17.00 |PNØ

voice: Agnes Hvizdalek
electronics: Jakob Schneidewind

PNØ is the duo project of experimental vocalist Agnes Hvizdalek and techno innovator Jakob Schneidewind on electronics. They combine minimalistic musical structures with organic improvisations, pure vocal sounds with drum machines, synthesizers and effects that trigger and manipulate each other’s output. Although they went in different directions with their artistic careers, Agnes Hvizdalek and Jakob Schneidewind have been collaborating since they met in improvisation classes at the University of Music and Performing Arts in Vienna in 2005. Their vision for the future of music makes them explore
crossing points between free improvisation and electronic dance music.

facebook.com/hvizdalekschneidewind/

18:00 |Thomas Grill – mas voz (2024)

The composition mas voz is about strolling while listening and the identities of the surroundings, anecdotal memories and one’s own personality, which enter into a sonic/vocal conversation. The piece is performed live and has site-specific components that are adapted to the environment of each performance.

The composition was made possible by the Austrian State Scholarship for Composition of the BMKOES.

Thomas Grill works as an artistic and scientific researcher on sound and its
context. As a composer and performer he focuses on concept-oriented sound
art, electro-instrumental improvisation and compositions for loudspeakers. He researches and teaches at the University of Music and Performing Arts in Vienna, where he heads the Certificate Program in Electroacoustic and Experimental Music (ELAK) and co-heads the Artistic Research Center (ARC). He is currently heading the artistic research project “Spirits in Complexity” (2024–2026). Grill has been awarded with a Honorary Mention of the Prix Ars Electronica, with the Theodor-Körner prize, the Award of Excellence of the Austrian Federal Ministry of Education, Science and Research and various work stipends.

http://grrrr.org

19:00 |String quintet in F-Major by Anton Bruckner

20:00 |Beate Wiesinger & Hanne De Backer

baritone sax: Hanne De Backer
double bass: Beate Wiesinger

The Belgian baritone saxophonist Hanne De Backer and the Austrian bassist Beate Wiesinger met in 2022 at the Saalfelden Jazz Festival as part of the “Melting Pot” project. This was followed by several concerts with “Melting Pot”, as well as a concert with Hamid Drake and Marta Warelis in Belgium. They performed as a duo for the first time at the Unlimited Festival 2023. The focus of their friendly collaboration is on researching the instrument and the joy of playing together.

Hanne De Backer is a Belgian baritone saxophonist based in Brussels. She is an energetic and versatile performer, mainly working in the field of improvised music and has left her mark on the European improv-scene in recent years. She is also part of Brussels saxophone collective La Nuée and Antwerp underground Condor Gruppe. As a performer and composer she has been active in theater with Belgian compagnies like KVS Brussels, Zonzo Compagnie, ’t Arsenaal Mechelen and Bookers & Hookers.

Beate Wiesinger is a bassist and musician and lives in Vienna. Her musical work is cross-genre and deals with a wide variety of perspectives on the subject of improvisation. She is the founder of the band E C H O BOOMER, in which she combines different sound languages and modes of expression and is also active as a sidewoman in numerous ensembles.

21:00 |WELLBEHAVED

bass/rap: Mina Franzke
piano/synth: Toby Fallenegger
drums: Maximilian Erler

Vienna based trio Wellbehaved presents itself through its own blend of Jazz, HipHop and Neosoul. The musicians Mina Franzke (Bass/Rap), Tobias Fallenegger (Keys/Synth), and Maximilian Erler incorporate their individual feeling for music to create their own unique sound – fascinating harmonic textures combined with groovy beats, underpinned with catchy bass melodies.

17:00 |Beyond the Beat

extended drums: Judith Schwarz
modular synthesizer: Arthur Fussy

Where does the beat begin? This question is posed by drummer Judith Schwarz and electronic musician Arthur Fussy in their performance “Beyond the Beat”. They have taken the boundaries of rhythm as their starting point, creating an ever-changing symbiosis of acoustic and electronic sounds.

Furthermore, this cycle of solo and collective pieces picks up on ideas that have long accompanied the two musicians in their work together. When does the ear and consciousness recognize a pattern? How abstract can it be in order to offer the listener sufficient support and structure and to make connections recognizable? Is rhythm also melody? How far can imitation and contrasts between the opposing poles of acoustics and electronics go? What formats can develop from the fusion of these different sound qualities and playing techniques in order to create a dramaturgically holistic arc across the performance?

Beyond the Beat on YouTube

18:00 |Bernhard Breuer – Glitch

Composition for acoustic drums and Ambisonics

Bernhard Breuer works in various bands such as Elektro Guzzi, Innode, Metalycée and Tumido at the interfaces of techno, noise, electronic and experimental music. “Glitch” is the further development of his preoccupation with the relationship between electronic and acoustic music in relation to space and environment.

19:00 |Irr/licht

violin, karmancheh: Sarvin Hazin
hurdy-gurdy: Matthias Loibner

The sound space that Sarvin Hazin, Matthias Loibner and Manu Mitterhuber create with kamancheh, hurdy-gurdy and Ambisonics effects is inspired by the stories “Recordings from the Madhouse” by Christine Lavant and ‘Three Drops of Blood’ by Sadegh Hedayat – both about stays in psychiatric clinics in the 1930s. Where ancient melodies of pain and despair, but also of moments of clarity and peace, spin in circles like thoughts, an atmosphere is created in which the listeners question themselves and their perception of the world and perhaps realize how we all live in our own “madhouse” to a certain extent.

Matthias Loibner is constantly on the move with his hurdy-gurdy across styles and times. As a sought-after artist in a wide variety of ensembles and projects all over the world, he collects the impressions of his travels, observations and encounters in the fascinating sound of the hurdy-gurdy. Ancient, never before heard, gentle and sawing, scratchy and beautiful, timeless aural images are created, fed from a large repertoire between classical, electronic, traditional and imaginative.

Sarvin Hazin, classically trained violinist and chamber musician, is familiar with Iranian and Kurdish musical traditions and is part of the European jazz scene, living and working in several musical worlds. Her involvement with traditional music is both a source of inspiration for personal and authentic sounds as well as a mission of constant reinvention and translation of musical languages.

20:00 |Rent

Rent ist the pseudonym of artist and ecologist Katrin Euller. Rent’s sounds refer to industrial ecosystems, interconnections, dark landscapes and their stories and the stories of those who inhabit these places. At the same time, it is the processes of sound creation itself that emerge in Rent’s compositions: sounds influence each other, reinforce each other, cancel each other out, dissolve and become noise, sound like the city, a car alarm for example. Then everything gets lost in the fog again.

Together with the Viennese Label Ventil Records Rent released their first LP Kill A Phantom in June 2024 after releasing the EP As Cold As Sunlight in collaboration with TRANSFORMER and Wilhelm Show me the Major Label in 2023. Katrin Euller is also part of several artistic collaborations and member of Doom band EAERES.

Building from a reputation of thrilling live performances Rent breaks new ground with Kill A Phantom, evolving from the tropes of industrial and noise to forge cinematographic scenes of dark matter and metamorphic bodies. What first appears as confrontational music undergoes a idiosyncratic alchemy. Harsh sounds collide with digital remains and field recordings and form an ephemeral unity whose story unfolds and changes over time, while at the same time revealing genuine vulnerabilities.

How to get to the Festival

Rodlstraße 19, 4100 Ottensheim

Parkplätze befinden sich ausschließlich in dem gekennzeichneten Bereich entlang des Dammes (in ca. 50 m Entfernung Richtung Donau)