Atractions

(Crammed/ France)

https://www.facebook.com/acidarab/

Acid Arab is a parisian duo whose goal is to mix all sorts of music from the East (Northern Africa, Lebanon, Turkey) with electronic sounds, from the old-timer acid house to nowadays techno. The result is one of the most interesting fusions that can be heard on the global dance music: modern, intoxicating and powerfully evocative. It is clear just by checking out their videos on Youtube, hearing their DJ sets (the excellent mix for Tsugi magazine is a great example) or listening to their most recent EP, Djazirat el Maghreb; letting yourself fall into the spell of a combination of sounds that shows the dancing culture from both East and West. “We are fascinated by eastern music and its codes — complex rhythmic structures that lead the audience to a trance. We like to use those codes within our analogical devices to create something new: acid music that matches the coldness of techno and the emotional and dramatic power of the East.”

It all started when Guido Minisky and Hervé Carvalho travelled to Tunisia together with another key French electronic music scene artist, Dj Gilb’R. Fascinated with what they heard, they started to experiment with those sounds and share their discoveries with other producers and musicians of common taste. From that moment on, there were singles releases, the compilation Acid Arab Collections, featuring among many, Crackboy (remixing Omar Souleyman), Pilooski, Etienne Jaumet and I:Cube, and their own album Musique de France.

(QTV/ Brazil)

http://www.chelpaferro.com.br/

http://www.duplexx.com.br/site.html

Chelplexx is the union of two of the most representative projects from the experimental music scene in Rio: Chelpa Ferro and Duplexx. Together, as a quintet, the artists are back to the stage to release, via QTV label, the recordings of a concert from 2014 that happened in Audio Rebel.

Composed by 8 tracks, Chelplexx, the album, captures the work of 5 artists around the construction of sculptures and sound mosaics using guitars, synths, invented instruments and electronic paraphernalia. Their telluric sounds (noise) and rhythmical percussions (rhythmic) are the elements giving the key to the work, as much as an exercise of free improvisation.

Chelpa Ferro is Barrão (guitar and synths), Luiz Zebrine (guitar, little guitar and MPC) and Sergio Mekler (guitar and electronics). Duplexx is Bartolo (guitar and modular synth) and Leo Monteiro (drums, octapad and electronics).

(Brasil)

www.meiavida.bandcamp.com/

Flores Feias is the Curitiba-born Aline Vieira, bringing femininity’s  magical and crawling sound image. Her performance is based on atmospheric experimentations, with guitar loops and vocals, working the limits of poetic possibilites, in the tracks of the album  F ∴ F ∴  together with unpublished material. The concept proposed by the artist goes through the ideas of strength and decay, pulses of life and death, symbolic processes that ritualise the performance through textures and repetition.

Co-founder of label Meia-Vida, Aline is always circulating between noisy and dark frequencies, from industrial to drone and punk. Beyond Flores Feias, she has other solo projects such as Excria Reverbera, Antiline, Corpo Código Aberto and is currently playing with the band Magim. Founded in 2012 by Aline Vieira and Gustavo Paim, the label Meia-Vida builds singularly a sound, visual and textual aesthetics, releasing in cassette format projects like Objeto Amarelo, Vomir, Buraco Negro, Cãos, Círculo Avesso, Flores Feias and have been curation the podcast/party  Depósitos Noturnos, that unite artists that mix dark club music with extreme electronic experimentation.

(França)

https://www.louislaurain.com/

Louis Laurain is a trumpeter, composer and sound artist from Paris that works mainly in the fields of contemporary music, improvised music and jazz. His work is specially focused in two topics. First of all, an acoustic approach to instruments through the research of sounds and sound effects in relation to the space in which they are produced. Second of all, the amplification of instruments with the goal of creating an illusion that those instruments are electrical or electronic machines.

For Novas Frequências, Louis Laurain will present “Unique Horns”, a solo piece for 3 trumpets, laptop, DIY amplification system and several resonant objects. Throughout the piece, it is possible to hear sounds from live and pre-recorded trumpet, field recordings, birds, white noise, saws, frogs, sinewaves, music, natural and artificial sounds from the forest.

Louis Laurain already collaborated with several artists like Eliane Radigue, Stephen O’ Malley, Axel Dorner, Zombie-Zombie, among others. He already performed in different venues and festivals, like Grande Halle de la Villette, Cité de la Musique and Centre Pompidou, in Paris, Casa da Música, in Oporto, Festival du Désert, in Mali, etc. Besides a musician, Laurain is the co-curator, since 2015 of the CRAK Festival and also The Jazz Series at “Le 34”, both in Paris.

