Dense Promotions News

Le Novità Di Febbraio. Click For Infos.

CENTROZOON – Angel Liquor CD Divine Frequency
JARROD FOWLER – Translation As Rhythm CD Errant Bodies
JOE COLLEY & JASON LESCALLEET – Annihilate This Week CD Korm Plastics
LIONEL MARCHETTI – Red Dust 3×3″CD Crouton
MILLER & FIAM – Modern Romance CD Expanding
MODERN INSTITUTE – Excellent Swimmer CD Expanding
PURE – Home is Where My Harddisc is Vol.2 CD Feld
SHINTO – Sekai CD Echokammer
THE HAFLER TRIO – Seven Hours Sleep CD Korm Plastics

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CENTROZOON – Angel Liquor
CD Divine Frequency DivF06

Angel Liquor is the new instrumental album by Centrozoon, a duo coming
originally from Bielefeld, Germany.

More interested in the harmonic content of music than mere sound, Centrozoon
shape chromatic spheres of dark atmosphere that are unlike anything that you can
hear in contemporary electronica these days. There’s a sensibility of musical
dissonance and consonance that is closer to composers of the first half of the
20th century like Anton Webern and Olivier Messiaen.

Angel Liquor refers to the spiritual nature of music: the muse, the good fairy,
the angelic, the spirits. It’s orchestral ambient music with teeth, featuring
drastic multi-channel guitar treatments and quirky synth playing
and programming.

Relying almost entirely on autopoiesis, Angel Liquor was created in real-time
(i.e. improvised in the studio), with only minor editing and post-processing to
make the music album friendly. Audiophile analogue signal paths were used during
mixdown and mastering to further enhance the organic and complex fractal nature
of the intuitive compositions.

Parts of Angel Liquor were premiered at the ARS Electronica Festival in Linz,
Austria in 2004, although in slightly altered form, given the participation of
part-time Centrozoon vocalist Tim Bowness (of No-Man). 2006
finally sees the release of this ambitious piece on the new and eclectic
Texas-based Divine Frequency label.

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CD Korm Plastics KP3023

“I was introduced to Giuseppe Ielasi over email in 1999 or 2000 (I don’t
remember presicely), by a guy who ran a music magazine in Italy called BlowUp.
He was writing about CDs on my label, Intransitive, and suggested that I get in
contact with his friend Giuseppe, who was starting a label called Fringes in
Milan. Giuseppe and I exchanged some CDs of our music, corresponded for awhile,
and discovered that we had much in common.

Giuseppe came to the US to promote his “Right After” album with Domenico
Sciajno, and we got along immediately. We’re about the same age, have a similar
temperament, play a similar sort of music, are from a similar kind of
background, are excited about records, we love to eat, we’re both kinda nerdy…
yeah, Giuseppe is my kind of guy! We had spoken about collaborating at a few
points over the years, but somehow it just never happened, probably because
we’re so busy with our various projects and labels. So when I was offered a
Brombron residency, I thought it would a perfect opportunity to spend some time
hanging out and playing music with Giuseppe.

The method we chose was to first proceed to the closest coffee shop for a
breakfast of cheese and meat sandwiches (me) and cookies (Giuseppe), then we’d
record improvisations for a few hours until lunchtime. I primarily used cassette
tapes and Giuseppe used a guitar, but we also both played synths and electronic
doodads and microphones, and I made some tape recordings around the city that I
brought back in to our improvisations. Our minds were open, and we experimented
without deciding in advance what sort of album we might be making. We’d then
take a long walk, go to the Nijmegen record shops (where Plurex records are
still cheap!), have some lunch, maybe also a snack, and then start to edit out
the good bits from the morning. We’d also add some effects and change some
parts, use the recordings as source material in a small way. Then we’d return to
the record shops to buy the records we hesitated on in the afternoon, have some
dinner and relax. The next day, we’d wake up, have coffee, and do it again. Our
pace of working and comfort matched quite well. For the final few days of the
residency, we started to piece together our bits until they worked as
compositions. Then we edited some more until the album emerged.

