Resonance FM show on Stine Janvin Motland

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Stream a new Resonance FM broadcast on Stine Janvin Motland – ahead of her upcoming shows in Romania and Latvia, she’s prepared a mixtape of music that she currently enjoys, demonstrating a wide array of musical influences from Eliane Radigue to Beatrice Dillon.

After performing at Rokolectiv festival last week, Stine Janvin Motland will have her next SHAPE performance in Riga at a one-off by Skaņu Mežs festival on 24 May.

Stavanger born, Berlin based vocalist Stine Janvin Motland works with experimental music, sound and audiovisual performance. Through a diversity of projects such as the live radio play In Labour (2014), the performative installation The Subjective Frequency Transducer (2015), field recording adaptations duo Native Instrument (2015) and alter ego Stine II, she explores and challenges the physical features of the voice, the acoustics of her external/internal surroundings and new performance strategies. Her interest in the ambiguous and unrecognizable qualities of the voice, pushes her to constantly search for new ways to expand her vocal repertoire. Her recent work significantly involves imitation and abstract storytelling through sound collages referring to a variety of genres and traditions of electronic music, sound poetry, folk music and languages of various peoples, birds and animals.

Track list:
Stine Janvin Motland – Introduction
Eliane Radigue – Stress Osaka
Brigitte Fontaine – Une Minute Cinquante-Cinq
Evol – Proper Headshrinker
Inuit Throat Singing: Kathy Keknek & Janet Aglukkaq
Stine Janvin Motland – Herz
Maja S.K Ratkje – OX
Gabon: Pygmées Bibayak
Lars Gunnar Bodin – Den heter ingenting, den heter nog ”Seans II”
Stine Janvin Motland – Nuisance Body Liquids
Felix Kubin – Reflection
Vom Grill – Sierbeesten
Native Instrument – Deep F(r)og
Unni Løvlid – É tente meg so lengje hjå ein Telebondemann (after Marta & Anders Bjørkedal)
Nahawa Duombia – Kuruni
Stine Janvin Motland – NNN
Beatrice Dillon – Halfway
Felix Kubin – Fluoresence
Trevor Wishart – Imago
Stine II – HEN
Mark Van Hoen – Holy Me
Marco Bernardi – Ûber Depa

Resonance FM show on Lanuk

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Listen to an hour-long Resonance FM show, featuring the music of SHAPE artist Lanuk. It was aired as part of the platform’s broadcast series SHAPE Artist’s Hour. It is comprised of improvised home recordings, made during the last few months.

Hungarian musician Árpád Gulyás aka Lanuk started making music when he was 13, cutting his teeth in several noise and experimental punk bands. His Lanuk outfit began as a bedroom project in the middle of the noughties and led to appearances at numerous festivals, clubs, art galleries. Aside from Lanuk, Gulyás also moonlights as a bass player in a band called derTANZ.

Lanuk’s early records (Nerma, Batla) came out on the Hungarian netlabel Pushya, and 2014’s ‘vV’ was released on Prague’s Baba Vanga tape label. His last record ‘d_ork’ was released via the New York-based Immigrant Breast Nest Records in 2015.

The Wire writes: “The sounds have something of a techno orientation, with alternating sequences of bloop, glitch and proggy melodicism. Usually i would say, quoting Patrick Sky, that this is the sort of thing a sane man wipes his ass on, but Lanuk brings a persistent druggy strangeness to the proceedings that overwhelms all objections.”

Lanuk was nominated to the SHAPE platform by UH Fest from Hungary.

Bow To Each Other

Bow To Each Other is an award winning Norwegian-Canadian indie pop duo. The band consists of Gunhild Ramsay Kristoffersen from Karmøy, Norway, and Megan Kovacs from Toronto, Canada, both based in Oslo. Megan is a songwriter, keyboardist and vocalist, while Gunhild is an arranger, programmer, keyboardist and vocalist. The band was formed when the two moved to Norway in 2010 after having lived in Liverpool for several years, where they both studied at LIPA.

Bow To Each Other received a lot of attention for their debut album The Urge Drums, which was released in January 2014 on Jansen Plateproduksjon and was produced by Susanne Sundfør. It received 5 out of 6 stars in many of the main newspapers in Norway, including Dagens Næringsliv who wrote “Norwegian-Canadian stroke of luck” in their enthusiastic review, and Gaffa gave it a 6/6 and called it ”Stylishly strong, electronic pop elegance”. The single ”Darkness” was A-listed for a long time at NRK P3. Dagbladet, Gaffa, Øya and Musikknyheter.no had The Urge Drums on their lists for the 20 best Norwegian albums of 2014. Bow To Each Other also had a prolific concert year in 2014, with appearances at Bergenfest and Øyafestivalen as the highlights.

