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Le Guess Who? A journey into sound performances that don’t intrude upon your ear or your mind whilst floating through the regular robotic world. The quality is high. The performers come from the warmest and the coldest climates, the highest and the lowest altitudes. The path they walk is unique. And they invite you to walk amongst their aural landscapes. Perhaps you will be deep in thought listening to the sounds created, perhaps your booty will be shaking or perhaps your eye balls will be rolling back in your head in ecstasy, pleasure or surprise.

I was motivated to create the zine because my experience at LGW was so immersive that by the conclusion of the weekend, I was exhausted and wrecked but I felt exhilarated to be alive. I am sharing with you my experiences at the festival. It’s not necessarily the right experiences or the wrong experiences and the reviews aren’t professional. They will be inadequate if you’re interested in a factual recount. I offer you my own experience. I am sharing with you what it felt like to be me and be there. This is a zine of fandom. there are other amazing artists at the festival that I would have really loved to see but couldn’t make it to the show because I was also volunteering there. I apologise because this may make it look like they didn’t play a great show but it’s not necessarily true.

The front cover is a painting by Andreas Zsiros (another LGW volunteer). He chooses not to elaborate too much but does explain that it is about music + culture, meeting people + becoming friends.

This zine  has  a  soundtrack:   You  can  listen  to  it  here:  h4p://   1.   Farida  -­‐  Maqam  Nahawand   2.   Marisa  Anderson  -­‐  Into  the  Light   3.   Cate  Le  Bon  -­‐  Love  Is  Not  Love   4.   Sun  Kil  Moon  -­‐  Carissa   5.   Jenny  Hval  -­‐  Female  Vampire   6.   Black  Lips  -­‐  Can't  Hold  On   7.   Yves  Tumor  -­‐  The  Feeling  When  You  Walk  Away   8.   Wolfgang  Voigt  -­‐  KaZatrax  2.1   9.   James  Holden  &  The  Animal  Spirits  -­‐  The  Animal  Spirits   10.  IBAAKU  /  -­‐  Yang  Fogoye   11.  Ben  Frost  -­‐  Ionia   12.  tUnE-­‐yArDs  -­‐  Bizness   13.  Ex-­‐Easter  Island  Head  -­‐  Six  Sbcks   14.  Kutmah  -­‐  Bury  Me  By  The  River  (feat.  Gonjasufi)   15.  Sarah  Davachi  -­‐  Flowers  And  Other  Voiceless  Things   16.  Roy  Montgomery  with  Kirk  Lake  –  London  Is  Swinging  By  His  Neck   Hit me up. Just to say hi. Share your thoughts, feelings, experiences. Send me a zine. Make a zine with me. etc. etc.

Contributors: Juliette Rebecca-Rex MannLipp (me), Esther Sanchez (photos), Karam Wzr (words), Izzy Cotton (photos), Lucas Yves M. Orth (words & photos), Andreas Zsiros (front cover).

My favourites: Ben Frost [Review included].

Brötzmann/Leigh Saxophone/pedal steel guitar duo, Brötzmann / Leigh. Brötzmann has been around the block of the improvised music scene for the past 50 years or so. He lacks convention. If you don’t like the music, is it because you aint used to his non-conventional ways? Do you ever want to like something that you don’t actually like? Are you that desperate to escape your reality? Or you do like it? Or are you just kidding yourself? Leigh brings you deep lyrical soul. Together they are a far away take on the blues.

The Bug vs Dylan Carlson [Review included].

Essaie Pas Female lead is the most bad ass person I’ve seen irl. A duo of electronic producers + rappers. Hardcore. Dark energy. First show they performed in a year. I felt the rumbling of the darkness within me and I fucking celebrated it by shuffling my feet at a rate 845930 x per minute.

Ex easter island head The quality was through the roof. solid body electric guitars are converted into percussive instruments. An absolute treat to witness.