About the title…. we gave a duo concert at Extrapool as part of the
requirements of our residency. There was an art opening happening at the same
time, so the gallery was packed with people. It was a lot of fun, but it also
made us both feel a bit strange; we’re somewhat awkward in social situations,
and didn’t know anyone at the Extrapool party except for Frans and Roel Meelkop,
who drove out from Rotterdam. After our set, we split to go get more fried Dutch
snacks. Along the walk, we talked about how we used to go out to parties more
often when we were younger, but now we aren’t even so old and we generally enjoy
staying at home where it’s quiet, listening to records and reading. Giuseppe was
reminded on the song by Arthur Russell, “Losing My Taste for the Nightlife”.
Maybe we are. Or, maybe that’s just how we felt on that evening. It doesn’t
matter, really, I suppose.”

Howard Stelzer. Cambridge, MA (USA), December 2005

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DVD Errant Bodies ebr_02

Combining live audio “micro-improvisations” (refined by musician Ivan Palacky)
with live video manipulations (by video and VJ-artist Filip Cenek aka VJ Vera
Lukasova), Carpets Curtains express an engaging and nuanced interplay of audio
and visual material. With live visuals being mostly based on self-made video
sequences in which emphasis is placed on ambiguous “narration” whilst VJ
software-mistakes are used to reach new amoebic image qualities, the result is a
principle or method of remaining fixed to moving images while vacating the
essential aspects for building concrete meaning. Such visual approaches find
parallel in Palacky’s delicate musicalities, in which found objects and minimal
electronics are fused to create elegantly small sound mixtures.

Ivan Palacky has (in the 80s and the beginning of the 90s) played with various
groups and taken part in several music projects. He was a member of the
guitar/doublebass/bassoon group “Slede, zive slede” (Herring, live herring) –
and currently performes in a duo called “Tilko” (Singlet) and audiovisual
project Koberce, zaclony (Carpets, Curtains). He “writes” a sound diary from all
his journeys – collects excerpts of stories, weird sounds and various “acoustic
mistakes”. He likes to take part in one-shot improvisational groups or duos
(with Cremaster, Ruth Barberán and Margarida Garcia, Will Guthrie, Andrea
Neumann…) as well as playing solo performances. Since 2005 his main interest
has been to “dig out” sounds from an amplified Dopleta 160 knitting machine from
the 70s.

Filip Cenek (born 1976 in Jesenik, Czech Rep.) is educated projectionist,
graduated from the Faculty of Fine Arts Brno, Video Studio (Keiko Sei), where he
currently teaches. From 2004 he has been a postgraduate student at the FAMU
Centre of Audiovisual Studies in Prague. He is the co-author (predominantly with
Jiri Havlicek) of several short films and animations presented at various fine
art exhibitions and experimental film festivals (Centre Pompidou, Paris;
L’immagine leggera, Palermo; EMAF, Osnabruck; Wardrobe, Leeds; Parker`s Box, New
York; MNAC, Bucurest; among others). He is represented in the National Gallery
Collection of Modern and Contemporary Art in Prague. He was awarded the
Developmental Grant of Tranzit for his work in the field of visual media last
year which allowed him to realize “Carpets Curtains” DVD-Video disk, documenting
his cooperation with musician Ivan Palacky.

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JARROD FOWLER – Translation As Rhythm
CD Errant Bodies ebr_01

Jarrod Fowler’s Translation As Rhythm is an investigation of reference,
reflexivity, and stasis through the reactivation of the contents, methodologies,
and structures of past compositions. With attention to this CD’s external
partaker-specific meaning-making processes, internal associations, and
fundamental presentation, Fowler advances a considered historical position of
post-conceptual and post-minimal thought, practice and status. The CD
specifically references Ludwig Wittgenstein, Erik Satie, John Cage, Joseph
Kosuth, James “JLIAT” Whitehead and Fowler himself. Translation As Rhythm’s
contents include: percussive sounds conveying periodic and aperiodic structures,
speech synthesizers, numerical lists, noise drone, field recordings and a
supplementary booklet.

The work of Jarrod Fowler is a series of analytical investigations into the
nature of musical thought and practice. These investigations-as-music question
both assumptions and instabilities present in music. They also explore the role
of ethnological, institutional, psychological and social contexts. Through
variable methods of construction, Fowler studies rhythm, representation,
perception and meaning.

Fowler currently resides and teaches percussion and rhythm in Massachusetts,

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JOE COLLEY & JASON LESCELLEET – Brombron 09: Annihilate This Week
CD Korm Plastics KP3024

Colley and Lescalleet had never met before their grey week in Nijmegen. Though
neither of these melacholic composers were prepared for the conflicts and
compromise of this collaboration, they found common ground in rejecting the need
for deep meaning or complex concepts.