(Inglaterra, Brasil)

http://www.nicolasfield.com

https://soundcloud.com/pontogor

The artists present a sound installation through the whole period of the festival (december 4th to 10th) and a sound performance on december 9th at 18h at the gardens of MAM – Museu de Arte Moderna do Rio de Janeiro,  free events.

Nicolas Field is a musician and British sound artist based in Geneva, Switzerland, that since the beginning of the year 2000, develops sound pieces, installations and performances. With a percussion background, sonology and other medias, he collaborates in jazz, improv and free jazz

projects with artists such as Keiji Haino, Otomo Yoshihide, Tetuzi Akyama and Stephen O’Malley.

Influenced by the writings of David Toop and by the works of Max Neuhaus, he creates installations that has as its main research the central idea of materialisation of the interaction between sound, physical space and human presence. Nicolas Field also works in collaboration with theater and dance companies: the 7273 company and the dancer Mohamed Toukabri in Switzerland and with the Need Company with the artist Jan Lauwers in Belgium.

Based in São Paulo, Pontogor is a Rio-born artist that works in several fields such as video, installation, performance and music. His interests go from the idea of noise and the wear of images and sound. Taking that as a starting point, he develops pieces that explores the possibility of error and the interference of chance, searching for answers to his own philosophical questionings about space and time. Pontogor has been part of art residencies in Europe and Latin America, been part of solo shows in art spaces like Pivô, Paço das Artes and MIS, in São Paulo and Aldeia Gentil, in Rio de Janeiro; group shows like Rumos Artes Visuais 2012, Performance Arte Brasil, 29ª Bienal de São Paulo and IV Bienal Internacional SIART.

To the Bone is presented by Stella Artois, institutional partnership of MAM – Museu de Arte Moderna do Rio de Janeiro, Cinemateca do MAM, Ville de Genéve and MEG.

(Scotland)

http://www.phantomchips.com/

Settled in Glasgow and with a visual arts background and influences that goes from hacker culture and punk movement, Phantom Chips (Tara Pattenden) creates noisy melodies with analogical electronic equipments, field recordings, homemade tape manipulators and “wearable synthesisers”. Working with fabric and circuits, the artist, originally from Brisbane, in Australia, develops unexpected animals, like dinosaurs and monsters, and invites the audience to wear and play them, making them an integral part of her concerts. One of her more iconic suits is, for example, a belt full of tentacles that works like a harp. As you squeeze or fold the tentacles, the user creates different sounds that vary from person to person accordingly to the contact with their own bodies.

In residency in Rio, with the support from PRS Foundation and British Council, Phantom Chips will develop a sound palette influenced by her experience in the city. Her goal is to collect the sound of the streets, research the counterculture movements in the country and search for interaction with local musicians. All this experience in the city will format, as much the sound outcome as the aesthetic and formal result of her new instruments.

(Temporary Residence, 2062/ Estados Unidos)

http://www.mmlxii.com/

William Basinski is a musician, sound artist and avant-garde composer with a career of more than 25 years. Originally from New York and with a classical background in clarinet and saxophone, Basinski started to develop, by the side of contemporaries like Michal Gira and Phil Niblock, experiments in the order of the minimalism through tape loops, delay systems, found sounds and short wave radio statics. The use and degradation of magnetic tapes are elements inherent to his work. For that reason, his music ends up gaining a oneiric, ethereal, dark and majestic texture.

In the beginning of the 2000’s, Basinski initiated his most well known project, the series of albums called The Desintegration Loops. Sculpted through samples, drone and feedback loops in rich sound landscapes in a melancholic atmosphere, the recordings, ironically, were concluded in the morning of September 11th 2001, in the very city of New York. Musical director from Robert Wilson’s opera The Life and Death of Marina Abramovic, the artist performs in places like MoMA and the Venice Biennale. Living in Los Angeles at the moment, Basinski now travels the world presenting “A Shadow in Time” , an EP that makes a tribute to David Bowie (“For David Robert Jones”).

(Houndstooth, Dance Noire/ Switzerland)

https://aishadevi.bandcamp.com/

If there is anyone that can merge contemporary club music with harmonic mantras through electronic machines, that person is the Swiss artist Aïsha Devi. Her synthesisers and drum machines aren’t only a mere way of making beats and melodies, but, also, for her own self-expression With an academic background as a soprano, Aïsha experiments constantly with her voice, squirming it, stretching out notes, intonating oriental note scales and drones, and, many times, infuriating herself in guttural ritualistic chants.