Grouper & Paul Clipson [review inside]

Jerusalem in My Heart

Modern experimental Arabic music // electronic compositions // Saturated synths and the overdriven signals of Moumneh's acoustic playing on buzuk and zurna // projecting handmade visuals using analog 16mm film & 35mm slides 

Julianna Barwick Ephemeral vocal loops. Please come back to the Netherlands.

Les Amazones d’Afrique [review inside].

James Holden & the Animal Spirits Peaceful trance. It feels like you are dancing alone at home in your room. When you hear these electronic tracks, you’ve gotta dance. The urge rooted within that primitive place that we all have. Your spirit animal finds you.

Pharoah Sanders Could barely walk but still blew me away. Cheers for the most epic sax.

Perfume Genius [Review included].

Tom Rogerson Electronic pianist.

Perfume Genius   Within  the  first  few  minutes  of  the  concert,  Mike  fell.   He  fell  and  seamlessly  transformed  the  fall  into  dance,  a  part  of  his  performance,   lying  on  the  floor  of  the  stage,  kicking  his  legs  in  the  air.   I   didn’t   start   to   regularly   listen   to   Perfume   Genius   unbl   two   years   ago,   when   I   was   desperately   struggling   with   the   alienabon   that   my   family   felt   towards   me,   an   alienabon  caused  by  my  coming-­‐out  and  maybe  also  by  me  finally  just  being  who  I   am  out  in  the  open,  instead  of  just  behind  closed  doors.  The  line  no family is safe, when I sashay of   the   song   Queen of   the   Perfume   Genius   album   Too Bright rang   very  true  to  me  and  many  other  LGBTQIA*  individuals  I  know.  It  must  have  been  in   2015  when  I  listened  to  a  Perfume  Genius  Interview,  shortly  aper  puqng  Queen on   my   personal   heavy   rotabon,   in   which   I   heard   Mike   describe   how   he   realised,   that  in  his  visibility  as  a  gay  man  lies  not  just  a  threat  to  many,  but  also  a  potenbal   source  of  power  to  him.  In  the  bme  that  passed  between  2015  and  2017  I  got  to   know  the  threat  and  the  power  of  my  queerness  and  a  lot  of  the  posibve  things   that   go   along   with   it   and   (due   to   my   privilege   as   a   somewhat   masculine,   white   person)  only  some  of  negabve  things.   As  the  anger  of  Too Bright (2014)  gave  way  to  the  calm  self-­‐assuredness  of  No Shape (2017)   my   feelings   and   thoughts   towards   my   queer   idenbty   somehow   simultaneously   developed   in   the   same   direcbon.   Seeing   Mike   transibon   from   falling   to   reposiboning,   balancing   himself   and   ulbmately   into   dancing   was   a   deeply  personal,  catharbc,  upliping  and  electrifying  experience  to  me  and  one  of   the  most  memorable  moments  of  Le  Guess  Who?  2017.     I  no  longer  feel  like  falling,  I  feel  like  dancing.  

Transforming Falling  Into  Dancing     Words  and  images  by  Lucas  Yves  M.  Orth  

