X. PRAGUE INDUSTRIAL FESTIVAL

C. O. Caspar

CO Caspar (*1936) lives in Berlin and in Sweden. He is a datoist, (living "today"), author, performer, tone-worker, photocopyist, and actor. He works as a soloist, workshop organizer, actionist, and musician with sound tools as installations, with projections, and with light-art. His medium is the processing of concrete tones and noises by means of digital equipment. Sound is planned as scenaric tone and speech acts, and is spontaneously developed from the original impulses of the sounding body - also in cooperation with other players. In the first period of his artistic work, he concentrated on the verbal and visual form of his performances. In recent years, he has increasingly devoted himself to aural concepts. In addition to solo appearances, he also produces music for theater, films, exhibitions, and readings.

Tábor Radosti

This mysterious duo from Jihlava has first appeared on the X. Prague Industrial Festival in 2004 and a year later on the IV. Wroclaw Industrial Festival. They dazzled the audience like a meteorite. Obscure sound, complex composition and impressive stage appearance with stunning visuals were clear marks of the huge potential of this project and of the long way it has gone. The official beginnings of Tábor Radosti date back to 1995. Two years later, Tabor Radosti makes their debut with "1984" at the industrial festival in Telč (cz). This was a show made of loops played back on several modified tape decks and vocals in industrial-orwellian fashion. Within the following two years, they have conceptually adopted new sound technologies, both analogue and digital. In the beginning of 2001, they start recording their debut CD Tábor Radosti with mesmerizingly austere composition, texts and vocals. After two more years, they release another album. Its title Hávamál - or, the Words of the High One - is an homage to the astonishing depth of original beliefs of our ancestors and the foreboding of the fall of the western occidental civilisation, caused by uprooting these beliefs and importing the new "God of Desert" into souls of humans. This record already has all typical signs of their current production - magic and ritual, distorted vocals abundant with ancient archetypal motifs, a vast variety of emotional surfaces and rhythmical sequences. Before long, the new phenomenon on the Czech scene started cooperating with the label Epidemie Records who released their third album, Lamat, a sequel to the manifested belief in the infallible cosmic cycles. Magic sound territories are even more complex and impenetrable compared to the previous albums, the inner architecture of the tracks now features orchestral themes and colourful sound ornaments. Tábor Radosti have reached the status of the Czech dark-electronic number one.

Moan

Rafal Sadej - the body behind the soul of MOAN - was born and broughtup in Siemianowice Slaskie in the midst of atmosphere and sounds ofindustrial enviroment of ironworks and coal-mines, producing whole lotof unnatural sounds inscribing themselves into ordinariness of surroundingdistricts. You only need to open a window in Rafal's apartament at nightin order to realize why there is a such natural intuition of machineharmony in his music. In every his music achievement you can find anocturnal silence filled with barely audible distant humming, gratingmetallic sounds, pulse of the machines and even noise or chaos.

He took his first steps in grind core band PSYCHONEUROSIS (92-93) asa vocalist and later he founded noise-core band IPEKAKUANA (93-96) inwhich he was a drummer and a vocalist. For his individual ideas, whichhe can't carry in group, he found a way to realize it as project DISAGREEMENT(93-95), where we can hear Rafal's industrial fascinations for firsttime. At last there came into existence two compositions: "Thoughtsgrower" and "Thoughts grower (hypnotic mix)" durningintesive session in July 1996. It is the recording of interaction betweenradio and TV broadcast disturbances with a looped tape accompaniment.At that time MOAN was born.

Next recordings came into being in August in the same year. Authormade use of household equipment, looped, versatile exploitation of aguitar, rhythm and radiotelescope in form of TV set which was turnedon empty channels and connected with radio and FX reverb. The resultof this experiments is ninety minutes tape: "Thoughts grower",MOAN's debiut, issued at Rafal's own expense in small amount of 69 copy.

After two years break, Rafal Sadej came back to musical experimentslate in year 1998. But this time he used possibilities that computergives. At that time next ideas were recorded, and we can notice emphaticsubsiding into silence and slow rhythm quiting. In February 1999 therewere brought four new compositions into being, which were completedwith two tracks from previous tape and published as "Drift"(C-45, 50 copies).

