IX. PRAGUE INDUSTRIAL FESTIVAL

Bad Sector

Massimo Magrini was born in Italy in 1966. He had a long degree in Computer Science, with a thesis on a computer music subject. He studied electronic music with Alfonso Belfiore (professor at the State Conservatory of Florence). He collaborated with the Computer Music Lab of the CNUCE Institute of the Italian National Council of Research (CNR) developing tools and composing his interactive computer music, playing it in various countries (Italy, Spain, Greece, Cuba etc.). He also collaborated with private companies developing software for musical devices based on digital signal processing.

Besides these activities in 1993 he created his Bad Sector musical project, focusing his attention on the melting point between ambient, experimental, noise and minimal music. He has released various CDs and vinyls, always having good responses from international underground electronic music magazines and listeners. As Bad Sector, he performed live in Italy, France, England, Germany, Czech rep., Austria, Belgium, Australia, Russia.

During 2002 he also started a collaboration with the Italian video-artist Giacomo Verde, creating the multimedia group called XEAR (www.xear.org) and working on interactive installations / electronic-theater scores.

Neuer Raum

Neuer Raum is a common project of Thomas Knauf and Marcel Mulack.They both work on their own projects - Dresden 45", resp. HumanDestructur. Longtime friends started Neuer Raum when experimentatingtogether in 2000. Under their own words the collaboration "workedout really good". The pieces they made didn't sound like HumanDestructur or Dresden '45 it was something new, with pieces of our bothstyles. The project was or playground for experiments they couldn'thave done with their own projects. The duo made a step into somethingnew - they both discovered a new room in music - NEUER RAUM.

Using synths, bleach, efektprocesors, tapes, external drumcomputers,feedbacks, amps, voices, guitars and "nearly everything what soundin some way" they combine powerful industrial soundscapes withsubtle acoustics and neoclassical atmospheres.

Domestic Front

Thom K Bailey a.ka. The Domestic Front is a nomadic electronic musicianwith the ambitious purpose of getting people to understand the liberatingpotential of noise and chaotic sonics. From an early age Thom was interestedin the "experimental" end of the sound spectrum. Suffering from fitsof asthma, some of them near-fatal, he would try to make the most ofthe situation by training the asthmatic wheezes and squeaks into a "vocal"form, sometimes accompanied by blasts of radio static. It was just onefacet of a bizarre childhood, which also took in frequent audio andvisual hallucinations, constant relocation and intense nightmares. Anotherearly discovery of recorded sound's conjuring ability came when a 7-yearold Thom, armed with a primitive bird-calling machine, summoned a whiteowl (which was not indigenous to the area) to the deck of his home ina remote area of Illinois. The owl remained perched on the deck forseveral hours, looking perplexed as to why it had been "called out"at that time of night.

Even today Thom's work favors the childish sense of uncertainty and,yes, abandon in music to post-adolescent preening and hand-wringing,romantic longing. He also disdains certain formalistic exercises undertakenby "serious" academic adults when they lack visceral impact. In fact,many Domestic Front pieces are composed intentionally as gateways outof the compromised, rationalized middle ground of adulthood or the self-absorbedcatastrophe of adolescence. The name "The Domestic Front" itself isa deliberate swipe at the alleged comfort or domesticity that is oftenthe goal of these existences. With just a palette of odd sounds andfrequencies, Thom hopes to map out the chthonic and often ecstatic worldswhich lie beneath this thin, complacent veneer.

Sonically, the Domestic Front's music is a mesh of heavily camouflaged, processed electronics and similarly obscured environmental noises-the aim is to, through disorientation, create a zero point, free ofreference to any external phenomena. Certain clues are posted throughoutthe songs: monks knocking woodblocks, birds calling and responding,nervous dialtones. As a whole though, the listener is trusted with theinterpretive freedom to recognize these sounds as something else entirely,and to choose the most personal, rewarding interpretation.