Grouper The  doors  of  the  Dom  Kerk  are  shut.  I  push  against  them.  Perhaps  they  will  spring   open   like   the   glass   doors   on   a   TV   cabinet.   The   response   is   an   non   existent;   an   expansive   shield   of   dark   defence.   There   is   no   possible   way   to   enter   those   doors   unless  I  can  fashion  a  giant  ba4ering  ram.  The  alternabve  is  pabence.  I  feel  ripples   of   frustrabon   upwelling   throughout   the   forest   of   my   mind.   Within   the   two   minutes   I’ve  taken  to  write  this,  a  queue  of  60  people  has  formed  behind  Izzy  and  I.  A  Bribsh   guy  in  a  cap  comments  that  it  may  have  been  a  bad  mistake  to  remain  at  Sun  Kil   Moon   right   to   the   very   end.   And   man   am   I   trying   not   to   kick   myself.   This   balding   middle   aged   very   conservabve   looking   middle   aged   man   who   sang   beaubful   anecdotes  has  lep  me  Grouper-­‐less.  Or  is  that  my  mind  chooses  to  blame  him.  (Sun   Kil  Moon  review  conbnued  on  the  next  page).   Fuck   it!   Izzy   and   I   are   standing   at   the   front   of   the   line.   If   anyone   is   let   into   the   concert,  it’s  going  to  be  us.  How  open  are  you  at  the  front  of  the  line  in  life?  Aper   ten   minutes   there   is   movement   behind   the   doors.   A   couple   of   minutes   later,   the   doors   open.   The   crowd   shuffles   forward,   huddling   around   the   entrance.   A   man   exits.   The   usher   asks,   “Who’s   first   in   the   line?”   People   point   and   shrug   in   my   direcbon.   She   tells   me  the  crowd  “It  is  one  in,  one  out.  That’s  the  rule”.  She  ushers   for   me   to   walk   inside.   I   hesitate.   “Only   one   I   ask?”   “Yeah   only   one,”   she   says.   I   look   back   at   Izzy.   “Ohhhh,”   I   say.   I’m   not   sure   whether   to   go   in   or   not.   “Is   it   just   the   two   of  you?”  The  usher  asks.  “Yeah  just  her  and  I”,  I  say.  “Ok  the  two  of  you  can  go  in.”   “Alright!   Thank   you,   thank   you,   thank   you!”   I   whisper.   I   hurry   inside.   My   body   is   charged  and  I’m  not  sure  if  my  legs  or  galloping  or  is  it  only  my  heart?  “   Ripples   of   dreamy   ‘Disengaged’   spread   through   my   body   sun   rays   on   an   autumn   day.  My  heart  reclines,  soaked  in  low  waves  of  Liz’  guitar.  The  audience  sit  in  their   places   of   worship,   rightly   aligned   in   the   pews.   The   church   is   in   u4er   order.   A   film   reel   is   projecbng   onto   the   altar   behind   Liz.   A   brown   brick   building   of   1930’s   architecture  is  stretched  wide  by  one  window  aper  another  crossing  the  width  of   the  altar  of  God,  Our  Father.  Liz  is  hunched  over  her  guitar  which  lies  horizontally  in   front   of   her   knees.   Behind   her,   a   wooden   telegraph   pole   holds   electrical   lines.   A   green  leaf  and  another  green  leaf.  Nature  and  man.  More  built  bricked  structures.   The  juxtaposibon  between  humanity  and  nature.  Arbfice  verse  nature.  Can  arbfice   be  nature?  Can  nature  be  arbfice?  Is  a  rose  a  rose  a  rose?     The  most  beaubful  sounds.  Here  is  my  peace.  My  mind  is  nowhere  else.   Words  by  Julie4e  Rebecca-­‐Rex  MannLipp   Image  by  Izzy  Co4on.  

Pharoah Sanders

Stella Chiweshe


Keiji Haino & Han Bennink

Shabaka & The Ancestors

Type to enter text

Sun Kil  Moon  (conbnued).   When  only  one  being  in  a  room  of  2000  people  laughed  at  his  joke,  he  proceeds  to   point   out   that   everyone   laughs   at   that   joke   in   America.   This   guy   is   laughing   to   hear   is   own  laugh.  I’m  not  really  sure  why  he  is  cribcising  the  one  human  who  was  stroking   his  ego.  Mark  wants  to  sing  a  song  about  a  friend  of  his  who  died  last  year.  He  asks   the  audience  if  they  know  what  it’s  like  to  be  black  and  born  in  the  fipies.  I  want  to   ask   if   he   knows?   I   want   to   ask   if   he   is   capitalising   on   someone   else’s   hardship?   Is   Mark   sharing   his   own   experience   or   is   he   capitalising   on   the   hardship   of   someone   else?   Is   him   telling   the   audience   that   he’s   friends   with   black   people,   a   way   for   him   to   look  cooler?  At  home,  Mark’s  songs  are  gips  of  melodic  poetry  in  my  ears.  Variety  is   the  spice  of  life.   We were on up stage, I heard a classic drum fill Blasting a hundred decibels over the hill It was getting pretty vile, I asked who it was A guy in a raincoat shouted back, "They're called 'War On Drugs!'" It sounded like basic John Fogerty rock I said, "This next song's called 'The War On Drugs Can Suck My Cock’" (The War On Drugs Can Suck My Cock’, Sun Kil Moon)

