scanner which started as a website with generative visuals from Harm. These were programmed to live stream pictures uploaded in real time on Flickr and DeviantArt, algorithmically filtered to show Not Safe For Work images. The project expanded into a live premiere for Unsound, combining uneasy imagery with the dystopian music. With a background in Computer Science and Artificial intelligence Harm´s work investigates how algorithms can analyse digital archives and guide the artist in aesthetic decision making, leading to a symbiosis of man-machine art creation. He uses algorithms and data to explore how things online relate and mutate in what is called “unstable media; away from the rather rigid classical notion of the work of art as immutable entity compared to the fluidity of contemporary software production, continuously updated and improving. As a sort of a philosopher of the digital era, Harm’s systems (exhibited as computer animations on screens, and as printed framed wall pieces) try to expose more people to reflect on questions about meaning life online. How does the Internet influence culture and our daily lives offline? Language and cognition also play a central role in Harm’s art. The internet is primarily based on written language, and everything that you can find is done by using words. He also uses complex computing and biology concepts like DNA algorithms and inheritance and applies them in a virtual gallery setup where the artist and machine mould the aesthetic of the projects, like in his project Death Imitates Language, series of works exploring the development of meaning in generative aesthetics using micro feedback and a genetic algorithm, consisting of a website and a series of printed and boxed collage works. We also chat about the debate on the commercial aspects of the post-internet art business. In 2015, Harm became the first artist to sell an artwork authenticated through blockchain to a museum. The MAK (Austrian Museum of Applied Arts) in Vienna purchased his Event Listeners, a screensaver created in a limited edition, using bitcoin. The museum saw the intervention as a new form of collecting in the digital age. For the artist blockchain presents a solution to the issues related to creating and dealing in digital and net art, which by its very nature can be easily copied and transferred. “Blockchain creates a fingerprint, something that identifies the owner. Through blockchain, you can see who owns it now, who owned it before and who created it.” Premonitory, he stated last year: “They say that 2016 is the year of blockchain and I do think we will see huge changes in the coming year”, and it certainly has been. This podcast was produced by CLOT Magazine editorial team and Stephen Mclaughlin for Unsound Festival in Collaboration with OFF Radio Krakow.

Marcel Weber better know as MFO is a renowned German lighting and visual artist. Marcel has been creating and directing audiovisual performances, installations, and video works since 2001. His work has a very distinctive aesthetic concerned with memory and perception, it highlights the architectural elements of performance spaces with powerful experimental visual narratives juxtaposing the work of some of the world’s most renowned electronic musicians. Marcel work lays between the analog and the digital. Employing old media like projectors, film, and lenses, against digital compositions and generative software. Some of the artists he has collaborated with include Kara-Lis Coverdale, Tim Hecker (Ephemera), Ben Frost (Aurora Tour), and Kode9 (Her ghost, homage to Chris Maker's la Jeté). Last year saw light his collaboration with Rolly Porter for the latest new show Third Law, inspired by solitary iced landscapes and which culminated in a blinding strobe crescendo. During Unsound he managed to find some free time in his busy schedule to chat with us just before the weekend got crazy - he is also the lighting designer for the whole festival, something he has been doing since almost the very beginnings of the festival. Sitting outside bar Alchemia in Krakow’s lively Kazimierz Jewish quarter, we had time to go through his work and creative process and why his artistic practices take much on the crossover with technology and science. After Unsound we caught up again with Marcel in Berlin, where he told us about his many coming new projects: a collaboration with Liz Harris, aka Grouper, which took them to remote Siberian lands and they will be presenting in this year’s edition of Unsound krakow, a new our and other surprising projects...and it looks like a busy year ahead for Marcel. This podcast was produced by CLOT Magazine editorial team and Stephen Mclaughlin for Unsound Festival in Collaboration with OFF Radio Krakow.

The American experimental electronic duo Matmos are M.C. Schmidt and Drew Daniel. Both artists are the main core of the outfit but they are frequently joined by other musicians and an array of domestic gadgets. Currently based in Baltimore - Daniel is an associate professor in the Department of English at Johns Hopkins University-, they formed in San Francisco in the 90s, where Schmidt worked as a teacher in the New Genres Department at the San Francisco Art Institute and Daniel was taking his doctoral studies on the literary cult of melancholy at Berkley (University of California) Over the last 2 decades Matmos have gained a reputation as the new masters of musique concrete through their conceptual approach and the use of unusual sound sources. Their productions are challenging but also infused with a playful touch of domestic humor and a disregard for genre conventions. They first entered the more mainstream musical consciousness in 2001 through their collaboration for Bjork’s album Vespertine and they toured the world with the singer for next 2 years. Today they manage to balance their academic careers with touring some of the most entertaining and unpredictable live shows in electronic music. Matmos were at Unsound this year presenting Robert Ashley’s “Perfect Lives”. Today, more than ever, it feels like a premonitory chant for the disassembly of a crying America. The performance was an exciting, challenging and thought-provoking experimental “soap opera”. It could take you some time to get into their weird, spellbinding universe but once you managed it unruled into a touching experience. We met with Drew and MC the morning after Unsound’s infamous karaoke night for what was a really entertaining chat. It was really great to have an insight into the procedures that tight together all their disparate artistic endeavours. Hoping you enjoy it as much as we did. This podcast was produced by CLOT Magazine editorial team and Stephen Mclaughlin for Unsound Festival in Collaboration with OFF Radio Krakow. Music from Ultimate Care II kindly provided by the artists