In his high school years, Thom cut his teeth on the abrasive and confrontationalworld of industrial music, rapidly wearing out tapes of the Swans, Coil,and Throbbing Gristle. Upon relocation to Chicago in the 1990s, Thomworked as an intern and sometime roadie at Invisible Records, a labelowned by PIL's Martin Atkins. Here he was able to further explore hisinterest by meeting TG founder Genesis P Orridge, with whom he has remainedin contact to this day (he is currently working on a Japanese versionof Genesis' archival web site.)

While pursuing a literature degree at Chicago's Columbia College,Thom participated as a synth player in the viciously eccentric performanceart troupe Zeek Sheck, whose sentiment-free improvisations and absurdcostumes served to differentiate them from a horde of other "no wave'musicians in Chicago at the time. As an employee of Chicago's Museumof Contemporary Art, Thom also was given access to the sound art limitededitions in their basement archives. Although without a record dealor the resources to make large editions of material, Thom stayed industriousand labored on one-off CDs for friends' student film projects, countlessMP3-only songs under a variety of pseudonyms, and collaborative mail-artwith friends in San Francisco and Japan.

The fall of 2000 saw Thom relocate to Osaka, Japan, where he wouldspend the next 2 years in a state of unremitting insomnia, which dideventually cause very real nerve damage. This didn't stop him, however,from finding inspiration in Japan's incongruous environments and convertingit into what is the Domestic Front oeuvre to date. From October 2000to October 2002 Thom assembled the necessary sounds for 3 cds "DecayingFlorescence", "The Smashed Holograms Sing" and "Doll Forge" with a 4th"The Actions of our Consequences" nearing completion. In addition, afterbeing taken under the welcoming wing of unorthodox music venue Zenkojitemple's Ishigami Kazuya and Kawaguchi Ryonin, Thom was invited to playa number of concerts in Osaka and the surrounding area. These rangedfrom solo outings on a heavily modified "bionic" bass guitar to quietcafé conversations utilizing laptop and minidiscs. In all cases thegenerally reserved Japanese audiences were taunted out of their shells.

Along with the Domestic Front, Thom is inaugurating a new multi-media,multi-national label for the creatively warped arts, Belsona StrategicSchallplatten. Although music is a focus of this label, specializationis discouraged and artists are encouraged to do EVERYTHING by themselves,self-sufficiency being a key to reclaiming raw sound- no longer usingit as a backup to intriguing music, but as an equally potent entitywhich stands on its own.

The lure of the unexplored, and a crumbling sociopolitical situationin the Disunited States have led Thom to Prague, where he will live,work and perform until further notice.

4+S/M

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Delayer

Delayer makes music on a subconscius level with trance-likerythms and mongolian chants. Delayer is the solo project of Andy Eardley, founding member of experimental techno combo Horizon 222 and crucial member of the avant garde group :zoviet france: in the early 1990s. The first Delayer CD release "Breath by beath by breathing" explores sounds made by the mouth and includes some unreleased :zoviet-france:material. Live appearances usually feature new computer generated work and Mongolian overtone chanting.

Jude

The band was created in 1993 as an assembly of five individuals operatingin a context of music group, expanding its communication on other mediasuch as video, prints, performance etc.

Locatnig JUDE within fixed boundaries of music styles is pointless,the band plays violent music of instincts and impulses, swarming withemotions. conventionally one can describe it by means of labels industrialhardcore punk noise.

The origin (Lodz) is of great significance for the form and messagetransmitted by JUDE. the expression and shape of JUDE is undergoingincessent evolution

1993- the beginning of band's existence, first rehearsals; experimentswith scrap instrumentation, loops, tapes etc; consolidation

1994- electrification in classic line-up: vocal, guitar, bass, twodrum sets; practice

1995- the first public performance Grohman Palace, Marcowe Gody 2 (artexhibition of young avantgarde). show in Contemporary Art Centre ZamekUjazdowski in Warsaw. a commentary on JUDE performance was given inmain TV news-TVP 1

1995/96- a couple of gigs in various different places

1996- concerts, futher practice, selection. a documentary about JUDEis shot. film We Are created by a student of Lodz Film School PWSFTViTPiotr Szczepański, is presented during the 7th Media Festival Humanin Jeopardy and some local TV channels