Ben Frost   A  beaubful  blonde  and  bearded  creature  wearing  an  earthen  dark  dress.  Pouring  his   heart   and   sole   and   enbre   body   into   producing   the   galaxy   waves   that   reach   our   ears.   Ben   Frost   was   a   grounded   and   earthy   contrast   to   the   5m-­‐high   roll   of   aluminium   cooking   foil   that   shielded   us   from   the   wall   behind   the   stage.   I   looked   into   it   and   saw   a  galaxy  reflect  back  at  me.  I  walked  forward  and  danced  soply  swaying  my  freshly   arrived   body   in   between   a   gap   in   a   mass   of   dedicated   listeners.   At   some   acts,   you   find   the   audience   coming   and   going,   but   this   audience   stayed   present.   Any   newly   arrived   audience   member   was   not   leaving   again.   The   music   was   danceable,   I   suppose.  But  only  just.  It  was  encapsulabng.  Dark  without  crossing  the  border  into   depressing.  The  sun  is  seqng  early  this  bme  of  year,  giving  only  the  daylight  hours  of   winter   but   this   doesn’t   get   you   down   because   you’re   sbll   living   off   the   back   of   summer.   I   can   feel   the   sunshine   inside   of   me   and   the   warmth   radiabng   from   the   audience   around   me.   Each   face   in   the   crowd   is   earnest,   their   ears   pricked   like   kangaroo  paws.  Each  arm  of  each  body  is  crossed.  Photosynthesising  to  the  music.   Following   the   same   chemical   reacbon   without   a   will   to   break   free.   Or   are   they   already  free?     Are  these  the  free  bodies?   Words  by  Julie4e  Rebecca-­‐Rex  MannLipp  

Marisa Anderson

Roy Montgomery

The Bug vs Dylan Carlson 'Being a huge fan of everything Dylan Carlson and Kevin Martin, I have to say that I had the privilege to see The Bug vs Dylan Carlson two times within one year. Concrete Desert is already among my top releases of the year - which I find a very special record in terms of sonic innovation and originality. After biking early and camping at De Helling to get a good spot to listen and watch, I felt great to have been arrived in good time, and what other music to listen to while waiting for the two to go on stage than Dead Can Dance (big ups to the DJ). As I should’ve expected, the show was not only everything that I had expected and experienced before but more. I had been engulfed into the timeless digital ritual once again. Something very nasty was brewing beneath the hypnotic guitar drones and the creeping, deafening, industrialized broken dubs. Naturally, the setlist consisted of tracks from Concrete Desert, and they even played Boa from the 2014 Boa / Cold EP. I particularly enjoyed that there was some serious subtle improvisation and jamming going on from both of the guitar and beats departments. And oh, how Justin Broadrick’s desperate screams filled my head when they played Snakes vs Rats. I feel the need to emphasize the release’s beautifully cynical vibe. It’s a perfect and highly recommended go-to album to loop and drown in when you’re travelling through crowded public transport, bumping into all those people, yet everyone’s feeling disconnected from everyone and everything else. Needless to say, if you’ve missed this set, it’s never too late to check out and get into this masterpiece. Or trying to catch these two playing a collaborative set, or even sets from their other projects like The Bug, Earth or anything these aural wizards are involved in.’ Words by Karam Wzr Image by Esther Sanchez


