ROKOLECTIV 21-23.04.2016 BUCHAREST
ROKOLECTIV FESTIVAL 21-23.04.2016 ROKOLECTIV FESTIVAL
23.04 MNAC 20:00
23-26 | 04 | 2015
24.04 Halele Carol 23:00
Thursday 21.04 20.00 MNAC
25 - 26.04 Halele Carol 23:00
Friday 22.04 22.30 Control
Saturday 23.04 22.30 Control
“Boreal Halo” Vincent Leroy (FR) Piętnastka (PL) Dizzy Spells Konrad Smolenski: Pierre Bastien (FR) Native Instrument AishaArt Devi (CH) Primitive Peder Mannerfelt: The Swedish Congo
Sillyconductor (RO) Vaghe Stelle (IT) DJ Maboku (AO/PT) Ivvvo Objekt (DE) Ninos du Brasil Abdulla Rashim (SE) PaulaDreamrec Temple (RO) Perc Rekabu Dreamrec N.M.O. (NO)
Gazelle Twin (UK) Islam Chipsy ft. E.E.K. (EG) Mondkopf (FR) Lena T’ien LaiWillikens (DE) Borusiade (RO) Voiski Romansoff (RO) Rrose Dreamrec (RO) Kablam Charlotte Bendiks Borusiade Chlorys 3 Dreamrec
ROKOLECTIV 2016
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From 21st to 24th of April, Rokolectiv Festival returns with a mixed program of performances, installations, and special events mirroring new directions in electronic music and its socio-cultural backgrounds. This year’s edition is partly shadowed by a general state of broken allegiance and inadequacy created by the gap between a relaxed and rapidly growing artistic scene in the past years, and the lack of physical spaces left behind by the Colectiv fire. Bars, clubs and venues have been closed, waiting for another Epicurean era, and the subcultures attached to them are being threatened by the sudden revitalized mania of regulations. Deprived of its mission to activate alternative spaces, the festival will be hosted this year by Control Club, with an Opening Night at the Museum of Contemporary Art. Forward thinking techno producers are once anew the backbone of the line up. As a take on brutalism, violence and protest, you will hear new European club sounds with a somewhat Orwellian touch, from Perc’s wicker and steel sound machines to Paula Temple’s industrial and noise-influenced productions. Rrose performs under his transgender persona, building a character in the reflection of Marcel Duchamp’s female alter-ego Rrose Sélavy. Subverting the gender binary, the artist dynamites a music genre through her/his intense, dark and monolithic techno. On the other side, Voiski’s elegant, hypnotic, and noir music owns a refreshing anti 4/4 politics and an ever-escapist old-school feel. The elegiac and immersive productions of Portuguese producer IVVVO are also probing the soil of a distant planet: the 90s world of rave. From the forefronts of the digital tribalism revival, a recording made in the Belgian Congo almost 90 years ago by director Denis
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Armand is rebuilt by Roll The Dice’s Peder Mannerfelt, taking inspiration from the conceptualized ballet named “The Civilization and the Savagery” in his Swedish Congo Record. Primitive Art also take on ancient sources of inspiration, with their hypnotic and technoid music calling for primal instincts. Coming from Italy, Ninos Du Brasil, a duo with hardcore roots, bring together different worlds in an ecstatic performance, an absurd globalist carnival for a Brave New World — on the right side, punk and techno, on the left, batucada. From Poland comes T’ien Lai, a heavy and merging machinery built on glitches, distortions, reverbs and plunderphonic samples from krautrock records, through Polish, Australian, Far Eastern or North African pop. Over the last few years, female musicians made their voices heard more loudly and more often in a landscape that was reserved almost exclusively for male performers. In addition to Paula Temple, the program includes rising names such as Stine Janvin Motland and Felicity Mangan, whose mellow insect techno as Native Instrument is an organic mix of bug beats and atmospheric soundscapes that uncover a sonic ambiguity between rural nature, electronics and the human voice. Kablam, a member of the Berlin party-slashlabel Janus collective, has a taste for abrasive, unsettling and resolutely high-def club collages. Charlotte Bendiks is one of the more recent Cómeme family members, as well as Norway’s best ambassador when it comes to music of “sensual physicality”. Also from Cómeme, Borusiade comes back home for Rokolectiv with her dark melodic aura, following a sold out debut release and a year of intensive playing at European festivals. The festival also takes on board Chlorys, a recent member of the Queer Night family
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of Romanian DJs, with her hardcoeur selection spanning from electronica, dark disco and acid to suave booty bounce, RnB or manele. As each year, do check our Specials section, starting with Konrad Smolenski’s ghosts of ravers exhibited at MNAC to the works of the artists turning Control’s basement into a Virtualia Dungeon. “Indie goes hi-tech”, this is the title of the panel hosted by prolific music journalist Adam Harper, an explorer of hi-def post capitalism aesthetics. And since the future seems to be really coming, a workshop for kids put together by Sgomot takes the youngest of the producers hi-tech, while throwing prehistoric dinosaurs in the mix. See you there.
