Rewire Festival Programme 2017

31 March — 2 April 2017

Festival Programme

Contents Introduction.....................................................3 Friday March 31................................................6 Saturday April 1.............................................. 16 The Sound of Story...................................... 18 Sunday April 2............................................... 28 Essay The Music of the Body.................... 36 Essay There is no ‘Single’ Woman........... 40 Also at Rewire 2017..................................... 59 General Info.................................................. 60 Venues............................................................ 61 Credits............................................................ 62

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Introduction Welcome to Rewire 2017, the seventh edition of the international festival for adventurous music in The Hague. On the first days of spring, Rewire proudly presents a full weekend of forward-thinking music. Spread across three days, the extensive programme comprises more than 85 events, including numerous (inter)national premieres, commissioned performances, artistic collaborations, live concerts, club nights, and a series of talks, workshops, presentations and screenings. Roughly 200 critically acclaimed artists and musicians from over 25 countries have come together to present and discuss the vast landscape of contemporary music. Transpiring in iconic The Hague venues like the historical Grote Kerk and Lutherse Kerk, pop venue Paard, contemporary music and dance theatre Korzo, and intimate spaces like Prins27, Het Nutshuis and The Grey Space, the heart of the city forms the backdrop for our most extensive, challenging and political lineup to date.

From its outset, Rewire has always strived to, first and foremost, showcase innovative and emerging musical scenes, artists and genres. But we cannot ignore the reality that surrounds us. Our annual celebration of progressive sound comes at a confusing and troubling time. Our world appears more divided than ever; populism, extremism, mutual distrust, and anger are on the rise. We strongly believe that times like these call for art, and by extension music, that questions and disrupts prevailing societal tendencies. That speaks truth to power. For art has always had a strong tradition of challenging, subverting and resisting. And music and musicians have rarely shied away from giving voice to counter culture. As a music festival, we too have a responsibility. Not only are we able to bring people together, but through our programming we can also challenge convention, stimulate imagination, and encourage discussion. We can provide a platform to artists who are not afraid to go against the grain. Artists who question the status quo, and are outspoken in their efforts to transform society.

With this is mind you will find several artists on this years festival line-up that epitomise this spirit. Take for example Moor Mother. An incredibly gifted and honest noise artist and poet, Moor Mother continues the legacy of African-American female musicians by giving voice to the unheard: expressing their sorrow, pain and anger. Or New York-based artist and composer Jace Clayton, whose ode to the artistic legacy of Julius Eastman – the mercurial gay, African American composer who mixed canny minimalist innovation with head-on political provocation – lends context and nuance to the composer’s tragic saga. We’ve also invited GAIKA, a visionary voice confronting today’s racial politics and visceral product of contemporary London, and a new collaboration between German sound artist and poet AGF and Afghan performance

Introduction

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artist Kubra Khademi. The latter duo presents a politically-charged performance that grapples with womanhood, white supremacy and intersectional feminism.

AGF and Kubra Khademi’s powerful performance is just one of many unique, collaborative expressions at this year’s festival. For Rewire 2017, we have commissioned and programmed a number of projects, many of which are premiering in The Netherlands, that upend assumptions about genre and composition. Performing in the Lutherse Kerk on Friday, American composer Daniel Wohl, German video artist Daniel Schwarz, and acclaimed local ensembles Slagwerk Den Haag and Matangi Quartet present the European premiere of ‘Holographic’, a mesmerising audio-visual performance that weaves gentle piano, distorted organs, melancholic strings, bass clarinet, and percussion together with striking electronic elements. Teaming up once again with the Netherlands Institute for Sound and Vision’s RE:VIVE initiative, Rewire also presents a commissioned work by HOEK and Dieter Vandoren at Korzo Theatre. Moulding archival field recordings and ambient light architecture, the duo creates an intensely expressive audio-visual world.