Image of Izzzy Cotton

Les Amazones  d'Afrique:   FADE  IN:   Grote  Zaal  of  the  Tivoli     On   the   Saturday   evening   of   Le   Guess   Who,   a   collecbve   of   female   West   African   singers   come   together   to   perform  to  a  full  house,  their  music  that  envisions  a  world  of  gender  equality.   Their   music   is   African,   clubby   and   pop.   Each   song   unpredictably   features   an   extensive   and   varied   amount  of  vocals  and  percussion.   DISSOLVE  TO:   Audience   is   dancing   lively.   On   the   stage   in   the   Grote   Zaal   of   the   Tivoli   are   a   male   drummer,   a   male   guitarist,   a   male   keyboardist   and   the   main   show,   Les   Amazones   d’Afrique:   4   bad   ass   African   women   between   the   ages   of   30   and   60:   Mariam Doumbia, Mamani Keïta, Rokia Koné, and Kandia Kouyaté.   The   audience   is   almost   enbrely   made   up   of   white   people.   African   women   are   singing   and   dancing  ecstabcally.  Super  happy,  peaceful  and  free.   Act  I   On   stage,   fricbon   between   the   Rokia Koné   and   what   appears   to   be   the   lead   singer   of   the   evening,   Kandia  Kouyaté.  Kouyaté  dances  sensually  holding  one  end  of  her  scarf  in  each  hand.     Koné  walks  off  the  stage.   Mariam  Doumbia      “Don’t  you  want  to  make  the  people  dance?!”   Doumbia  calls  Koné  back  on  stage  through  the  microphone.   Koné  returns  to  the  stage,  removes  her  ten-­‐inch  sble4oes  and  begins  twerking  on  the  stage.   Koné   shakes   her   booty   on   the   lead,   Kouyaté.   They   shake   their   bootys   together.   Koné’s   behaviour   is   errabc.     Act  2   Kouyaté  introduces  members  of  band  one  by  one,  giving  high  praise  to  each.  Each  performs  a  solo  piece   using  percussion  and  voice.  One  of  singers  plays  bongos.  She’s  fantasbc.  She  removes  her  9-­‐inch  heels.   Act  3  

Kouyaté “Here  we  have  the  sexy…”   When  it  is  turn  to  introduce  Koné,  Kouyaté  offers  her  praise.  She  pauses,  apologises  and  reconsiders  her   choice  of  words,  and  offers     “Here  we  have  the  beaubful  Rokia Koné”     instead.   The   band   goes   crazy,   the   beat   becomes   faster   and   faster.   Koné   does   not   sing   in   the   microphone.  That  mundane  ability  is  behind  her  now.  But  she  twerks.  She  twerks  the  fuck  out  of  ____.     Act  4   Mariam  Doumbia  on  the  right  introduces  Kouyaté.  Kouyaté  removes  her  10  inch  heels  to  allow  herself  to   jump   and   spin.   She   also   twerks.   Bezurk.   The   finale   of   this   majesbc   piece   is   a   twerk   orgy.   The   bongo   players  comes  to  centre  front,  turns  her  ass  so  it  faces  the  audience  and  she  twerks.  She  twerks  the  fuck   out  of  _____.  The  crowd  goes  crazy.     A  beaubful  evening.  Women  doing  whatever  the  fuck  they  want.   Words  by  Julie4e  Rebecca-­‐Rex  MannLipp

Perfume Genius

Le Guess Who? 2017 Superheroes e-zine  

Some of our volunteers (aka the Superheroes of Le Guess Who?) decided to make a festival zine, to share their experiences while working at t...

Le Guess Who? 2017 Superheroes e-zine  

Some of our volunteers (aka the Superheroes of Le Guess Who?) decided to make a festival zine, to share their experiences while working at t...