Their second album, My Heart Is A Target, won a Norwegian Grammy for best pop group in 2015 and earlier this year they supported Susanne Sundfør on her Norwegian release tour.

Download a press photo here. (Photo: Stian Andersen)

April episode of SHAPE Radio

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Listen to the latest episode of SHAPE Radio – the platform’s monthly radio show on London’s Resonance FM, hosted by Lucia Udvardyova.

The April edition of our show presents four musicians that approach music from different angles, yet all remain firmly rooted in the electronic music sphere (dance-driven and experimental). Jakob Schneidewind is a member of the live instrumental techno collective Elektro Guzzi, though the Austrian musician participates in SHAPE with his experimental side projects Monochord and Demi Broxa. The Paris-based Voiski describes his music as something “between Steve Reich and trance”. Lawrence Le Doux has a longstanding history of experimentation behind him though his current output sees him embrace the dance floor. Portuguese-born, London-based IVVVO, whose releases have appeared on Opal Tapes and Danse Noire, is inspired by the shadow of the past.

Photo – Jakob Schneidewind

Lawrence Le Doux: ‘Brussels is a good place for making music.’

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For nearly two decades now, Belgium’s Laurent Baudoux has been a pivotal figure in his country’s underground electronic music scene; he has been active as a member of groups such as Electrosold Collectif (alongside Mouse on Mars’ Jan St Werner) and working solo under a wide range of pseudonyms such as Sun OK Papi K.O. and Baleine 3000. His latest project is Lawrence Le Doux. He is one of the SHAPE artists playing at the upcoming MUTEK Festival in Montreal.

Are you based in Brussels? 

I live in Molenbeek. That’s the area everyone has been talking about following the terrorist attacks in Brussels.

How is it now?

It’s OK, but the city is still on edge. For example, I recently played in a club and there was a police raid during the party. Brussels is a really good place for making music though. There are a lot of influences from everywhere – France, the UK, Germany.

You also had quite an interesting and varied development with all of your projects.

I started in the late ’90s with my brother under the name Scratch Pet Land on the Sonig label where Mouse On Mars also released a lot of their records. We released several records on that imprint and then we split up. I started to make music alone, which was difficult because my brother was the technician in our band. I liked to play the keyboards but he was the one with the computer so I had to learn everything again. I then started a new project with the VLEK label, called Lawrence Le Doux.

You also had the Sun OK Papi K.O. project, which was fairly eccentric compared to your other work.

I started this project around 2004. I was searching for something new. I also met a Japanese guy called Jun Kamoda around this time and together with DJ Afrojaws from France we started a project called Baleine 3000. I almost forgot about it but the people at VLEK found old Baleine demos and told me that they are going to release them quite soon.

Sonically, the music sounded quite adventurous and exotic even, mixing kuduro, baile funk, techno and exotica.

It was a strange time for music then, unless you made house or techno. Now we have access to everything – all genres from all periods. At the time I was making Sun OK Papi K.O. everyone was searching for something futuristic and new. Now you can mix the old with the new and it’s ok. This is why I really like making music today — because you are free to experiment.

Maybe it’s also because of cassette and blog cultures that a lot of the stranger stuff can get heard these days.

Everybody is really curious and digs into strange stuff.

Then you also did the Electrosold Collectif.

It was a radio show on one of the few alternative radios in Brussels, called Radio Panik. We tried to invite a lot of guests, like Otomo Yoshihide, to improvise live on radio. At one point we did a record and then we stopped. I still have a show called BAS – Brussels Alternative Show – there, and another show on a different local station called Bruzz.

What kind of stuff do you play there?

Experimental, world music, house….

With Lawrence Le Doux you have streamlined your sound.

I went to a nice club in Brussels five years ago and it really influenced me. I was there and realised that’s what I want to do, those are the people I want to play for. I wanted to become part of that scene.

But with all your experience you probably approach 4/4 music from a different perspective than somebody who starts making techno or house from the scratch.

I never think about what I’ve done in the past. I just try to keep moving forward.

Do you work in phases, starting a project and eventually knowing it’s time to move on?

With Lawrence Le Doux I feel comfortable, also in terms of production. I don’t ask myself too many questions. I think I’m going to keep this one for a longer time.

Is it improvised?

I’m not a musician as in I never studied music. So I’m just sitting in my chair and doing it, it’s really fast.

So in that way, Sun OK Papi K.O. might come back one day during such a session?

Yes, maybe. I also did music for a movie. None of these projects are closed, they are all still running.

Do all these personalities reflect something? Is it something more personal?

I’m really happy to work with a label because they are really great with organising tracks and shows. I can be really chaotic with what I’m doing so it’s nice that they can say what they take. With Sun OK Papi K.O., it’s like a reflection of my brain. I need somebody to say they are going to organise everything.

