Sound and visual artist, composer, improviser. Co-founder of the Musica Genera Festival and the Musica Genera label.

As a composer and instrumentalist she works in a wide spectrum of genres: from acoustic improvised music with a contemporary minimalist language to the complex structures of experimental electronic music compositions.

As a visual artist, Zaradny creates in various media including installations, objects, photography and video. The artist uses abstraction, micro sound and architectonic elements, lights and space. Her pieces are marked by the ambiguity and the relationship between medium and ideas.

Zaradny's works have been presented in festivals and exhibitions all over the world, the last ones so far at: Museum of Modern Art in Warsaw, SiILBERKUPPE, Berlin, Kunst-Werke, Berlin, Sottovoce, London, What is music? Festival, Sydney, Melbourne, All Ears Festival, Oslo, Unsound Festival New York, Exploratory Music From Poland Super-Deluxe Tokyo, Japan The discography of Anna Zaradny includes solo recordings and collaborative projects with a.o.: Burkhard Stangl, Tony Buck, Robert Piotrowicz, Cor Fuhler.

She is also author of music for theatre plays and multimedia projects.

KAREN GWYER is a US-born Londoner with a small bunch of divine releases to her name on both Opal Tapes and No Pain In Pop. Gwyer casually summons the feeling of a warmer, more futuristic Popol Vuh, other comparisons including Motion Sickness Of Time Travel, Cabaret Voltaire, Cluster or even an instrumental, more rhythmic Fever Ray.

Her recent New Roof EP on No Pain In Pop sold out almost immediately and she’s in growing demand all over Europe, sharing stages with Julia Holter, Tim Hecker, Ben Frost and more. 

In her premiere on the Portuguese shore, she will be joined with native video artist Maria Mónica, for a specially commissioned performance. Maria Mónica Constantly develops new tools and performances with the technique of real-time video. Using this technique, regularly collaborates with the Educational Service of Casa da Música for projection and visual art for musical performances. It is often invited to other musical or dance performances. Regularly makes projections for the duo SSS-Q (Susana Santos Silva and Jorge Queijo) and Blac Koyote.

www.karengwyer.com

www.mariamonica.com

Miguel Carvalhais and Pedro Tudela collaborate as @c since 2000. Their work is developed from three complimentary approaches to sound art and digital music: procedural composition, concrete music and improvisation. Over the years they have been developing complex and structured compositions, with one foot in the fields of experimental contemporary sound art and the other in live performance.

If their compositions are usually built around strong structural foundations, it’s also common that multiple cells of sound are freed from these structures when integrated into the work, developing elaborate strategies of deconstruction.

Improvisation, either in dialogue or discussion, is central to @c’s performances, as is the will to create open compositions and to nurture ongoing processes that digitally amplify sound realities.

Miguel Carvalhais (Porto, 1974) is a communication designer and a musician. He teaches at the Design Department in the University of Porto.

Pedro Tudela (Viseu, 1962) is an artist, musician and stage designer. He teaches at the Painting Department in the University of Porto.

In 2003 Carvalhais and Tudela were among the founding partners of the Crónica media label that they run since then.

Stockholm’s Roll The Dice defy easy categorisation, conjuring up synth landscapes that hark back to early electrnic sounds as much as they look forward into an unsettled future. The duo of Peder Mannerfelt, member of Fever Ray and solo performer The Subliminal Kid, and Malcolm Pardon, film and TV composer, began recording music together after several years sharing studio space in their home city. Over the next two years they gradually pieced together their self-titled debut album (released by the US Digitalis label in 2010), whose haunted atmospheres gained the duo fans in Kieran Hebden (Four Tet), Caribou and Fuck Buttons among others, and earned them a place in end-of-year lists by tastemakers Phonica and Boomkat.

Roll The Dice's music tells stories. What sets them apart from many of their contemporaries is their attention to narrative detail: where other electronic musicians write insular tracks, Pardon and Mannerfelt write entire albums, each piece an intrinsic component of the whole. Their 2011 album (and first for The Leaf Label), In Dust, is a perfect example of that approach.