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SHAPE PLATFORM 3 Years x 16 Organizations x 144 Artists Rokolectiv Festival enters the second year as a member of the SHAPE platform, a 3-year initiative co-funded by the Creative Europe programme of the European Union. SHAPE, an acronym for Sound, Heterogeneous Art, and Performance in Europe, is created by 16 festivals and art centers which propose every year 48 upcoming musicians to participate in a mix of live performances, residencies, workshops, talks and other special events. Rokolectiv Festival presents eight of the artists selected for the platform in 2016: NATIVE INSTRUMENT, PEDER MANNERFELT, PRIMITIVE ART, IVVVO, T’IEN LAI, VOISKI, KABLAM and CHARLOTTE BENDIKS. Apart from the live performances, a few educational events that you can find under our Specials section are also programmed to take place. SHAPE Bucuresti, the second event dedicated solely to SHAPE, is also scheduled for autumn, with further names to be announced soon. Partners: The Creative Europe programme of the European Union, ICAS, Good Shape, NTS Radio, Tiny Mix Tapes, Electronic Beats, Resonance FM, Secret Thirteen, The Wire, The Quietus, Digicult, Post, The Drone, Radio Campus, The Attic, Juno Plus.
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shapeplatform.eu
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Native Instrument (NO/DE)
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Native Instrument is a Berlin based sound collaboration bringing together the field recording archive of Felicity Mangan and the precise, minimal vocabulary of Stine Janvin Motland. Their music is built from electronic and vocal adaptations of animal and insect recordings originating mainly from the Australian and North European fauna. The organic mix of bug beats and atmospheric soundscapes uncovers a sonic ambiguity between rural nature, electronics and the human voice, creating a peculiar musical universe with references to low-fi pop and techno.
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Primitive Art (IT)
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Primitive Art is an experimental music project started in 2011 from the collaboration between Matteo Pit and Jim C. Nedd. Digital soundscapes, slow rhythms and material percussions constitute the high definition background of their verses and shouts. Through the fog, they elevate their dub elegy, the perfect soundtrack for the corrupted metropolis of the future. The “primitive” aspects in question do not allude to historical avant-garde currents, but to an instinctive, tribal approach, paradoxically related to digital cultures. Their sound, hypnotic and technoid, indicates a borderline place of the imagination that flirts with clubbing and its methods, with visual arts, and with a developing afro-futurist identity. Their first EP, “Problems”, came out on Hundebiss Records in 2013.
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Peder Mannerfelt: Swedish Congo (SE)
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Peder Mannerfelt takes us back to Belgian Congo in the 1930’s. “The Swedish Congo Record” finds its roots in a very obscure 78rpm record, put together by Belgian filmmaker Armand Denis, who was one of the first Europeans to capture the incredible sounds of Central Congo. These recordings were published in 1950 as “The Belgian Congo Records”. Mannerfelt is an avid collector of African tribal music. When he came across this record he was immediately intrigued by the complexity and rendition of these recordings of Congolese music. His initial idea was to use the original album as a sample source, but this concept was quickly abandoned and Peder decided to recreate the album using only synthesizers. Over the past decade, Mannerfelt has served as one half of Swedish duo Roll the Dice, worked with Fever Ray, and remixed artists such as Massive Attack and Bat for Lashes.
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Ivvvo (PT)
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“e-vo”. That’s how one pronounces the musical moniker of this Portuguese native, a purveyor of some mightily impressive techno tones. There’s a lot more going on with IVVVO than riding the “death of rave” zeitgeist, his productions & DJ sets are moody and eclectic. IVVVO is the co-founder of the record label Terrain Ahead. His music has been released by a number of different labels, including moun10, Opal Tapes, Public Information, Fourth Wave and more recently Aisha Devi’s label, Danse Noire.