The series of collaborative projects extends over the entire Rewire 2017 weekend. On Saturday, we welcome a true pioneer in the field of electronic music in Peter Zinovieff. Partnering with one of new music’s rising stars, London-based cellist Lucy Railton, the two perform RFG, a spatially-configured work for cello and computer that articulates a bold and luminous meshing of distinctive voices. On Sunday, we’re closing out the festival with two sets of musical titans: Kangding Ray and Mogwai’s Barry Burns, and Jeff Mills & Tony Allen. Performing as SUMS, Kangding Ray and Barry Burns craft a warm and organic fusion of spatial electronics and stunning post-rock sounds, while Jeff Mills and Tony Allen join forces for just the second time in their storied careers.

Building on their Paris debut, the pair treats us to an improvised, jazzinfused synthesis of expansive techno textures and pulsating live percussion.

This year’s Rewire programme not only makes way for emerging artists and genres, it also highlights and connects the very pioneers and early innovators that inspire them. It goes without saying that Peter Zinovieff, Jeff Mills and Tony Allen top this list, but they’re not the only ones. On Friday, legendary British shoegazers Slowdive return to Paard for the first time in 20 years, while on Saturday, Michael Gira and his Swans take the stage for their final show on Dutch soil in the current constellation. Also on Saturday, iconic French-Canadian guitarist and producer Daniel Lanois treats us to the lush sonic collages of his lap and pedal steel guitars with his first ever instrumental audio-visual

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performance, before concluding on Sunday with the Dutch debut of late ‘70s DIY pioneers This Heat, who have only just reformed as This Is Not This Heat.

Following on the heels of last year’s success, our extensive talks, workshop and screenings programme is led by the second edition of their The Sound of Story. This year’s exploration of the role of sound and music in storytelling focuses entirely on video games. Presenting leading music and sound practitioners working in the indie and AAA sectors, The Sound of Story investigates topics such as writing interactive scores, designing sound for immersive environments and working with procedural audio. It’s an exciting opportunity to learn about the creative and technical processes behind innovative sound in games.

Several festival artists will share and reflect on their own musical journeys and processes throughout the festival weekend. On Friday, Matthew Barnes discusses the evolution of his Forest Swords project, while Jace Clayton takes us on a winding path through living music cultures across the globe. On Saturday, Peter Zinovieff talks about his historic contributions to electronic music, and AGF, Kubra Khademi and Moor Mother join a panel to reflect on the power of poetry and gender in electronic music. And on Sunday, Kassel Jaeger’s François J Bonnet delves into his philosophies of sound and listening. Alongside the regular festival programme, Rewire presents an education trajectory for students enrolled in primary and secondary education. The programme is aimed at introducing young and new audiences to the contemporary music practice.

The Rewire 2017 programme critically reflects on the constant stream of developments in contemporary and electronic music, while remaining firmly rooted in our sociopolitical reality. We hope to challenge you, the festival visitor and the artist, to repeatedly explore new sonic and societal territories. To immerse yourself in all of the festival’s adventurous sounds, thought-provoking talks and discussions, insightful workshops, and exhilarating club nights.

The artists and projects discussed here are just a few of this year’s festival highlights. On the following pages you’ll find a complete guide to the Rewire 2017 programme: introductions to each one of our festival artists and events, followed by two captivating essays. Consider them as food for thought, a frame for what is to come. We have tried to be as complete as possible, but for last minute updates, please check our website.

We wish you a very inspiring festival weekend.

Introduction

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Friday March 31

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Rewire Festival 2017

Jace Clayton

Talk Uproot: Travels in 21st-Century Music and Digital Culture by Jace Clayton

RA Exchange Forest Swords

19:00 — 20:00 . Korzo Club The Exchange is Resident Advisor’s weekly interview podcast—a series of conversations with the artists, labels and promoters shaping the electronic music landscape.

Typically recorded in Resident Advisor’s head offices, the Exchange relocates to The Hague on for an exclusive live edition featuring Rewire 2017 artist Forest Swords.

The musical alias of Liverpool-based artist and musician Matthew Barnes, Forest Swords is renowned for the evocative blend of haunting melodies, jagged dub and looping guitar lines. Resident Advisor staff writer Holly Dicker will be speaking to Matthew Barnes about the evolution of his Forest Swords project, influences and creative processes, as well as his long-awaited new album.