Their latest record, Until Silence, was released on June 2014 and has gathered worldwide acclaim. “The album expands further still on its predecessor, leaving behind overt signifiers to the duo's influences and instead crafting widescreen, fully-fleshed out compositions”, according to The Quietus.

Pierce Warnecke is an artist exploring sound and moving images through fixed, installed and performative pieces. This work stems from interest in the effects of time on matter: modification, deterioration and disappearance. Whether the focus is on digital forms or rough materials, large scales of time or microscopic details, the goal of his work is to re-adapt existing objects and materials into parallel contexts where their signified meanings, symbols and cultural connections have become residual ghosts.

He has presented his works at KW Institut (Berlin), LEAP (Berlin), Harvestworks (NY), Luggage Store Gallery (SF), Berklee (Boston), CalArts (LA) as well as festivals like Zero1 Biennale, Transmediale, Bozart/BEAF (Brussels), EXIT Festival, MadeiraDig, Nuits Sonores, Boston Cyberarts, Visionsonic, Pixelache, Vidéoformes, SXSW Interactive and more.

He has released music on Khalija, Staaltape, Gaffer Records, Attenuation Circuit, and Gruenrekorder. In addition to current solo installations and performances, he also collaborates with artists such as Transforma and Matthew Biederman.

Originally from California, Pierce spent many years in France before studying music synthesis at Berklee College of Music followed by Meisterschüler studies at UdK in Berlin, where he currently resides.

The game-changing ESTOILE NAIANT LP sees visionary musician patten step out of the shadows and into full focus as a British producer of impending resonance, fusing myriad forms in his otherworldly style. patten has already played in front of thousands at the Warp X Tate event soon after his sold-out London EP launch, with his US debut shows in NYC earlier this year. 2014 has seen him tearing up a 285 Kent closing party, a sold-out cavernous museum auditorium in Madrid, and everything in between, with his debut Japanese shows in Osaka & Tokyo in March. ESTOILE NAIANT is an incredibly wide-ranging work which is now opening new worlds up to listeners across the globe daily. Informed equally by Argentinian writer Jorge Luis Borges’s evocative maze-like short stories, late nights at early FWD events, the open tunings of Sonic Youth’s chiming guitars, or brand new research in cognitive science, patten’s world is without boundaries or genre.

Live, performing with a full AV setup, including processed live guitar & vocals, custom video software and hi-tech electronics, the music is explored with the vibrant energy he has become renowned for, with Jane Eastlight’s ultra-modern visuals perfectly mirroring patten’s entrancing and opulent sound.

Thomas Ankersmit (1979, Leiden, Netherlands) is a musician and installation artist based in Berlin and Amsterdam.

Since 2006 his main instrument, both live and in the studio, has been the Serge analogue modular synthesizer.

Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound have been an important part of his work since the early 2000's.

His electronic music is also characterized by a deliberate misuse of the equipment, using feedback and disruptions in the signal to create dense but finely detailed swarms of sound.

Recent projects include a radio piece based on the acoustics of abandoned radar domes with Valerio Tricoli, recording sessions with Kevin Drumm at GRM in Paris and with Tricoli at ZKM in Karlsruhe, a new Phill Niblock composition for Serge modular synthesizer and all-analogue quadraphonic music for the historical Serge and Buchla synthesizers at EMS in Stockholm.

During the first ten years of his activities, Ankersmit focussed almost exclusively on live performance and installation work.

Since 2010, his music has been released on PAN, Touch and Ash International.

Figueroa Terrace, a solo studio record with music for the original Serge synthesizers at CalArts, was released by Touch in April 2014. 

www.thomasankersmit.net

Demdike Stare is a collaboration between Sean Canty and Miles Whittaker, two childhood friends from the North of England with voracious appetites record collecting. After years spent mining vinyl bins for source material, the pair started working in earnest back in 2008, re-appropriating sounds they had spent a lifetime cataloguing into weird and immersive music of their own. Demdike have so far produced a trio of albums (Symbiosis, Tryptych and Elemental) loosely themed around the occult and the rich heritage of Library music, while a number of intriguing mixtapes released over the last couple of years have indicated that the project is headed in new and unexpected directions.