46 minutes remain after harsh judgement from two perpetually dissatisfied

But what does it sound like?

Amidst the detritus of yard sale junk and old, broken equipment, Colley and
Lescalleet engage in the pursuit of resurrecting the essence of sound and
exposing beauty that others discard. Locked away in the recording studio of
Geluidwerkplaats Extrapool for ten days, they found music in the natural process
of decay. These compositions seem weathered and eroded. Rather than aiming for
excitement or dazzling expression, Colley and Lescalleet embrace the tedium of
everyday life as something beautiful and compelling. This is music with a slow
absorption rate and a high toxicity.

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CD Noble Records CXCA-1183

Noble label releases albums under the concept of “music for daily life” and is
very pleased to announce that a new artist has joined us. The 11th release from
the label is Gllia by internationally acclaimed composer kazumasa hashimoto
known for his warm musical style you could describe as a blessed honeymoon of
classical music and electronica.

With his last two successful albums, the first album yupi released in April of
2003 and the second epitaph released in May of 2004, he showed his talent to
initiate an astonishing fusion of rich acoustic and electronic sounds and field
recordings and immediately caught listeners’ attention in and outside of Japan.
After a tour in Japan and in the East Asia and collaborations with world
standard and Shione Yukawa, he released the first full album in 22 months.

The graceful ensemble of various acoustic instruments: the keyboard instruments
such as the piano, the glockenspiel, the vibraphone and the marimba, the
stringed instruments such as the violin, the cello and the guitar, the wind
instruments such as the clarinet and the trumpet and the drums. Somewhat
melancholic vocals and poetry reading. Scratching noise gentle to the ears. He
arranges these diverse musical elements and does deep space processing of sounds
for his orchestra full of elegant and universal illumination, which is
unbearably beautiful. Gllia, in which Kazumasa Hashimoto shows his talent as a
new generation composer by developing his own style and revealing a rather
personal aspect, is undoubtedly his masterpiece at this moment.

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3×3″CD set Crouton crou029

Years in the making, RED DUST is a three disc boxed set of new work from this
master practitioner of musique concrete. Elaborate in its aural presentation,
this study reveals Marchetti’s most focused and exciting work to date. Produced
in part with Yôko Higashi, the material reveals sounds old and new, acting as a
modern looking glass into a tapestry of ideas still grappled with today; human
attraction, narcissism, and the function of the artist. The music flows
story-like over the course of the three discs; a novel-esque concept/approach to
a triptych visual presentation. The combination of ridiculously old recordings
melting into obviously modern sounds makes this listening an experience to
ponder on many levels. Dissect the layers and enjoy.

Each disc within RED DUST is accompanied by a note card with corresponding
details, as well as a separate text card written by Olivier Capparos regarding
the work of Lionel Marchetti. Housed inside a small matte red box, the entire
package is then wrapped in a fine delicate mulberry paper. Limited to a pressing
of only 300.

“Lionel Marchetti was born in France in 1967. His interest in music resides in
the qualities of sound.  He is one of a handful of artists who in the
mid-to-late 1990s took electroacoustic music out of academic studios and into
the free improvisation ring. A scholar who worked at the CFMI (Lyon) and GRM
(Paris) studios and published a book on acousmatic composer Michel Chion,
Marchetti developed a set-up of microphones and loudspeakers he uses on stage
along with tape recorders, prepared CDs, motors and radios. He often refers to
his “instruments” as an “electroacoustic contraption.” His live work with Jérôme
Noetinger found echoes in the approach of Swiss and Austrian abstractionists
like Voice Crack, Günter Müller, and Werner Dafeldecker, but Marchetti is mostly
active in France, performing regularly at the club Les Instants Chavirés and at
the festival Musique Action. His studio work encompasses sound collage and
academic electroacoustics, although the level of poetry and refusal of genre
boundaries in his music puts him closer to Kristoff K.Roll and Luc Ferrari than
Pierre Henry or Bernard Parmegiani.” – based on the François Couture penned bio
in All Music Guide

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MILLER + FIAM – Modern Romance
CD/LP Expanding Records ecd24:06/eva16:06

Modern Romance is the debut album from Australians DAVE MILLER and HARRY HOHNEN
as Miller + Fiam.