On her latest sound inventions, Devi takes advantage of her nepalese-tibetan roots, bengali poetry, physics and low frequency bass to create music, sometimes provocative, sometimes introspective.

Her 2015’s EP Conscious Cunt not only reveals her meditation practices but “prostitutes, consciousness, death and women in a patriarchal society…illumination, violence, resistance, mothers, daughters, Guy Debord, Vedas and eternity.” Her debut album Of Matter and Spirit travels more through the spiritual domains, inspired by her family oriental roots and in conversations with her physicist grandfather about sound, science and spirituality.

In 2016, the artist started a live collaboration with the Beijing artist Tianzhuo Chen and his collective Asian Dope Boys, having their first presentation on the mythical Berlin club Berghain, going on an European tour through all 2017.

(The Netherlands, Austria)

https://magnetoceptia.wordpress.com

The artists present Magnetoceptia at Lagoa Rodrigo de Freitas (07/12 – 17h), Igreja do Carmo da Lapa at 20:30h and on 09/12 at Oi Futuro Flamengo (patio) at 16h. All free events.

Dewi de Vree is a multimedia Dutch artist that deals with physical experiments. With a visual art background, she is endowed with a great fascination by the interaction between man and machine. Dewi has been developing different sound interfaces, performances and installations. Examples of her work include pieces based on the physicality of electricity, electrochemistry, thermodynamics and electromagnetism. Inspired by the beauty of the invisible processes that surround us in our daily life, the artist’s objective is to make them perceptible through sound and image. Dewi is also involved with the experimental music space Villa K (The Hague) and with Instrument Inventors Initiative (iii).

Developed in collaboration with the Austrian artist Patrizia Ruthensteiner, “Magnetoceptia” is a series of performances and installations in which customised suits made with antennas capture electromagnetic fields and translate them into electronic sounds. The project is an investigation about natural and technological materials and its different proprieties, such as hazelnut stalks, bamboo stalks and recycled wiring wheels combined with open electronics and copper wire reels. The sound is developed site specific and depends on the electromagnetic fields present at the location, it is modulated by the artists according to its positions and movements in relation to the space and among itself.

(Brasil)

https://soundcloud.com/grassmass

Born in Pernambuco and based in São Paulo since 2007, for years he has been sharing the stage with names like Naná Vasconcelos and Arto Lindsay, Rodrigo Coelho has specialised himself in synths, sound design, musical production and the creation of soundtracks. Through the project grassmass he builds bridges through different musical poles. Brazil, as a vortex between Africa and Germany, poliritmia and musique concrete. The “logical randomisation” of rhythms and sequences (bases of the work of concrete musicians as Stockhausen, Xenakis e Varése) are the background for dense sound landscapes contemporary style like Actress, Lee Gamble and Ricardo Villalobos. From Steve Reich to his roots in pernambuco percussion comes the inspiration to weave a connection between black music from Africa and german electronic music.

Red Bull in partnership with Novas Frequências and the cultural center / professional studio and art residency space Red Bull Station, in São Paulo proposes a residency where grassmass will develop a live inspired by his already awaited (and promised for 2018) tribute to the masterpiece Coisas, from Moacir Santos. “Why not making something out of jazz, if there are many tributes to him in this field? Some futurism, closer to the candomble-mantras from Coisas (1965), than the jazzy flourishing of Carnival of the Spirits (1975). Synths played as blowing instruments, guitars, modulars and percussion making a contemporary soundscape.” For his performance at Novas Frequências, he plays together as a duo, with bass, modular synths and “percussion-drums”, juxtaposing layers to his recordings coming from the tribute album.

(Brasil)

https://soundcloud.com/lud-wika

https://www.centralgaleria.com/gabrielamureb/

Specially for Festival Novas Frequências, the artists Luisa Lemgruber, Gabriela Mureb and Sanannda Acácia get together to create a performative ritual that uses the notions of conduction between sensorial states and intensities, exploring the limits between body and landscape.

Luisa Lemgruber is a geographer and sound artist based in Rio de Janeiro. Her research goes around the relation between the social, environmental and spacial, through installations and performances with sound landscapes, bioacoustics, ethnomusicology and sound walking. Currently, she is a member of the Soundpainting group and is the co-creator of a research group in experimental music, Panapanã. Luisa participated in the Mostra Final Extramuros in Parque Lage (RJ, 2016); Paisagens Invisíveis exhibition at Museu Brasileiro da Escultura e Ecologia (SP, 2016) and was the invited artist by the online sound platform Sonospace (2017).

