Lineup:
16:00
masarykův mlýn
hra na klávesový nástroj (michal špína)
16:30
X-61: Liberator
Ambientní improvizace na vzpomínka letce Pavla Vranského
17:00
Filip Jakš - Asstma
Vlasce, pružiny, plechy a kovové nástroje vytváří plochu pro sérii improvizovaných skladeb.
Překotný rytmus, slova, fragmetny melodií - energie se hrnou pod tlakem okamžiku takřka bez kontroly vědomí...
18:00
DJ Zvěrokvark
manipulace s terénními nahrávkami na analogovém syntezátoru
18:30
Zbořil/Sýkora
invisible hand of god
20:00
Jaxx//
Jack Alalu (Jaxx//) is a Lima-born artist, producer, and DJ part of Peru’s avant-garde electronic music scene. A Multidisciplinary sound artist behind the decks and in the studio, his work drifts between underground techno basements, sleek gallery installations, and sophisticated bars.
Known for fusing Disco, Deep House, Techno and Electro, with experimental, psychedelic, Latin, and Middle Eastern textures, Jack’s sound doesn’t just cross genres — it dismantles and rebuilds them into something entirely his own. Presenting a special “Live Set” for this event .
21:00
Zustand D.
Once Lena Wenta discovered the magic of feedbacking instruments, for a decade she played electric string instruments in the group "Cult of Narah", with the focus on playing styles which mainly featured musical instrument feedback.
This time was followed by over another decade, in which she played the clarinet as main instrument in the context of various genres and projects like Del_F64.0, Sisters of Fortune, Vocaliza Realtime Trio, "Zustand D." being her solo - All this while missing the instrument´s ability to feedback every second!
In 2024, while seeing a purely mesmerizing live-show of Hildur Guðnadóttir playing her Halldorophone/feedback-cello, she got the final spark of inspration that was necessary to create the first feedback-clarinet system.
As the instrument´s sound palette got enriched by the ability to produce sustaining sounds on its own, it allows the usage of the voice freely on top of the feedbacking sounds, mixable with traditional clarinet playing techniques.
This discovery was followed by a series of concerts which were rather a technical demonstration than a musical happenig with continuous sonic surprises for audience and herself.
Meanwhile she achieved to keep a musical flow with her new discovery, but better hear for yourself!