Next months he spent time on going deeply into secrets of making soundsby means of computer and collecting samples. Preparations for next materialrecording were finished in October 1999, then strenous process of feelingsand ideas transformation into CD material of standart value started.Single CD-R "Work report #356" became the auqury of comingrecordings. After four months CD-R "Isolate" (45 minutes,7 tracks) saw the light of day. This material is fondled, breathingwith stifling atmosphere, somewhere from the outskirts of consciousness,minimalistic and yet sonicly diversified. It caused wide response amonglocal and foregin enthusiasts of industrial music. It also met withapprobation of reviewers and creators, fans of industrial feedbacksand isolationist ambient.

Since MOAN issued "Isolate" he worked on remix "Workreport #356" for Japanese compilation, remix of project PALSECAM"There's no way" for English Underwood Audio compilation and"Hidden" of project NEMEZIS for CD containing remixes above-mentionedformation which were interpreted by artists from industrial / experimentalcircle. This favourable confusion about MOAN gave him a chance to presenthis project in public. MOAN's first live performance we could listenon 25 May 2000 in "Program" in Gliwice, where Rafal presentedmaterial from "Isolate".

Rafal says that MOAN is a search, an evolution. He claims he doesn'tlike stagnation, and doesn't cramp himself. It is unlikely that nextmaterial of this project will be similar to previous ones. It doesn'tmatter if it is ambient, industrial or noise, MOAN always will remainfilled with unique atmosphere of industrial enviroment, where he derivesfrom ...

- Leszek Żabiński -

VO.I.D

We are an orchestra, manoeuvring in storms and white-light. We trans/be-thunder the world's din into transcendence´s Silence. We operate with intensivity, we being Robert Hnát - computers and Martin Jarolím - effect-ed vocal outbursts.
A magnanimous uproar with a circular conception of time. A fulminating prayer, joyous gushing forth of expression. It is a spontaneous "articulation"of energy, equivalent to the music's texture. Verbalisations may be misleading. The purpose of our "words" is phonic, not semantic.

An "eidetic" ideal of sound is beyond our given possibilities. It would be a hypersonic outburst, an absorptive Proto-tone, burning its way into the Unbeholdable. Words cannot approach its essence - perhaps a fragrance or death could come nearer. It should be created by a strong electromagnetic emission, the shimmer of the stars. It should contain tectonic vibrations, the smell of roes, proteins and angelic lovingness, loving agression.

Schloss Tegal

Schloss Tegal is Richard Schneider working with MWBurch, who were the first dark pioneers into intrinsic music for psychological purposes who have become a cult electronic music group over the last 2 decades. Their CDs are a mix of graphical information in the form of audio tapes and samples that resemble more of a anthropological film or study rather than music per se. The music is extreme and overpowering psychogenic (psychological/hallucination) noise barrage with subliminal cryptic audio not for the squeemish. Schloss Tegal use graphic content in their audio and visual performances. Their first CD "The Grand Guignol" was banned in Germany due to its shocking text and content resembling the forensic textbook of "Psychopathia Sexualis" Baron Von Kraft-Ebling with a strange twist. Their newest CD in 5 years, "The Myth of Meat" continues in this Grand Guignol realm of unpredictable shocking noise and cringing uneasiness on the body and psyche. This is only part of the many realms Schloss Tegal has explored not excluding UFOs, cattle mutilations, human resource exploitation by the global elite, the long war to come, torture and more in their previous work.

Do Shaska!

Czech dervish men is one of labels of the Czech formation Do Shaska!. They came into existence in 1989 as a "reactionary heretical offshoot" to the North-Bohemian punk scene. In more than 15 years the formation has passed through many personas from dreamy ambient via ethno-industrial styles to dark-trance-dub music. Do Shaska! uses up-to-date technologies and is leaning nowadays towards rhythmic, hallucinatory compositions with a essential use of live instruments (bassoon, base guitar, didgeridoo, percussions, vocal, metals etc.) and live manipulated video projection. Do Shaska! will present their newest sound from their latest album "Alchymische Alraune" at the festival this year. We can expect an impressive spectacle of tribal hypnotizing trance-like rhythms in the guise of industrial electro-punk´n´roll!