Gabriela Mureb is a visual artist, lives and works in Rio de Janeiro. She has a Phd in Visual Languages from the PPGAV-EBA-UFRJ, where she also got her masters’ degree. She is a teacher at the Visual Arts / Sculpture department from UFRJ’s School of Fine Arts. Her research is directed to borderline experiences of the mind and language, using machines, performances, sound and video as investigative tools. Participated in Rumos Artes Visuais program 2011-2013; 65º Salão de Abril (2014) and the group show Quando o Tempo Aperta, awarded by 2015’s Prêmio Marcantonio Vilaça. Among her exhibitions are the solo shows Rrrrrrrrrr, at Central Galeria (SP, 2017) and Corpos Dóceis, at Gentil Carioca (RJ, 2009). She was invited by the performance festivals Queer Zagreb (2012) and Queer NY (2013).

Sanannda Acácia works with sound and visual arts. She produces music using different tools, like field recordings, appropriation and adulteration of other materials, synths and varied instruments. Her creation makes use of psychoacoustic effects and visual analogies to illustrate fictional environments inspired by science and magical practices. She is a member of Seminal Records label.

(Japão, Brasil)

http://otomoyoshihide.com/en/

https://chinesecookiepoets.bandcamp.com/

Otomo Yoshihide is a Japanese musician and composer known by its vast material created through a career that goes from improvisation to noise and pop music. Yoshihide also creates soundtracks, was the leader of experimental rock band Ground Zero in the 90s and participates in contemporary and electroacoustic music projects.

Yoshihide develops works with guitar, in addition to experiments with turntables and prepared vinyls, always with an improvisation feel. Recently, he has been developing musical projects with different artists and also organizing workshops for disabled children. In 2013, he was featured on Japan’s Top 10 with his soundtrack for Amachan, a popular TV series about a young diver that becomes a pop icon and is on a mission to help revitalize a area devastated by an earthquake.

For Novas Frequências, Otomo will perform solo and as a trio with members from local band Chinese Cookie Poets, musicians that, in the past few years, played alongside names like Zbigniew Karkowski, Negro Leo, Paal Nilssen-Love, Arto Lindsay and Bill Orcutt. Felipe Zenicola is a bassist, improvisor and composer working since 2003 in Rio’s experimental music scene. His main sound research spins around improvisation and the potentialities of instantaneous composition using the electric bass. Founding member of Quintavant and QTV label, sound engineer and self thought drummer, Renato Godoy has, since the beginning of the 2000s, incorporated improvisation in his projects.

(The Magic Movement, Disco Halal/Brasil)

soundcloud.com/carrotgreen

The Rio based producer Carrot Green makes, in general, electronic music, but after listening to his sets and productions it is hard to define it as just one style. From the classic 4×4 beats emerge ethnic Brazilian mixes and flirts with different atmospheres, without ever abandoning the pillars of disco and techno music.

He represented Brazil at Red Bull Music Academy 2013 in New York, and has been constantly showing new productions: in 2015 released his EP called Brazilian Shakedown Vol. 2, full of remixes and available in vinyl through the german label The Magic Movement (where in february he also launched his brand new 12”, made only of new tracks, Dança das Crianças). Carrot Green just produced a remix for the singer Maria Rita Stumpf, by the newly created Selva Discos, had an EP by the berlin based Disco Halal, and tracks in different compilations and podcasts by labels like Permanent Vacation, Voodoohop, Mareh Music and Frente Bolivarista.

Red Bull in partnership with Novas Frequências and the cultural center / professional studio and art residency space Red Bull Station, in São Paulo proposes a residency to Carrot Green, where the artist builds a kind of musical timeline with samples from records with music from different regions of the country.

(aussenraum/ Switzerland)

http://www.ensemblebabel.com/

https://www.paulacoopergallery.com/artists/christian-marclay/selected-works

Christian Marclay is a visual artist and composer that explores an innovative juxtaposition between the fields of visual art and the cultures of radio, transforming sound and music into something visible and physical through performance, collage, sculpture, installation, photography and video. As a performer and sound artist, Marclay experiments and composes with vinyl albums and turntables to create, influenced by Marcel Duchamp, a kind of a “found sound theater”. Winner of the Venice Biennale 2011’s Gold Lion with “The Clock”, Christian Marclay offers a new, innovative and unique voice that inspires a whole new generation of musicians, artists and theorist.