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Ninos du Brasil (IT)
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Ninos du Brasil are not from Brazil, but an Italian post techno duo of artist-musicians. It’s like Berghain meets the Venice Biennale at the carnival in Rio. Their performance is condensed yet intense, a fervent intermixture of old school techno, stadium spirit choruses, carnival style parade celebrations unified with physical intensity. A high-exertion ritual of sweaty bodies, confetti explosions and floor toms battered without mercy. Ninos is the partnership of Nico Vascellari and Nicolo Fortuni, with a shared interest in Batucada, an African-influenced Brazilian percussion style characterized by its massed drums and rapid, repetitive rhythms. But Vascellari prefers to talk about the project as instinctual and spontaneous rather than anything so studied; as he puts it, “we approach Brazilian rhythms not with the idea that they were coming from a Third World, but from a new world.” The result is perhaps comparable to William Bennett’s Cut Hands records – exotic of feel, but certainly unorthodox of style, off on its own wild trip.
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Paula Temple (US/DE)
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A refreshing high-voltage output has rapidly placed Paula Temple at the forefront of new techno. She started ten years ago, then she lost interest in electronic music and she became a teacher for unprivileged children. Then she came back again with outstanding productions and hybrid live/DJ sets that became a sensation in such scene bastions as Tresor, Berghain or Unsound. A self-confessed noisician, Paula Temple obliterated 2014 with “Deathvox”, her second release on the legendary label R&S. Her debut “Colonized” EP made one of the biggest statements in 2013 for uncompromising techno, followed by remixes for avant-electronic acts The Knife, Perera Elsewhere and Planningtorock. For her own record label, Noise Manifesto, she launched a very special and unique collaboration series called “Decon/Recon”, with select showcase events only.
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Perc (UK)
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It’s all about dancefloor mayhem, rotting sound and political frustration. “If I’m trying to portray some of the frustration with the political system in the UK at the moment, it’s just that kind of guttural, primal scream kind of thing” says Ali Wells (aka Perc) for The Quietus. So first comes the music, then political interpretations. Perc released his debut single “I Make Nuclear“ in 2002, before creating his own label, Perc Trax, two years later. Since then he’s built a foundation for forward-looking, dark and mesmeric electronic grooves, dropping releases from Sawf, Truss, Forward Strategy Group, Ekoplekz, as well as Perc himself. Perc’s own music is inspired from such industrialists as Throbbing Gristle and Cabaret Voltaire, bringing a dose of their dark humor and raw aesthetic to the dancefloor. His sophomore album “The Power And The Glory” took Perc’s evolving sound further into that dark and noisy territory, marking him out as a torch bearer for tomorrow’s techno. “The kind of techno I like at the moment is where all that overly atmospheric fog and fluff is stripped away, and things are much more visceral, much more clear. That’s what I’m into. Otherwise it’s just a sea of almost nothingness”.
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Rekabu (RO)
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Part of two groups interested in local cultural and political fields, Rekabu has a colossal fetish for a realm of neo ambient music that is orbiting around sonic arhitectures from the 70s and 80s. Split between tense and tranquilizing, his DJ set for Rokolectiv 2016 is seasoned with visuals manufactured by Sillyconductor and owns a subtle analogue touch.
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Dreamrec (RO)
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Silviu Visan is involved in various projects from video mapping to interactive design. He developed the a:rpia:r collective’s video side in the last couple of years, with some special appearances in Fabric, Trouw or Nordstern. He is also touring extensively with the more experimental music project Rochite or alongside the Apparatus 22 collective. Late 2013 he created a spectacular projection mapping on the cast of Trajan’s Column at Victoria & Albert Museum, combining motion graphics and 3D animation that playfully highlights, deconstructs, augments and manipulates the Column’s geometry and reliefs. His project The Shuffle (with Sillyconductor) -an algorithm of infinite probabilities of overlapping one million images of 1kb with one million sounds with a duration of 1 second each, was shown at the Bucharest Young Artists Biennale. Dreamrec is one of the pillars of the Rokolectiv Festival, witnessing and contributing to its development for the past 10 years.
