Thursday 6 March 2025, 7.30pm
Jules Reidy makes song cycles which abstractly deal with devotional love, transcendence and death of the self. They use materials such as guitars, voice, percussion and found sounds, deconstructing and augmenting them through non-standard tuning systems, polyrhythmic structures, electronic processing and spatialisation. They aim to express and invoke states of uncanniness, dissociation, dys/euphoria, imagination and void.
They’ve released on Editions Mego, Black Truffle, Shelter Press and Longform Editions. Their next record comes out in 2025.
Their current collaborations include projects with Sun Kit (shoegazey pop), Judith Hamann (deconstructed karaoke “songs”), Morten Joh (re-tuned guitar + vibraphone through analogue tape delays), Sam Dunscombe (psychedelic environments made of synthesis, clarinets and guitars) , Andrea Belfi (post-rock jam duo) and Ivan Cheng (sincere, maudlin, twee, fabulous). They have written for ensembles such as Zinc&Copper (DE), the Australian Art Orchestra (AUS), Splitter Orchester (DE), the Pitch (DE), and are currently writing for JACK Quartet (USA).
They are originally from Australia, and are currently based in Berlin.
Since 2015, Nina Garcia has been researching and creating around the electric guitar, halfway between improvised music and noise. Her set-up is reduced to a minimum: a guitar, a pedal, and an amp with which she sculpts sound and delves into chaos to bring out the unheard-of. Her concerts draw audiences into an immersive sonic space where power and fragility intersect with communicative intensity. In just a few years, she has attracted the attention of numerous international stages.
Nina Garcia presents a new work with a magnifying glass where the guitar is amplified by 1-inch zones. A fist linked to a micro-microphone, « ultra-territorial » music and total dependence of the sound on the slightest movement. What emerges from this new research is a tenfold increase in tension, forced silences, aborted feedback, and manufactured loops that are always trying to move forward. Her music is increasingly handmade, but always with a high intensity. In this new set we find her classical Mariachi folklore: threaded rods, saturated wedding and funeral noises, assertive rhythms and breaks, and a privileged link with the amp as a playing partner.