Between working on his debut 2005 album Mitchells Raccolta and moving abroad,
Dave Miller found time to make it to a laptop and some instruments with fellow
West Australian Fiam. The collaboration resulted in a fine collection of tracks
for Expanding Records that combines his talent for exposing the elegant
mathematical formulas within tracks with Fiam’s fondness for subtle melodies.
The result is a beautiful and diverse collection of tracks that will intrigue
mind and soul, realist and romantic. The album goes in multiple directions,
representing the two artist’s current interests; with tracks containing the
detailed and groovy rhythms of Miller’s last releases on Background Records as
well as the warm, melancholic mixture of samples and instrumentation found on
Fiam’s releases as Victor Bermon on Chicago’s Hefty Records.

Simple, personal and delicately executed.

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MODERN INSTITUE – Excellent Swimmer
CD/LP Expanding Records ecd23:06/eva15:06

Excellent Swimmer is the debut album from Italian duo Modern Institute.

Modern Institute are TEHO TEARDO who plays guitar, rhodes, synths and
programming and MARTINA BERTONI who plays cello. They make beautiful and complex
music that combines electronic sound and programming with the raw acoustic sound
of the cello.

Teho is a musician, composer and sound designer who has been releasing music
since the early eighties, he has worked with artists such as Placebo, Nurse with
Wound, Scorn, Lydia Lunch and Rothko. Teho also creates film soundtracks and in
2005 won the Ciak D’oro prize and was nominated for the Nastro d’argento prize
for his work with film director Guido Chiesa. He is currently collaborating with
cellist Erik Friedlander (Masada) on an album inspired by Pier Paolo Pasolini’s

Martina Bertoni is a classically trained cellist who started studying cello at
the age of six. She has been involved in many projects including improvisation,
film and theatre soundtracks both in Italy and worldwide.

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PURE – Home is Where My Harddisc is Vol.2
CD Feld 003

Pure, as half of Ilse Gold, made a conspicuous debut in the early 90s rave scene
and then managed to trash the culture in a most ungracious way before making a
quick exit. For this reason, it’s always interesting to wonder what he might
have taken along with him from that “tradition” as he left – and then to
speculate as to what his work might sound like if he hadn’t taken such a willful
turn away from techno. A helpful clue when listening to his current work,
however, is to think of the space exploration aspect of, for instance,
Underground Resistance, rather than the dance aspect; and then, it helps to
factor in a certain mitteleuropäische gravitas.

Within Pure’s work, “Home is Where My Harddisc is Vol.II” will prove to be
crucial: made up of two live performances only 9 days apart and in very
different locations (Brussels, Winnipeg), it presents an exciting new
chapter in his artistic development.

While the Winnipeg track continues along the lines of his more recent recordings
(e.g. “Noonbugs” on Mego), it stands as a fine culmination of this particular
phase of creativity. In its single-minded resolve – for instance, the long,
penetrating tones that slowly interact and mutate – the performance also
compares quite favorably to pieces by his various Japanese counterparts. In this
respect, Pure’s ear has never been better at exploring, and elaborating on, just
the right transcendent frequency.

The Brussels track not only ranks among Pure’s best, but among the most
fascinating of the genre.  We hear processes decay, transform, take new turns,
and gain new momentum. Snatches of the past momentarily emerge, either as
memories or as though whatever late-Romantic choral work being sampled and
mangled is simply there floating in the ether (as Marconi himself believed), in
the fading but still-present radio waves of past broadcasts.  In this piece, the
artist seems less concerned with in-your-face aural tension (though there’s
plenty of that too).  Rather, while still using the individual sound-vocabulary
that he has painstakingly developed for himself over the past decade, here he’s
less concerned with control; he’s more content to set things in motion, watch
them evolve, and gently send them in unexpected but viscerally pleasurable and
highly varied directions.