1996/97- the first recording session Lodz Radio. as an effect of athree day session 50 minutes long material was made

1997- multimedia performance in former Lodz synagogue, at the momentStudyjny Theatre. the release of Ultimate Obedience tape. a short tourwith DYSTOPIA (Oakland CA. USA). new experiences. construction; participationin the IIIrd edition of electroindustrial festival Industrialooza inWarsaw. registration of a new material in Marki Studio, some apperancesin various underground and mass medias- radio, TV, zines. JUDE playsat Amnesty International meeting (session concerning imigration problems)

1998- more gigs and presentations; progress. one hour show in cavesof Teutonic Order Knights castle in Torun (Thorn) during the 6th editionof Sidelines of Theatre festival. Two JUDE tracks are released on VentureBeyond Records (Santa Rosa CA. USA) compilations of eastern bands- GothTales- Nigh Falls and Goth Tales- Descend. Short performance at 2ndDIY punk fest Total Fucking Destroy the System. work in progress

1999-Vertebral Treatments - a 10'' vinyl split appears as the effectof the cooperation with Warsaw' DYSMORFOFOBIA. show at Castle Party- a Gothic Festival at Bolkow Castle. JUDE supporting CONSOLIDATED (PortlandOR. USA) at their Tikkun 99 Tour in Poland - a gig in Lodz' Forum Fabricum.television studio session for cable TV station TOYA. JUDE together withAnarchist Federation organizes a press conference with info concerningnazi activity in Lodz and in Poland. a new cassette (semi studio semilive - Sickness Bag/ Walpurgisnacht) is out on Lagart Punk Factory

2000- an anti nazi poster/sticker action at the walls of the city,JUDE and Anarchist Federation organises an anti nazi demonstration inthe Lodz' downtown. a total independent/underground gig in a tunnel(adapted by HOSPITAL UNIT) under a roadside. JUDE participates in anevent organised by WARSAW HARDCORE FORCE playing with ŻEGOTA (Greensboro,North Carolone. USA)

2001-INDUSTRIAL ACTION in Wroclaw/ Breslau, together with C.H. DISTRICT.problems, two members leave the band. a year without any live activity.the beginning of a recording session for a brand new record.

Aghiatrias

This project is from the musical point just another step on the way to the integration of the tonal into atonal, of the classical into post-industrial. It is a maturer form of transubstantiation into morphologically cleaner structure. We can trace the endeavour at a non-splittering element, not at a chemical compound. The structure of this second album is richer more solid and, the space of musical parts is deepened and widened, the emotional perception is more rousing. The basic project theme is the breaking of antropocentrical materialism into the society thoughts, ways and consequences of its manipulation. This has been here represented by all-embracing pseudo-cultural appearances, obscenely lurking at avery step and forcing the subject. Not only this album reflexes anger, helplessness or hate against this cheap soul swallowing, but it also stands up against its victims that pride themselves upon spiritlessness as a shield against everything touching the itching reality. They are ready to fight for their biggest enemy as he provided them by the recipe of success, based upon sweet ignorance and consumption. Historically, this theme has been wrought with a genuine complexity, manifested in the epic and expression of this project.

Spear

Since the appearance of their self-titled first tape in 1994, SPEAR from Lodz in Poland have been exploring the area of "alchemistic sound-creation".The group searches for hidden treasures in the stream of the unconsciousness much like alchemists centuries ago searched for hidden gold in common metals. Through their music SPEAR seek to find the other side of reality. The spiritual side of the world which is linked with the material world. Having released two CDs, the music consists of faraway bells, windy drones, flutes, strange harmonies and singings eminating from outer-space; a new kind of ethno-experimental-industrial. Mesmerizing & magnetizing magique... This is today's alchemistic music.