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T’ien Lai (PL)
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Polish quartet T’ien Lai combines drone with spiralling psychedelia and live percussion to create heavily distorted, ritualistic dance music. The project borrows from Le Corbusier’s brutalist architecture and the materialist side of magic realism, turning it into what they call “magic brutalism”. T’ien Lai was founded in 2012 by Kuba Ziołek (of freeform improvising collective Innercity Ensemble and Stara Rzeka, a one-man band combining drone, prog rock, and black metal), and Łukasz Jedrzejczak (So Slow, Alameda 5). Their debut album, released the following year on Monotype Records, leaned heavily on the sound of old PRL Sniezka radio receivers. Processed through guitar effects and layered over synthesiser loops, the LP’s layers of noise were said to conceal mystical themes. In 2014, the duo expanded into a foursome with percussionists Rafał Kołacki and Mikołaj Zielinski. T’ien Lai describe the resulting sound as “quasi-shamanic trance, raw, almost industrial rhythmic electronic music” with modern techno pastiche. Their second album, “RHTHM”, was laden with glitches and plunderphonic samples, and saw an official release in fall 2015.
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Voiski (FR)
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The French DJ and producer Voiski has steadily built a name for himself over the course of a nearly seven year career. Having shifted from a more brazenly experimental persuasion to a still slightly disarrayed but ultimately slick production style, his merciless output has thus far been picked up by an array of labels such as L.I.E.S., Construct Re-Form and Sheik N Beik. Within the large spectrum of his deep murky interventions, Voiski stands out for the rigour of his infinitely repetitive loops. These, combined with acerbic drum beats, construct an analog excitation that carries his music to the heart of futurist and sentimental layerings. Voiski delivers a challenging treat of techno-gone-astray. Delving deep in steely industrialism and slashing anti 4/4, the three cuts snipe a hail of grainy grooves for wild club ravings.
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Rrose (US)
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Rrose is a shadowy figure rising up from America’s depths to reflect Duchamp and his Rrose Sélavy persona with the sounds of dark, intense and monolith techno. Obscure and raw atmospherics mix with concrete and hypnotic rhythmic patterns, providing a coherent journey into surreal depths. After early forays on the very influential Sandwell District, his productions mainly come out now on his own Eaux label. The 2015’s EP output has seen him master supple techno forms drenched in reverb and soot black atmospheres. “I stole the name because I like the way it looks, the way it feels, and the endless pool of imagery and ideas it suggests. It’s absurd to connect techno to Duchamp. Which is also part of the point, I guess”… “It forces me, and the audience, not to take my identity and gender for granted. And it makes me feel like I’m in some kind of weird parallel dimension while I’m performing”… “I’m concerned with perception above all. I hope to confuse the listeners’ faculties such that they question their place in space and time. While making them dance, of course.” - Rrose
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Kablam (SE)
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DJ and producer KABLAM (aka Kajsa Blom) was born by the Swedish westcoast, and moved to Berlin in 2012. She started her career as a DJ as one of the residents of Berlin’s Janus party alongside co-residents Lotic and M.E.S.H. Janus is now a label and has held parties at Berghain, booking producers and DJs such as Arca, DJ Hvad, Total Freedom, Nigga Fox and more. Blom’s style, in keeping with her Janus peers, experiments with the radical possibilities of music, of what a club environment is or can be, of what a dance floor looks and feels like. She likes to play and mix contrasting genres, finding imaginative points of entry and combinations between them, using the parameters of space rather than time to structure the music.
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Charlotte Bendiks (NO)
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Best known for spreading positive thinking at festivals in Europe and beyond, Charlotte Bendiks is one of the more recent Comeme family members, as well as Norway’s best ambassador when it comes to music of “sensual physicality”. Doing live vocals and percussions as well as integrating other musicians, whether it’s disco, African, Latin grooves or classic house, Charlotte’s DJ sets have become somewhat of a trademark. From 2007 to 2009 she organised underground A/V house parties under the name “Moist”, long after official closing times, thus contributing to the health of the Norwegian scene. Her solo release “Afterhours” EP was out on Mental Overdrive’s LOVE OD Communications label in January 2013, followed by the second EP “Aurora” a year later, which was much like an echo of a Chicago that has been abandoned and moved to become a ghost town deep in the Arctic. “If you, like us, still have any senses left intact, you will no doubt listen and obey”. Love OD
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Borusiade (RO)
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It has been a great year since her morning gig at Rokolectiv’s 10 year anniversary. The five track EP released in the beginning of February on Cómeme, the invitations as a SHAPE artist, the mixes and podcasts evoking a feeling of darkness and psychedelia, the frank, charming interviews and public appearances turned her into one of the favourite upcoming female musicians on the club scene. As the story goes, Borusiade was personally recommended to Matias Aguayo by Lena Willikens after the Cologne selector discovered her through the female:pressure platform. It was a wise move. Described by the label’s ever-amusing press department as five tracks of “baroque and dark slow techno jams,” “Jeopardy” finds Borusiade channeling Front 242, John Carpenter and The Cocteau Twins. The EP is, by turns, “brooding, gothic and even a bit silly, with dark disco basslines and haunted-house synth chords bringing to mind giallo movies and arcade games about jumping on ghosts in creaky castles. An air of soft horror prevails this record, at times wry and comic but sometimes genuinely (if gently) unnerving”. XLR8R Borusiade takes Rokolectiv Festival again to dawn. What better way to round up a good year?
