Our ticket sale is running. And as you maybe recognized – we announced our framework-programme.
One part of this programme is the exhibition ‘Harbingers of Doom’ at Galerie KUB which is just a stone’s throw away from UT Connewitz. We invited several artists, such as Rotten Fantom, Førtifem, Stag & Serpent, View From The Coffin and more from all over Europe to exhibit their works at this lovely space. Furthermore there will be a lecture (‘Metal meets Techno’ by Remo Bitzi and Samuel Savenberg) and a live sound design feature of the steampunk movie Tetsuo: The Iron Man featured by Downwards Records’ new charge GREBENSTEIN. Lord Weeks, who was added to the line up a while ago, will also perform at the gallery.
On the first day, at our vernissage you will be able to see a documentary about our festival in 2014 – this movie was filmed and produced by Julia Leser, Joscha Bauer, and Marcus Held.
The other part of our framework programme – after our main event on saturday evening there will be another premium event in the context of dark and experimental music. In collaboration with Institut fuer Zukunft we will curate a club night in this new and interesting space for club culture and intelligent music. By now, two acts are confirmed. One of them is Mondkopf. Be sure to have a listen to his works made of deep spheric sounds and harsh breaks. This event for us means the interface between analog and electronic music who share often the same intension. The other act is no one else than Wife, the new ego of multi instrumentalist James Kelly which until now best known as the sole permanent member and writer behind Altar of Plagues. And so he transferred many ideas of AoP to his solo debut on left_blank as Wife. Embracing his long standing passion for electronic music, the tracks on ‘Stoic’ showcase a diverse range of influences and are built to endure. The A-Side moves from the mournful, hypnotic opener ‘Bodies’, through the cold mantra of ‘Trials’, to the shuffling trickery of ‘Circles’. Side B contains the Gothic 2-step beauty of ‘Shards’ and the epic, industrial crescendo of ‘Endings’.