Like a curator.

You can’t do everything.

But don’t you have your own label?

I tried in 2001-2002, but stopped. At that time it was really difficult with vinyl because nobody cared about it.

You recently did a soundtrack for a film about philosopher Donna Haraway. Can you talk about this experience? Were you inspired by her work when you were creating it? If yes, then how?

I didn’t know her before Fabrizio Terranova, the film maker, told me about her. It is the second time that I made music for him (the first soundtrack was for ‘An Insane Portrait’).  For this one he told me about this amazing person, Donna Haraway, but I asked to see nothing of the movie while it was being made. There is some kind of restriction about the process of making a soundtrack that I really like. The movie is actually about talking, not about music, so I try to be as discreet as possible. You give them a pack with let’s say 20 tracks, and they choose, often only certain parts of tracks.

You are playing at MUTEK festival in Montreal soon as part of their SHAPE showcase. What can the audience expect?

There will be two of us on stage: Ann and I. Ann will play the guitar and bass. I’m so excited to play there alongside Project Pablo and Local Artist, these guys rule.

Stream: Kathy Alberici live at Norbergfestival 2015

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Kathy Alberici performed at Norbergfestival 2015 as part of CTM Festival‘s Berlin Current showcase and with the support from the SHAPE platform. You can now listen to her concert below.

Kathy Alberici is an experimental violinist with a love for analogue electronics and deep listening. Following a childhood of intensive classical training, Kathy followed a chaotic path through jazz and noise music that led her to the experimental underbelly of Brighton, UK, and more recently, Berlin, where she is a member of the Small But Hard collective. Her solo work as Bocca al Lupo yields inhabits a tingling space between noise, soundscapes and drone; evocative ‘sonic portraits’ which twine hallucinatory string and synth shivers around grainy industrial skeletons. “Music is a kind of a meditation for me, regulating my mood and giving me purpose. The more I focused and centred on that, the deeper the performances have become,” she told us in an interview which you can read here.

Photo: Peo Bengtsson

Voiski mix for POSTmatter

To highlight two upcoming performances – at Rokolectiv (April 23) and Les Siestes Electroniques Paris (July 17) – French DJ and producer Voiski has crafted a mix for our media partner POSTmatter, including tracks of his own as well as the likes of Rrose and DJ Stingray.

For several years, Voiski has struck a singular path in techno music, oscillating between experimental projects and the production of tracks marked by his signature style. Within the large spectrum of his interventions, Voiski stands out for the rigor of his infinitely repetitive loops. These, combined with acerbic drum beats, construct an analogue excitation that carries his music to the heart of futurist and sentimental layers. His proximity to the intriguing electrodance duo Kartei and co-direction of experimental label Silicate Musique point to his authentic engagement, which reconciles the demands of dance floor techno with the construction of an introspective vision.

Track list:

Alfredo Mazzilli – Come d’incanto
Dj stingray – Acetylcholine
Green Velvet – Thoughts
Robert Hood – Form
Paul Db+ Untitled
Gaetano Parisio Untitled
Heiko Laux – Shimmer – Steve Rachmad Remix
Entro Senestre – Hit the road
Rrose – Pentagons
Voiski – Careless as a Palm
Vakula Modulation 4
Vapauteen – One face
Ascion – Landescape
400 PPM – Everyday Extinction
Mono Junk- Another Acid
Antigone & Francois X – The Hates
Ligovskoi – Mana

To read his short interview in the original article by POSTmatter, click here.

Peder Mannerfelt track premiere for Tiny Mix Tapes

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Ahead of Swedish experimental musician Peder Mannerfelt‘s upcoming performances at Rokolectiv (April 21) and MUTEK Montréal (June 2), SHAPE platform’s media partners Tiny Mix Tapes have hosted a premiere of his track Mother & Crow.

Mother & Crow is a B-side from Mannerfelt’s new album Controlling Body, which has been released on his own label Peder Mannerfelt Produktion, and is its first physical full-length release.

Mannerfelt has also been confirmed for another SHAPE festival later this year – Riga’s Skaņu Mežs (October 13 – 15).

Click here for the original Tiny Mix Tapes story, and here to purchase Controlling Body.

Photos: IVVVO and We Will Fail at MeetFactory

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On April, the 14th, SHAPE artists We Will Fail and IVVVO participated in a showcase at MeetFactory – an art center in Prague which also happens to be the coordinating entity of the platform.

The showcase happened as part of Public House – a traditional free-entry event, during which visitors of MeetFactory can discover spaces, which are hidden during normal operation, meet some interesting artists and experience a unique evening.