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Chlorys (RO)
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Do not let yourself misled by the overall cuteness. A recent member of the Queer Night family of DJs, hardcoeur candy Chlorys can kill with her knife-sharp wittiness. Her music selection spans from electronica, dark disco and acid to suave booty bounce, RnB or manele twist before you get a chance to say “slay�. Currently a student at the Photography and Video department of the Arts University Bucharest, Chlorys is concerned about interdisciplinarity and socio-political context. This, in combination with a sense of fine aesthetics and the right dose of toughness, make her one of the new DJs to watch.
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Konrad Smolenski: Dizzy Spells (PL)
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Dizzy Spells is a kinetic installation with two inflatable windy men and a modified harmonium. The figures are provided with air by modified ventilators, so now and then they seem to collapse from exhaustion. Usually funny and colourful, their grim looking features are no longer reminiscent of a fun park or a child’s birthday party; if anything, it would be a dark fetish room that is brought to mind. Konrad Smolenski is an artist who has been active in visual arts for over a decade, though he focuses his interest on sound. His works combine punk rock aesthetics with the precision and elegance typical for minimalism. He represented Poland at the Venice Biennale in 2013 and made quite a lasting impression with his “Everything Was Forever, Until It Was No More” installation. He graduated from the Poznan Academy of Fine Arts (2002), and has shown his work in numerous exhibitions at the following venues, among others: Ludwig Museum, Budapest; Pinchuk Art Center, Kyiv; Museum Morsbroich, Leverkusen; Waterside Contemporary, London; Offen auf AEG, Nuremberg; Palais de Tokyo, Paris; and Zacheta — National Gallery of Art, Warsaw. Holder of the Polish Ministry of Culture and National Heritage fellowship (2000). Winner of the Deutsche Bank Foundation Award — Views 2011. Smolenski lives and works in Warsaw (PL) and Bern (CH). The exhibition is supported by the Polish Institute Bucharest and Zacheta National Gallery (Warsaw).
21.04 -29.05.2016 MNAC Bucharest
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Virtualia Dungeon fragment.in (CH) FlexFab (CH) Maria Guta (RO) In the undergrowth of Control Club a Virtual Reality experiment is insinuating. While playing the “architect� as an entertaining activity, the visitor is invited to experience and even create new abstract versions of monumental architecture inside a 3D world. Becoming part of the installation themselves, the users are seated in turning chairs that generate sounds while rotating in what we might call an evolving choreography. Simon de Diesbach, Marc Dubois and Laura Perrenoud met each other at Ecal University of Art and Design during their Bachelor in Media & Interaction Design. Together they created Fragment.in, an interaction design studio focused on creating innovative interactive art projects while mixing installation, video and game design. They are experimenting and exploring the boundaries between digital and tangible interaction. FlexFab is a music producer currently living and working in Switzerland. He won several music awards and was invited to perform for some of the biggest music festivals in Switzerland. Maria Guta was born in Bucharest, Romania, where she studied graphic design and made her practice in visual communication, art direction and fine arts. She moved to Switzerland in 2010 and in 2015 she completed a Master`s degree in Art Direction and Photography at ECAL (Lausanne). 22 & 23.04 Control Club
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Daniel Neubacher (DE)
forced_feedback, an autonomous kinetic installation, consists of 100 Sony Playstation 2 Dualshock 2 Interfaces. An archetype gaming interface, the first and most popular controller that embraced the idea of immersion from a physical perspective. Vibration is the interfaces physical response to the users commands. forced_feedback reverses the relationship between interface and user. The objects start to vibrate, to move. Creeping on the floor, they form and dissolve clusters. The initial algorithm, which controls the interfaces vibration function, acts like a composition. The physical characteristics of the environment the installation is placed in also affects the behaviour of each individual controller. The installation is not limited to a specific buildup, but it is flexible. Its architecture can be set in a chaotic manner, for example, a big cluster, as well as in perfect order, like an organized matrix. The movement differs according to its initial buildup and the physical characteristics of the surrounding environment.