"World is not a chaotic assemblage of unconnected and discrete elements. On the phenomenal level it seems to be an infinite game of distracted appearances but all of them are rooted in the same uncontrollable, savage being - called Prima Materia in hermetic tradition. Every-thing is a realization of possibilities which it encloses. Under the seemingly solid ground of consciousness flows the underground stream, dark current of life. We search for its sources, we listen to its secret voice. Matter is the other side of spirit. Consciousness finds its beginning in collective unconsciousness. As gold is hidden in ordinary metals so there is a treasure in dark waters of unconsciousness. Alchemic sublimation of matter can't be separated from process of materialization of spirit. By transforming matter the alchemist transforms his physical, mental and spiritual being. Art is exactly this kind of transformation.

Music is listening. When listened to attentively every sound of worldshows its previously unknown and unpredictable aspect. SPEAR focuseson listening to the "voices" of environment. Concrete soundsof different sources are the basic element of our music. It is not anexpression of our feelings or thoughts but rather a way in which wetry to find and understand the unchanging core of every-thing. It isa never-ending process of sublimation of the perceptible world. Listeningdeeply to the silent music of world, we believe, we can find "theother" side of visible, sonic or tactile reality . However we donot accept separation of matter from spirit. They are ontologicallyconnected like two sides of the same coin. Dualism is a creation ofunrestrained rational thought. Spirit permeates every particle of materialreality which is simultaneously the only gate to explore the "other"side. We recognize the perceptible world as a constant flow of manifestationof spirit. Observing this process we try to be an active and consciouspart of it. Every work of art is a realization of this idea."

Einleitungszeit

Einleitungszeit is with no doubt one of the most extreme formations on the territory of the former Czechoslovakia. The 15 years of existence brought Einleitungszeit ultimate death-industrial sound and status one of genre top-classics. Its albums were released by reputable labels Art Konkret, Freak Animal or Recalcitrant Noise, whose edition was censored in Slovakia for "aesthetically unacceptable" cover. Some live performances are captured on Ars Morta Universum / Industrial Gallery videos also. Through sound, spirit and fire, the duo R-01 (Richard Norg, music) / M-01 (Martin Jarolim, voice, arrangement) create an ecstatic storm, with feelings of transformation of human being's consciousness into the intelligence of cybernetic creature. Just few seconds of ambient soundscapes release a flow of unbounded noise that can exceed even the uttermost Japanese recordings. Last year concerts in Japan with the performance dancer Tereza Georgieva aka Sangredans were passionately welcomed. Their common festival appearance will bring a typical stage storm of absorbing sound and howling expressive dance.

Sangredans

Extrémní-performační skupina, která spojuje pohybovou expresi s vlastní, experimentální, elektronicko-industriální hudbou. Extrémní fyzická performance s prvky moderního tance, butó, klasického baletu, akrobacie, capoeiry, zpěvy, fire a pyrotechnic show (plivání ohně, dým, červený oheň) reflektující lidskou bolest v rituálu posthumání kyberkatarze. Představení na pomezí pohybově-výtvarné extrémní performance a koncertu. Hudba je tvořena jak z vlastních hudebních nahrávek a upravená na počítači, tak živě při představení. Nástroji se stávají industriální materiály - z tyčí, železných součástek, plechů a pružin jsou vytvořeny hudební nástrojeve tvaru různých postav, robotů a věcí. Rozeznívají se v hudbu za pomoci neobvyklých nástrojů jako jsou např. rozbrus, svářečka, vrtačka, motor z auta... Velmi výrazné jsou kostýmy a scénografie, kdy aktéři jsou natřeni grafitovou barvou a evokují tak kovové-cyberpunkové pololidi a poloroboty. Fyzicky náročná, akrobaticko-taneční choreografie dokreslují výsledný dojem celé performance.

Theatre group formed in 2001 in Praha. In Sangredans performances,the protagonists use a wide variety of theatrical forms. The strongest emphasis is enjoyed by a motoric expression. In their images, we canfind elements of acrobacy, modern dance, classical ballet, butoh, capoeira, steppe, pantomime and fire show. Using different props, tools, lights and elements (water, fire, sand, smoke...) the actors create a mystical atmosphere streaming into a dramatical whole of the story.

Tereza Georgievová, Radka Hetmánková, Petra Bucková, Dan Pavel, FilipKačírek