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CD 12K 1036

Songs is the much-anticipated follow-up to Parisian sound designer and musician
Sébastien Roux’s beautiful cd Pillow (Apestaartje, 2004). The simple title of
Songs hides a deep work that Roux states is based in mathematics, symmetry (and
assymetry) and organized randomness. Songs is a skillfully and beautifully
rendered album of gentle and sometimes not-so-gentle acoustic instruments and
melodic  granular clouds. Each song is titled simply by the instruments that
make it, thus stressing the process involved in their production. From the
ubiquitous guitars, piano, and drums to the more exotic metallophone, harp and
contrabass, Roux combines these acoustic instruments with digital sounds and
makes a point to keep the focus on the instruments themselves, allowing for
their subtleties and idiosyncrasies to come to the forefront. Roux’s music is
personal and multi-faceted; From warm and drowsy ambient tones to digital fests
of errors and erratic rhythms to a more song-structured approach hinting at a
distant relative of submereged pop music. His influences include musique
concrete, folk songs, and electronic music and his work at IRCAM in Paris wraps
his ecclectic tastes into an expertly produced work of digital sound that does
not rely on one particular sound or motif but rather highlights a breadth of
processes and unique  sonic juxtaposititons.

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SHINTO – Sekai
CD Echokkammer 041

The world as fate and illusion, trapped in the game betwixt micro- and
macrocosm, told in twelve episodes. Revolution and apocalypse mingle with love,
daily life, marginalization and sexuality. The perspective chosen for the lyrics
is unique: Stories about radical thinking and acting as well as its failures are
told from the assumed mindset of marginalised Japanese subcultures and
individual, with a heavy bias towards the little known radical left-wing. Thus
Sekai opens new perspectives on a world between globalisation and the
individual, on humans between daily life and illusion.

Archaic flutes and drumming start Hagoromo the opening track to Sekai, an
adaption of the Noh-Play of the same name, written by famous author Zeami in the
14th century. It tells the story of a fisherman trying to blackmail a fairy to
dance for him, but she lectures him: “Doubts belong to mankind. There is no
untruth in Heaven.” The album continues, more electronic in its music, to focus
on man’s crisis in dealing with the dichotomy of ideals and doubt. Take tracks
like Chechen no Namida (Tears in Chechnya), which compares everyday life in
war-ridden Groszny with rape, murder and abduction to the almost tranquil life
in urban Tokyo, or Guantanamo no Yoru (The Night in Guantanamo) with its firm
critique of inhumane conditions in prisons like Guantanamo and the Japanese
penal system. Japan is one of a few of so called “western countries” still
adhering to death penalty. It also tells of the terrorists Daidoji – of whom the
song Daichi no Buta (The Pig in the Field) also tells – and Masunaga, who have
been waiting for over thirty years in Tokyo Prison for their death by hanging.
In a similar vein the tracks Poa about Shoko Asahara’s Aum-Sect and Fukou no
Kami (The God of Misfortune), which has lyrics by Sakae Osugi a leading Japanese
Anarchist, who was killed by secret police in the chaos during the great Tokyo
earthquake in 1923, tell about terror, revolution and anarchy.

Ai ga nai (No Love), a story about young Japanese girls who prostitute
themselves for Gucci bags, tells as much about the impossibility to find true
love, as the title-hymn of the album, Sekai Chinbotsu (The World Sinks). Kiri no
Naka (In the Fog), inspired by the book of the same name. A story of perversion,
the account of Issei Sagawa, who ate a fellow Belgian exchange student in Paris
in the mid-1980s out of love, ends with the insight that love cannot be
eternalised. Not even by oral consumption. Everything proves to be Neurose or
illusion – Irozakari (Prime of life).

Shinto (The Divine Path) was founded by HANS PLATZGUMER (Queen of Japan,
Convertible & many more) and Tokyo native CAMI TOKUJIRO in 1998. Sekai is their
fourth album after Liberal Bullshit (1999, Disko B), the concept album Shonen-A
(intermedium records/Bayerischer Rundfunk), – which won the 2002 World medal at
the New York Radio programming Festival, and Kibou, released in 2003 on
Playhouse and Japanese cult-label God Mountain. On Sekai they present an
innovative mix of Japan- and Indie-Pop, some Electro as well as world-music. The
enchanting, exotic vocals of CaMi Tokujiro meet Hans Platzgumer’s sophisticated
yet catchy music, to culminate in congenial symbiosis. The exceptional
performances of guest-musicians Thomas Wühr (Convertible, Kamerakino) on drums
and percussionist Saam Schlamminger’s (aka Chronomad) Daf- and Tombak playing
add yet another flavour to Shinto’s sound. Enhancing this release, the cover
artwork by Georg Wagenhuber reflects Sekai’s main topic: The world and a cell
merge, become one to form part of the Imperial Japanese Flag. Micro- and
Macrocosm unite in the illusion of reality: that of a terrorist, an outcast or
someone looking for love. – Tomoroh Hidari, Vienna 01/06

