Thalia Zedek has one of the most enduring and distinctive voices in modern rock music — a voice like no other — that can be heard in her work with some of the most groundbreaking underground bands, from Uzi and Live Skull to Come. Since 2001, Zedek has been making music under her own name, releasing a string of critically acclaimed albums. Her latest, Eve, is her most accomplished album to date, building upon the foundations of her previous releases. Again the album features her bluesy, gritty guitar work and her distinctive vocals that, when juxtaposed with graceful viola and piano, give the songs on Eve a compelling tension. Her lyrics remain deeply personal and her emotional fire is palpable, but she has developed a control in her delivery that brings new dynamics to the music and gives room for the emotions to breathe.
Loss, isolation and alienation are some of the themes Zedek frequently returns to, with songs such as the soaring “360” and By the Hand” touching on deeply personal emotions and making for an intimate listen. Zedek’s band is very restrained on Eve, a clear indication of her vocal confidence. Great examples of this restraint can be found on “You Will Wake” and “All I Need,” which are both spare and raw, with heart-felt emotion carried almost entirely by Zedek — it is impossible to deny the songs’ beauty and power. This is aware one-off solo appearance from Thalia in Berlin don;t miss out!
Dean Roberts (Staubgold/Kranky/Mille Plateaux/Ecstatic Peace/Poon Village)
Roberts is one of New Zealand’s leading practitioners in the field of contemporary music and has produced a number of albums to critical acclaim. His releases on Staubgold, Mille Plateaux and Kranky Records are regarded as touchstones of contemporary experimental music. Weaving elements of rock, electro-acoustic, minimalism and free improvisation into unusually affecting song cycles that sound equally avant-futuristic and hauntingly ancient, like ghosts of songs past.He is an artist whose mercurial presence has manifested across the full spectrum of avant-praxis kicking off with his early NZ rock-informed improv/drone group Thela (Ecstatic Peace) and work under the White Winged Moth alias. He performed and recorded regularly as a member of Tower Recordings (with Matt Valentine Erica Elder, Tim Barnes, PG Six and others) during a lengthy stay in NYC. His later group Autistic Daughters (with Werner Dafeldecker, Martin Brandlmayr and Valerio Tricoli producing) are majestic examples of the possibility of detourned songform.
His album “The Black Moths Play the Grand Cinema” was described by the Wire Magazine as “A tremendous achievement where everything fits, less of an attempt to blend genres than a demonstration of how for the truly imaginative, genres remain utterly meaningless.”
Featured in the Wire Magazine’s «Seismic Performances: 30 Concerts that Shook the Planet: Jon Dale described his performance as “affecting a complete transformation of both songs and the performance space itself, ritualizing the interaction between guitar and voice and forcing himself through the barriers of his material with an intensity I had previously only witnessed on rare occasions. He pulled songs apart, losing himself in repetitions and sometimes effecting brute force on his guitar to wrench near-violent clusters of notes from the instrument. This was one of those rare occasions where you observe a performer lost in their world yet maintaining absolute control over their material and shaking down the audience, shocked and unable to speak, probably the best commentary possible on Dean Roberts’ performance.”
In this hushed environment, his unusual juxtapositions of instrumentation, verse and sonic experiments reveal the art of the song as a far more suggestive, highly experimental medium that one could assume. Akin to popular or “folk” music were it given the treatments of an avant- garde composer.
Bleedingblackwood & Martina Bertoni
Berlin-based Timo C. Engel aka „Bleedingblackwood“ performs his atmospheric Lo-Fi Pop Hymns (or is it Sad Core or is it Freak Folk?) on stage. Sometimes minimalistic, sometimes opulent. First played in the dark. Sometimes borrowed from the world and transferred to the computer but always connected to nature. Acoustic Guitar and Toy Piano — Kalimba and Glockenspiel — Bontempi meets Accordeon — a lonely Metronome — broken glass and steps on the wooden floor. Music for sad giants, lost dwarfs and fairies on the run. Music to listen to in the night, made for bats, while they are chasing insects. Made for swans and cranes.
Martina Bertoni — an Italian born, now Berlin based cellist. Classically trained, she skipped classic music to explore different territories like modern music, improvisation, experimental and electronic music and crossing her path as a fellow performer with many artists like Blixa Bargeld, Teho Teardo, Erik Friedlander, Alexander Balanescu. Meanwhile she goes on recording and performing much music for theater, cinema and dance and she loves it.
Don the Tiger (D.J. Set)
Filling out the night will be D.J. Don the Tiger, playing tunes from his diverse and astonishing collection of music past and present.