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22 & 23.04 Control Club
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Nicolas Maigret & Maria Roszkowska (FR)
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Drone-2000 / Floating Prophecies 2015, 14’53’’, HD video
The figure of the drone serves as the starting point for this film, enabling it to explore the intersections that exist between fictional depictions arising from science-fiction literature and the actual advent of flying machines with camera vision in contemporary world, folklore and mythology. By juxtaposing quotes from works from the previous century (1880 - 2000) with a selection of popular, recent videos that have been posted on video sharing websites, this film explores the grey zone between selffulfilling prophecy and composite narratives. After completing studies in intermedia art, Maigret joined the LocusSonus lab in Aix France, where he explored networks as a creative tool. As a curator, he initiated the disnovation.net research, a critique of the innovation propaganda. He teaches at PARSONS PARIS and cofounded the ART OF FAILURE collective in 2006.
22 & 23.04 Control Club
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Sgomot (RO) Music workshop for kids
Sgomot is a sound playground that encourages kids to be noisy. Initially put together by Sillyconductor for his daughter’s kindergarten, the SGOMOT sessions are now available for kids 7-12 who either want to freely explore the power of small noise-making devices or for the ones who just want to witness the level of magic that’s powered by a 5 volts electrical source. There will be loads of electronic percussion modules, indistructible microphones, all kinds of noise machines, little samplers, a magic stringless guitar and other boxy instruments connected to a unreasonable number of effect pedals. So things to hit, buttons to push and no adults to shush the little sound designers. Kids are encouraged to explore the countless sonic possibilities, will have access to cables and a pretty generous mixer they can manipulate freely and who knows, they might even create a noisy hit by the end of the session.
16.04 / 11.00 A3
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Rain the Color Blue with a Little Red in It Directed by Christopher Kirkley in collaboration with Mdou Moctar and Jerome Fino2015, 75’, HD video
Following the screening of Hind Meddeb’s “Electro Chaabi” last year, burn invites you for another special event at URBN Supply co., this year presenting a narrative fictional tale also representative for the new sounds and the new geographies in electronic music. The film tells the universal story of a musician trying to make it “against all odds,” set against the backdrop of the raucous subculture of Tuareg guitar. The protagonist, real life musician Mdou Moctar (Niger), must battle fierce competition from jealous musicians, overcome family conflicts, endure the trials of love, and overcome his biggest rival - himself. Stylistically borrowing from the Western rock-u-drama and a homage to Prince’s 1984 “Purple Rain,” the story was written with and for a Tuareg audience, drawing from experiences of Mdou Moctar and fellow musicians. Carried by stunning musical performances from Mdou, the film is equally a window into modern day Tuareg guitar in the city of Agadez as it is an experiment in modern ethnographic filmmaking and new techniques of cross cultural collaboration.
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19.04.2016 / 20.00 URBN Supply Co.
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Adam Harper (UK) Indie Goes Hi-Tech A/V lecture
Adam Harper explores an emerging aesthetics of the digital world through playing and closely discussing a series of videos from underground culture. This aesthetics explores ideas of maximalism, luxury and fecundity, pop, kitsch, artifice and camp, uncanny portrayals of the human and its avatars as well as non-human entities that imitate humans, the performance and questioning of gender in digital contexts, virtual interfaces, spaces and environments, and even notions of reality and hyperreality itself. Adam Harper is a music theorist, critic, and the author of the book Infinite Music. Imagining the Next Millennium of Human Music-Making (Zero Books, 2012), in which he speculates on how music may sound, and what forms it may take, in the future. A PhD student in musicology, Harper lectures and teaches at the University of Oxford, writes regularly for The Wire and Dummy, blogs on Rouge’s Foam, and gives interdisciplinary lectures and seminars at venues such as the Darmstadt Summer Courses in New Music and All Tomorrow’s Parties Festival, and on The Guardian’s ‘Music Weekly’ podcast series.
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23.04 / 19.00 A3
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Venues
MNAC Parliament Palace Calea 13 Septembrie, Gate B3 CONTROL 4, Constantin Mille Street URBN Supply Co. 3, Caldarari Street A3 2, Pictor Arthur Verona Street
Tickets
Festival Pass | 3 days | 55 lei available on eventbook.ro Please note that only the festival pass can guarantee your access to the festival. Tickets can be purchased at Control Club in the night of the event, but are limited to the capacity of the venue.
Opening Night MNAC | 21.04 | free Day Tickets Control | 22.04, 23.04 | 35 lei available at the door
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