Friday 22 February 2019, 7.30pm
Presented by Präsens Editionen & Cave 12
Präsens Editionen was founded in 2011 to give home to zweikommasieben Magazin. Ever since a variety of magazines, books, zines, records, tapes and oddities has been published—among other things LPs by Andrea Taeggi and Brendan Dougherty, tapes by Robert Turman and Rolf Laureijs, EPs by Martina Lussi and dane//close, a catalogue on Zurich’s off spaces, and a research journal/tool/object on colors.
Cave12 was founded in 1989 to bring some of the most exciting music to Geneva. With a focus on improv, jazz, noise, electroacoustic, drone, and ambient music the venue has made itself a name for being equally intimate and professional—and being furnished with one badass PA. Next to promoting shows, Cave12 also publishes music and more.
Oto Nove Swiss is a three-day festival at London's Café Oto presenting adventurous musicians and bands from Switzerland and the UK. Initiated by Bad Bonn, Südpol Luzern, and Präsens Editionen, 2019 marks the festival’s second installment. Together with L'Amalgame Yverdon, La Cave 12 and Spezialmaterial—this year’s guest-curators—live gigs and DJ sets by Andrew Weatherall, Belia Winnewisser, ASDA, Tout Bleu, Norbert Möslang, Ester Poly, and more are on the line-up.
With the kind support by Pro Helvetia, Stanley Thomas Johnson Foundation, Fondation Suisa, and Swiss Cultural Fund UK.
Swiss musician and visual artist Norbert Möslang is experimenting with cracked everyday-electronics since a little eternity. The results of his examinations are preferably noisy sounds that he used to bring on stage together with Andy Guhl as Möslang/Guhl and Voice Crack, before he went solo and started performing in other constellations. Möslang’s music was published on Ideologic Organ, the Editions Mego-sublabel curated by Sunn O)))-mastermind Stephen O’Malley, among others.
Lucerne-based artist and musician Belia Winnewisser exactly knows how to fuse (synth-)pop references with more abstract sounds. Her latest record Radikale Akzeptanz published on Präsens Editionen combines long running traits from Winnewisser’s practice in various band projects (including Evje and α=f/m) with rather new interests from her studies in sound art. Bittersweet off-pop-hymns can be found next to more austere pieces. Winnewisser’s music is not about those two poles however, but rather the in-between.
Janiv Oron fosters an independent artistic outlook set within a framework of collective and interdisciplinary working relationships. These experiments result in creations of electronic music focusing on the development of timbre and texture. Oron creates exquisite drones, that give an insight into his improvisatory sensibility and dig deep into the potentials of modular synthesis. Hailing from Basel, he launched several successful party series, formed a successful DJ-duo with his brother Eres and had his own show on Radio SRF Virus. In more recent times Oron also made a name for himself as an electronic music composer for theater music.
Behind the pseudonym Lolina hides out UK-based producer and performer Alina Astrova aka Hype Williams’ Inga Copeland. As in those other projects Lolina’s self-released albums and EPs—Relaxin’ With Lolina (2015), Live in Paris (2016), Lolita (2017) and most recently The Smoke (2018)—build on experiments with lo-fi and digital production, minimalist composition and discordant vocal arrangements. Making use of a DJ set up, additional layers of live percussion and vocals, Lolina’s live shows continue her attempts to discover possibilities for experimentation within the adopted limitations of electronic music and the contexts for its performance.