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CD/LP Paw Tracks PAW 9

Brooklyn’s Terrestrial Tones is the roommate duo of ERIC COPELAND (Black Dice)
and DAVE PORTNER (The Animal Collective). Over the years the two have been
quietly making music in between Animal Collective and Black Dice commitments.
Recorded in their apartment while living in Paris last summer, Terrestrial
Tones’ third record “Dead Drunk” sounds like the duo spent a bit too much time
in the Parisian flea markets. African food stands, forgotten African food
stands, forgotten European pop records, discarded American analog pedals and
junk, old Soviet electronics, they all come together into something highly
disconcerting, curiously pleasurable, and beyond new.

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THE HALFLER TRIO – Seven Hours Sleep
CD Korm Plastics Paragraph 9, subsection 5.7

The Hafler Trio’s ‘Seven Hours Sleep’ is the sixth re-issue by Korm Plastics,
following ‘Kill The King’, ‘Mastery Of Money’, ‘How To Reform Mankind’ and ‘A
Thirsty Fish’. In total there will be 14 CDs of classical old and long out of
print Hafler Trio re-issues. There are packed in as a series of large folders,
with booklets posters and sometimes postcards.

In the words of The Hafler Trio, ‘Seven Hours Sleep’ is:

Sitting bolt upright again was the thing that came from the operating table not
a moment too soon. Oh, the trials were all worth it, and the delights of the
basement were nothing to the wings this baby had. Reveretly restored to a
biblical suggestion of transports that do not demand a tip, here we have the
living, and still breathing apparition that can now appear in the *comfort of
your own home* or *even elsewhere* for less then the price of a triple-bypass
operation. Death to dreams and *HELLO* to realising that they are the things we
are made of. At all good stores worldwide and some other places.

Originally released on LP by Laylah in 1985 and re-issued wrongly on CD by Mute
in 1996, now really available as should have been.

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B. FLEISCHMANN [morr music]
03/04 BE – Brugge, Cactus
04/04 FR – Nancy, Austazique
06/04 FR – Paris, Mains d’Oeuvre
07/04 FR – Roche sur Yon, Fuzzyon
08/04 FR – Pau, Festival Amplitude
11/04 FR – Rouen, Hangar 23
12/04 FR – Lille/Turcoing, Le Grand Mix

COLUMN ONE [90% Wasser]
08/02 DE – Berlin, Maria CTM06 + Limpe Fuchs, Marc Wannabe
18/02 DE – Berlin, Basso
25/02 DE – Dresden, AZ Conni + Kein Zweiter
04/03 CZ – Prague, Roxy

JEFF PARKER w/ Chad Taylor and Chris Lopez [Thrill Jockey]
13/03 ES – Barcelona, Apollo Club
14/03 FR – Paris, Banlieues Bleues Montreuil, Salle des Fetes
16/03 DE – Frankfurt/M, Brotfabrik
17/03 DE – Dresden, Scheune
18/03 AT – St. Johann/Tyrol, Alte Gerberei
21/03 DE – Mannheim, Alte Feuerwache
22/03 HR – Zagreb, Student’s centre
23/03 AT – Graz, Wist Club

MOHA! [Rune Grammofon]
25/02 NL – Amsterdam, Paradiso, Sonic Acts Festival
26/04 DE – Berlin, Ausland, N-Event

RADIAN [Thrill Jockey]
15/02 ES – Malaga, M.A.R.T.E. Festival
25/02 CZ – Prague, Sperm Festival

THE KONKI DUET [Active Suspension]
03/03 SG – M1 Singapore Fringe Festival

16/02 DE – Berlin, Koiklub
17/02 DE – Dresden, Microscope Session
18/02 CH – Genève, Féstival de film asiatique

28/03 ES – Madrid + Merzbow, Zbigniew Karkowski
20/04 AT – Donaufestival Krems + Keiji Haino
22/04 AT – Donaufestival Krems + Marc Weiser
20/05 FR – Marseille

Dense Promotion
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