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All photos by Richard Hodonicky

IVVVO: ‘I live in the shadow of the past.’

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IVVVO is a Portuguese musician and co-founder of the record label, Terrain Ahead. His music has been released by a number of different imprints, including moun10, Opal Tapes, Public Information, Danse Noire and Fourth Wave. He is currently based in London. This conversation took place before his show at MeetFactory in Prague in April 2016. 

Did you start with music in Porto with the label/collective, Terrain Ahead?

I guess it was a natural order of things. I started going out when I turned 18. When all your friends are DJs, you want to become one too. From that moment on, I started losing interest in other things and really focused on music. Actually, I was never a good DJ, but I like to see people dance. My friends and I decided to start a record label just because we didn’t have another option for releasing our music.

Are you still part of it?

We all focus on our own projects – some of us are into fashion design, others are into music or visual arts. We also live in different cities around the world, so it’s hard to keep it going. At some point we will do something, but not in the near future.

With your own music, there have been allusions to rave nostalgia.

I’ve never been to a rave to be honest, I’m quite young. What kept my attention – based on the footage I’ve seen on YouTube from that era – is the freedom people used to enjoy, and the community feeling. People dressed in tracksuits and went to dance without caring about anything else. The feeling of rage – just close your eyes and let go. I fell in love with that mood, which we don’t have anymore. I guess it’s also the drugs people take these days. Back in the day, people used to take ecstasy and now they take cocaine and it makes them more self-absorbed – it’s more about them than the others. Also, everybody knows about everything nowadays. Back in the day, you went to a party and you knew you’re not going to end up on photos the next day. I’m also changing, getting older – looking inside myself.

Because you also did a record called Mark Leckey Made Me Hardcore, obviously a nod to his famous video piece.

I did it because Mark Leckey had been a big influence on me when I started buying records. His work is also about freedom. Youth culture and underground movements are punk in their attitude. Youth is something that really inspired me, because it’s a moment in life when you can be whoever you want. You don’t have responsibilities. And I wish I could feel like that forever.

There’s also the innocence of youth.

And naivety. That’s what really makes me create music and live.

Is it possible in today’s world?

I try to make everything possible – for myself at least. I try to make my music breed that kind of love, hate and sadness. Because that’s the world I live in, the movies I watch, the music I listen to, the people I surround myself with. You need to make your own choices to keep living the dream.

Your Opal Tapes release had quite a lot of sombre track titles such as “Lost” or “Death”.

I have this fixation with emotions. But I’m not really good at naming things.

“Rainy Rave” is not that bad. Is melancholia more inspiring to you than happiness?

There are people who grew up with happy music, I grew up with emo music – from Deftones to Placebo. I was really into teenage love with all its pitfalls – the pain, the suffering.

Your music comes from a more introspective space, as if it was wrapped in a veil.

I like the idea of an image of something – a movie, a girl. I can see the sound in my head when I imagine it and I try to do the best I can to put that thought into sounds. But I don’t really think about it a lot, most of my tracks are recorded in a few hours.

Do you also do something visual?

I’ve tried lots of times. My wife draws and paints really well, but I’m really bad at it. I’m a sound sort of guy.

How do you like living in London?

It’s expensive. But it is my home now, I’m married, I can’t imagine myself in another city or country. I wouldn’t go back to Portugal right now. Despite it being so expensive and the 15 days of summer we have, I’m happy to be there.

I guess Britain has always been a fertile ground for youth culture.

It really inspired me, even though it doesn’t exist anymore. I guess . But I’m not active in the music scene in London these days though I’m really into the art scene.

So a lot of the stuff you make is rather an imagination of the past rather than reality.

Definitely. If I start to think about what’s happening now I’d probably commit suicide, because everything is so sad. I don’t want to live in this world, I’d rather live in my imagination.

What about Theories of Anxiety, the title of your Danse Noire EP? That describes the modern world quite well, since we live in the age of anxiety.

I suffer from anxiety. I’m getting older and older and I haven’t figured out what I’m going to do in the future. Everybody says you need to have a safe plan, and I don’t. I have lot of friends around 30 who still live with their parents. Back in the day, you turned 18 and became an adult, and now until 30 you’re still a “young adult”. With all the societal pressure and money issues, it’s really hard to be an adult these days.

Does music help you filter that?

Maybe. Although I guess music is something like washing your teeth every morning – you don’t really think about it. It’s just natural. Music is the same for me. It’s part of my blood.

What are you planning for the next couple of months?

I want to do a proper live show with a band. I want to get rich and buy a house and have nice cars. I guess that’s what everybody wants – to be happy. I want to have a family. I want all of this – with or without music, even though music will always stay there. But I don’t like to make plans because most of the time, I just get disappointed.

(Photo: Richard Hodonicky)