CLOT Magazine got the chance to talk to musician Robert Lippok and video artist and live performer Lillevan during 2016 edition of Unsound Festival: Dislocation (Kraków, Poland) where they were presenting Gletschermusik together with musician Askat Jetigen from Kirzystan. Robert Lippok is an avant-garde German musician and visual artist and composer which has been an influential player in Berlin’s thriving experimental music scene from a very early age, with bands like To Rococo Rot for which he is best known, while his solo work has been featured in the renowned label Raster-Noton. Lillevan an animation, video, and media artist, was a founding member of the visual and music group Rechenzentrum (1997-2008) and has performed and collaborated with many artists like Christian Fenesz and Vladislav delay Gletschermusik is a dislocated audio-visual performance that blends art, science, and folklore. It uses the sounds and images of Central Asia’s melting glaciers as a source of inspiration to promote a dialogue and raise awareness of the deterioration of the planet, climate change, and environmental problems. Retreating glaciers, rising sea levels, and shrinking lakes are some of the consequences of rising temperatures and changes in weather patterns. This is particularly important for the people of Central Asia, whose water supplies depend on the region’s glaciers. The rising temperatures, global warming and the hole in ozone layer (which luckily is beginning to close according to dr Ryan Neely, Lecturer in Observational Atmospheric Science at Leeds and will be “healed” by 2050) are the three main agents taking part in the melting of the glaciers. We talked to Robert Lippok and Lillevan over one hour about the inspiration behind Gletschermusik, how the expedition was, their experiences during the project, new ideas about what dislocation is, isolation, solitude, and loneliness. Hoping our conversations makes you reflect on the problematic issues we are facing in these challenging times and how artists can question our perception on such important matters. This podcast was produced by CLOT Magazine editorial team and Stephen Mclaughlin for Unsound Festival in Collaboration with OFF Radio Krakow. Music from Gletschermusik and An Trinse kindly provided by the artists

Media historian and artist Kristen Gallerneaux is the Curator of Communications and Information Technology at The Henry Ford Museum (Dallas, USA), where she takes care of things like computers, and also things like radios, televisions, things that have tubes and transistors. The museum is one of the largest historic collections in North America. Kristen’s universe, who was raised in a generations-long Spiritualist family, is surrounded by visionary architecture, local micro-histories of sinister small towns, ‘thing theory’, vernacular technoculture, aesthetic failure, contact magic, monster magazines, learning to weave, sound studies, and visual legends and legend trips, in her words. Through her writings, she has covered an extensive range of topics like the audible history of paranormal culture and the visual history of telepathy research. CLOT Magazine got the chance to speak to Kristen during 2016 edition of Unsound Festival: Dislocation (Kraków, Poland) where she gave the talk ‘Sonic Spectres’. There she told us about ‘the strange sonic spectres that haunt space around us, from the mysterious ‘hum’ reported in so many locations around the world to unusual structures with possibly occult or UFO provenance to old synthesizers, the picking up of noise from black holes.’ Late 2017 will be a busy time for Kristen. Her forthcoming book, High Static, Dead Lines, will be published by Strange Attractor Press in October and her essay compilation Unsound/Undead will also be out in Fall on Univocal Press. On the other hand and in tandem with her book High Static, Dead Lines Kristen tells us via email that she is working on a video/analog performance project blown out of sound waves, salt crystals forming, salt mining and local heavy industry. This podcast was produced by CLOT Magazine editorial team and Stephen Mclaughlin for Unsound Festival in Collaboration with OFF Radio Krakow. Piotr Figiel kindly shared the glacial remix of the Unsound performance

Live from Salt + Sass with a driving force behind Europe's best experimental music festival.

Live from Salt + Sass with a driving force behind Europe's best experimental music festival.

Live from Salt + Sass with a driving force behind Europe's best experimental music festival. For more, visit Resident Advisor: https://www.residentadvisor.net/podcast-episode.aspx?exchange=344 http://saltandsass.org/ @unsound

For our innagural podcast we would like to introduce you to the work of Johannes Klabbers. Johannes is an Australian artist, writer and also developer of the intriguing discipline of posthumanist therapy. During Unsound Krakow 2016, he acted as resident posthumanist therapist and he also presented his work as the performance "How Can a Posthumanist Be?". For it, he used an improvisation method developed by John Cage in 1958 for his piece Indeterminacy. In his latest book "I am Here" (2016), Johannes Klabbers gives insights to help understand the process of death and dying and help people cope with suffering. It is about listening and talking to people who are dying, and about life and death. We had the pleasure to talk to him during the Festival about how quantum physics influenced his theory and what a posthumanist therapist actually is and does This podcast was produced by CLOT Magazine editorial team and Stephen Mclaughlin for Unsound Festival in Collaboration with OFF Radio Krakow. Piotr Figiel kindly shared the glacial remix of the Unsound performance

I’m back from my vacation in Eastern Europe, finally attending Poland’s Unsound Festival, and slowly getting into my routine. What better way to start off than with another gorgeous mix? Today Herd returns to our podcast with another heady mix, featuring many pieces he is inspired by, with numerous appearances by FSOL to create that otherworldly dreamscape which has been haunting me ever since the day I heard Lifeforms. Lots of favorites on here as well, including ASC, Legiac, Roly Porter, and of course, Herd himself. I hope you enjoy this journey with me, and as usual in this case, less words and more music! For full track listing and more information about this mix, please visit headphonecommute.com

The Kraków based DJ @olivia-ungaro is up next for our podcast series. Read the interview with her and find out more about the scene of Krakow and the Unsound Festival: http://www.uncannyvalley.de/podcast/uv-podcast-029-olivia/