Founded in 2006, in Lausanne, Switzerland, the ensemBle baBel quintet presents a new way to appropriate classical and contemporary music through innovative approaches to improvisation. One of the main characteristics of the group is to integrate a specific context to their work (acoustic, architectural, urban) through the collaboration with scientists, artists, art galleries and museums. ensemBle baBel is Antonio Albanese (guitar), Laurent Estoppey (saxophone), Anne Gillot (clarinet), Luc Müller (drums) and Noëlle Reymond (contrabass).

baBel and Marclay have been collaborating since 2012, when the ensemble started playing five graphic and visual scores from the composer. In 2016, Marclay commissioned the piece “To be continued” to the group, a score based on collages of images and text from comics. It premiered in Schwaz, in Austria and  right after it was presented in Hamburger Banhof, in Berlin.

(NRCSS/Canadá)

https://soundcloud.com/jeremygara

Arcade Fire’s drummer and keyboard player, the Canadian Jeremy Gara is also known by its several collaborations, that goes from the works with his own band mates (Sarah Neufeld, Will Butler) and other artists as Michael Feuerstack and Owen Pallet, to its TV apparitions playing drums in the band of Late Night with Seth Meyers NBC show.

In 2017, the artist released his first album, Limn. Recorded and produced by the artist himself, the 10-track album has a dense, introspective, obscure and distorted atmosphere, coming from abstract concepts and the absence of lyrics, chorus or other structures. In other words, Limn is an ambient experimental and noise album, a kind of collection of organised improvisations full of melodic textures. A small detail: Gara is also the author of the cover art of Limn, that references the colours and aesthetics of the painter Mark Rothko.

Negalê presents: Gabinete de Sonoridades Extraordinárias

(Brasil)

https://negale.tumblr.com

https://www.facebook.com/GabineteX

Negalê Jones is a musician, educator and audiovisual artist currently in research about natural rhythms, inaudible sonorities and the relations between human bio-electricity and ethnobotanic. He develops interactive scenography with the project 4Tx and teaches the educative entertainment workshop called “Afetos Sonoros”.

“Gabinete de Sonoridades Extraordinárias” has its basis in the ancestral universe, the scenery and the imaginary of the original people from the forests of Brasil, and the encounter with such peculiarities and contemporary technology. It is a mix of a workshop, concert and exhibition in which will be developed sound objects based on the amplification of human hands contact and tree leaves/sacred herbs. After the performance the herbs will be infused and transformed in a sacred bath for a cleaning and strengthening ritual.

(RVNG/ France)

The Stellar OM Source project was born out of the desire of French Christelle Gualdi to get rid of her academic musical education. Acoustic bass player at Konigin Katharina Stift Schulorchester and student of musical theory at Université Paris VIII, Gualdi completed her studies in electro acoustic composition at the Paris Conservatory after getting her diploma in architecture.

The unlearning process of Gualdi took shape through her experimentations with musicians related to improvisation and is strengthened at the moment the artist changes to solo electronic performance. Conceptually, Stellar OM Source searches for inspiration on the path towards superior consciousness and the cosmos, involved with many analogical synths and techno, house and electro beats.

Prolific and stirring, Gualdi, next to Oneohtrix Point Never, Emeralds and James Ferraro became responsible for defining a focused sound to a kind of polyphonic escapism.

(Alemanha, Suiça/Brasil) 

Dowered of a extraordinary sound language, with many nuances and extremes, the German artist Ute Wassermann dedicates herself to the fields of composition, improvisation, sound art and performance. She studied Visual Arts (sound installation, performance art) at Hamburg Fine Arts Academy and, after that, visual art, music and singing at California University. The singing of Ute seems to be disconnected of her own voice, creating a world where birds, machines and electronics mix themselves. The artist already performed as a vocal soloist in festivals, galleries and clubs in all Europe, Australia, Mexico and Asia, and in joint performances with musicians like Birgit Ulher, Phil Minton, John Russel, Raed Yassin, Les Femmes Savantes, Lotte Anker and Andrea Parkins. As a composer, she recently received commissionings from Ryogoku Art Festival (Tokyo), University of Amsterdam (The Netherlands) and Fonoteca Nacional & Poetica Sonora (Mexico City).

Thomas Rohrer is Swiss born São Paulo based artist. His work, driven by improvisation, uses fiddle and soprano saxophone, always searching to explore different sounds of the instruments. Rohrer is part of Coletivo de Improvisação Abaetetuba, Black Clube SP (with Rob Mazurek) and Ponto Br. Nowadays, he’s been collaborating with Juçara Marçal, Philip Somervell, Hans Koch, Terry Day, Michael Vorfeld, Marina Tenório (dance), among others. He idealised the project Tradição Improvisada, where, together with Panda Gianfratti, it dialogues with the music from Nelson da Rabeca and Dona Benedita.