In 2013 the first in an ongoing series of exploratory 12"s brought together under the 'Testpressing' banner appeared on Modern Love, finding intense, brutal terrain. Inspired by everything from Industrial music to Noise, Free Jazz to House, Techno and Concrète - Demdike Stare have refused to rest on their laurels or become too comfortable with their surroundings, something that's perhaps most evident when evaluating the sheer scale of the projects they have undertaken in the last 18 months. From live-scoring films for the BFI to more commercial soundtrack work in Hollywood, from their 'Concealed' productions with Krakow’s Sinfonietta Cracovia, to the esoteric selections of their 'Before My Eyes' sessions with Raime/BEB and the searing late night sets anyone lucky enough to have seen them play will no doubt have imprinted on their minds - you just never know what mood you'll find them in.

Mark Fell is a multidisciplinary artist based in Sheffield (UK). After studying experimental film and video art at the local polytechnic he reverted to earlier interests in computational technology, music and synthetic sound. In 1998 he initiated a series of critically acclaimed record releases, featuring both collaborative and solo works, on labels including Mille Plateaux, Line, Editions Mego, Raster Noton and Alku. Fell is widely known for combining popular music styles, such as electronica and techno, with more academic approaches to computer-based composition with a particular emphasis on algorithmic and mathematical systems. His recent musical practice has become increasingly informed by non-Western musics, this is evident in two linked works “Multistablity” and “UL8” which explore a number of unfamiliar timing and tuning systems. Uncut magazine called these “completely mind-blowing” and the Wire magazine said these were “amazing”. As Sensate Focus, Fell explores classic elements of dance music in a brilliant and refreshing way.

Miles Whittaker has been releasing material on Modern Love for over a decade, first as one half of Pendle Coven, then on his own as MLZ (now just Miles), and eventually pairing up with Sean Canty to record as Demdike Stare. In between he’s headed down more experimental terrain under the Suum Cuique moniker, produced Jungle for the HATE project and (together with Andy Stott) taken on the occasional release as Millie & Andrea for Modern Love sublabel Daphne. He is also an admired, exhilarating DJ, his sets have been known to span a broad spectrum of electronic music, from the obscure UK techno of labels like Radioactive Lamb and Irdial, to classic Chicago House, Detroit Techno and - most importantly - early 90’s jungle and breakbeat, feeding into his love of the most uncompromising end of the Italian experimental movement, Musique Concrète, Synthwave and contemporary Noise.

"Braga, over and out!” is a participlatory composition/performance based on walkie talkie technology and its specific distribution of sound in a designated area. Using Braga as its base, participants will have an oppurtunity to listen and/or engage in a collaborative, immersive multichannel experience by walking around pre-selected areas, equipped with a walkie talkie with an option to “communicate” with another participants’s sound and the listening room/base. 
These dialogues form parallel microlocal realities - we can be sure that these stories are in a walking distance, but still, they can sound like coming from another world, suddenly on air, unrelated and almost unreal.
We are looking forward to meet people who would be interested in participating - actors, musicians, field recorders, historians, dramaturgs - anyone willing to “push to talk” to us, engage in a conversation and/or transmit site-specific sounds.
Let’s shake the ether together.

To participate please send an email to info@festivalsemibreve.com.

