Non-beginner’s beginnings

Non-beginner’s beginnings

Review of Re_humanizacija with Ingrid Mačus and Tisa Neža Herlec, of Defonija with Ano Kravanja & Tijano Stanković and CP Unit and of Studia 8 with rouge-ah.

Rouge-ah releases her first album on Kamizdat

Rouge-ah is a Slovenian musician, harp and electronics player, music writer and contemporary artist. She creates rich and evoking soundscapes using harp, electronics and field recordings.

december 2018

11nov(nov 11)10:0030dec(dec 30)18:00Tomaž Grom: IMštrument

12dec20:0023:00Mladi raziskovalciGašper Okorn in Matej Kastelic

13dec(dec 13)20:0015(dec 15)00:00Joyful NoiseIrena Z. Tomažin, Hans Koch, Jean-Luc Guionnet, Dieb13, Gaudenz Badrutt, Jonas Kocher, Christian Müller, Martin Schütz, Frantz Loriot, Camille Emaille

13dec21:0000:00Andrea Belfi / Jaka Berger

14dec19:0021:00Literatura v živoAna Porenta, Vinko Möderndorfer, Gal Furlan, Mojca Fo

14dec20:0023:00Tony Buck

14dec21:0023:00NUMU- Neue & Unentdeckte MusikDré Hočevar, Axel Dörner, Stefan Prins

15dec20:0022:00Zvočno izvirna žurka v VipolžahZlatko Kaučič, Kombo D-C-B-A + Cene Resnik, Gal Furlan

Ičo Vidmar – Time of decisions: British experimental and improvised music in the sixties and seventies

Ičo Vidmar’s essay about the musical and social traces of a practice in recent history in new music, that was called British experimental music. Essay includes interviews with John Tilbury and Eddie Prévost.

Edwin Prévost – Towards a Protean Tradition

The music on this double CD album is either extremely modern or immensely old. The basis for the material is sound. It is not music mainstream opinion recognizes. However, if we think of music as sounds organized by human beings then this truly qualifies as music. What distinguishes this music from the more conventional forms of folk, classical and popular music? Why are the participants on this CD, making music this way? These, in my opinion, are interesting psychological and social questions. They lead to a possible cultural realignment.

Luka T. Zagoričnik – Structural Confrontation, In accompaniment to Sound Disobedience 2018

The festival Sound Disobedience emerged as an echo of the confrontation within a seemingly homogenous music practice known as free improvisation. This confrontation is its key moment, for it tears apart the seeming unity of this music practice and presents it in its own diversity. It represents marginal music practices that have been internationally recognised as a part of the broader music environment for over half a century and in Slovenia for the last thirty years.

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