PARTNER: ENGAGE LAB

Bio
Lukatoyboy aka Luka Ivanović is a musician, sound designer, and educator from Belgrade, Serbia. His main activities in music and sound include performing electroacoustic improvised music (based on realtime sampling of various objects, toys, voices, and field recordings) using feedback, analogue synthesizers, electromagnetic coils, radio transmitters, walkie talkies, and additional small surprises.
Lukatoyboy also produces nanotechno and free IDM on a Game Boy. 
He has performed at and taught workshops during various Serbian music festivals and events, as well as internationally. He also gives workshops on various approaches to sound and electronic music for children, and co-runs artist in residence/festival retreat, MultiMadeira. His collaborations name Peter Evans, Sainkho Namtchylak, Svetlana Spajic, Mia Zabelka, Milana Zaric, Eric Thielemans, Jonas Kocher, Laurent Bruttin, JeanYves Evrard, Martin Brandlmayr, Johannes Frisch, Georg Wissel, Erhard Hirt, Rinus van Alebeek, Wo0, Branko Dzinovic, Blank Disc, Balazs Pandi, and Irena Tomazin, among others.
Gives workshops of various kinds of sound and electronic music approaches for kids.
Since 2010, edits Blind Tapes, a participatory and chance dedicated tape label. and was recognized with an award for his sound design for the theatre play Bartleby (2011, Mini Teater, Slovenia).
Co-runs an artist-in-residence/festival retreat MultiMadeira since 2013.
Lukatoyboy  is a recipient of the “Ubiquitous Art and Sound” Open Call for works, awarded by Deutschlandradio Kultur/Klangkunst, Goethe-Institut, ICAS – International Cities for Advanced Sound, ECAS – European Cities for Advanced Sound, and CTM Festival, which sought unusual ideas for pairing the specific artistic possibilities of radio with the potentials of live performance or installation.
 

Japanese artist, born in 1978, lives and works in Berlin, Germany. Kurokawa’s works take on multiple forms such as installation works, recordings, and concert pieces. He composes the time sculpture with the field recordings and the digital generated structures, and reconstructs architecturally the audiovisual phenomenon. In recent years, his works are shown at international festivals and museums including Tate Modern[UK], Venice Biennale[IT], Transmediale[DE], and Sonar[ES]. In 2010, he was awarded the Golden Nica at Prix Ars Electronica in the Digital Musics & Sound Art category.

Ryoichi Kurokawa will present “Syn_”.

"syn" is the prefix means "together" or "with" or "integrate" in Greek. It means feeling any different things as one thing at he same time. In this work, these elements: synchronization, synthesis, synopsis, and synesthesia, are additionally emphasized more than the previous work "cm: av_c". If the recent concert pieces "Rheo" or "Parallel Head" are treated as "cinema", it is suggested that this work would have much more implications of "music".

It is not to digest gradually thinking with head, but to get directly stimulated and feel simultaneously with eyes and ears. The sounds and images could automatically integrate visual and auditory perception and they induce the synesthetic experience.

After twenty five years of working together, Plaid - Andy Turner and Ed Handley - are their tenth album, Reachy Prints. The title, according to the duo, alludes to “the creative process, the capturing of ideas, and the devotion required to recreate

them.” The work confirms their position at the vanguard of underground electronic music production incorporating the latest synthesis technologies in these compositions, whilst retaining their trademark emotive, yet playful, signature style present over their career.

Turner and Handley continue their tradition of collaboration that has seen them work with a diverse range of musicians - from Björk, to the London Sinfonietta, to the Southbank Gamelan Players - as well as artists, and innovators in music technology.

They recently took part in the Kickstarter campaign for Bruno Zamborlin’s Mogees product, that allows you to turn any object into a musical instrument with just a small device that connects to your smart phone. The Mogees gadget has the potential to

become an element of the live show, feeding their interest in live audio visual performance that began with a collaboration with Bob Jaroc for their DVD album release of Greedy Baby (2006). The artwork for Reachy Prints is created in collaboration with

installation artist Eric Studer.

Musically, much of the new album feels like a journey into a subterranean world, with the grimy robotic tunnelling of ‘Wallet’ and ‘Ropen’, the cavernous elation of ‘Hawkmoth’ and ‘OH’. It surfaces with the sparkling ‘Matin Lunaire’ and driving melodies of ‘Liverpool Street’. Reachy Prints continues the evolution in Plaid’s long nurtured sound world - and reveals some of its hidden, most complex domains.