21:15 — 22:15 . Korzo Club New York-based artist and writer Jace Clayton is perhaps best known under his alter ego, d/j Rupture. Emerging in 2001 with a three-turntable, sixty-minute mix called ‘Gold Teeth Thief’, Jace Clayton soon found himself playing venues across the globe.

Just as the music world made its fitful, uncertain transition from analogue to digital, Jace Clayton landed on the front lines of creative upheavals of art production. His new book, ‘Uproot: Travels in 21st-Century Music and Digital Culture’ is a guided tour of this newly-opened cultural space. With humour, insight, and expertise, Jace Clayton takes us on a winding path through music cultures across the globe, investigating the connections between a Congolese hotel band and the indie-rock scene, Mexican rodeo teens and Israeli techno, and Whitney Houston and the robotic voices in rural Moroccan song, and offering an unparalleled understanding of music in the digital age.

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Anni Nöps

03:00 — 03:30 . Paard I Anni Nöps is an Estonian DJ based in the Netherlands and affiliated with the SISTER platform, a global online network of woman in electronic and club music. Sifting through a vast range of electronic genre, her explorative DJ sets simultaneously embrace hard-hitting percussion that branches out of industrial grime, glimpses of noise and floating melodies to form dense and abrasive soundscapes.

Arca & Jesse Kanda

01:30 — 03:00 . Paard I Venezuelan-born producer Arca and London-based visual artist Jesse Kanda have become two of the most exciting artists of their generation. Arca’s meteoric rise is fuelled by the distinctly hyper-modern sound of his two critically acclaimed albums, a lurid concoction of distorted synths, skittering beats and angelic vocals that threatens to boil over into dark electronic fantasies on his self-titled third, to be released in April. Often working in tandem, Jesse Kanda is responsible for the twisted visual layer to Arca’s sonic aberrations. At Rewire 2017, the pair perform their lauded DJ/live AV set, with Arca singing interruptive layers over his favourite productions as Jesse Kanda directs the grotesque display.

Blanck Mass

23:30 — 00:30 . Paard I Blanck Mass is the solo project of Fuck Buttons co-founder Benjamin John Power. Releasing his self-titled debut under the moniker on Mogwai’s Rock Action label in 2011, Blanck Mass sees Power harness the propulsive sonic world of his Fuck Buttons past and steers it into engrossing electronic arrangements. With his latest album, released by Sacred Bones in spring of this year, Blanck Mass turns in his first ever protest music. Routed in dancefloor bliss with a terrifying twist, ‘World Eater’ is driven by an impassioned desire to reconcile, heal and find peace amid distress.

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Arca

Cloud Becomes Your Hand

20:45 — 21:30 . Prins 27 Hall Founded by composer Stephe Cooper, Cloud Becomes Your Hand has evolved into a six-piece ensemble replete with two sets of percussion, violin, synths, guitars and bass. Renowned for their chaotic live shows and colourful gimmicks, the resulting clash of instruments spans everything from Canterbury psych to Oingo Boingo and early Devo. Latest release, ‘Rest in Fleas’, feels like a raucous avant-rock storm raging through a strange land, and reveals Cloud Becomes Your Hand to be one of the leading lights of New York’s vibrant experimental scene.

Friday March 31

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Forest Swords

20:45 — 21:30 . Lutherse Kerk Daniel Wohl is a classically-trained composer and electronic producer hailed as one of his generation’s most skilful and imaginative creators. Blurring the lines between classical, acoustic and electronic instrumentation, Daniel Wohl weaves melancholic strings, bass clarinet, and percussion together with striking electronic elements. At Rewire 2017, Daniel Wohl presents the Dutch debut of his latest album, ‘Holographic’, as a dazzling, immersive audio-visual experience with support from acclaimed The Hague ensembles Slagwerk Den Haag and the Matangi Quartet, and visual artist Daniel Schwarz.

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22:45 — 23:30 . Paard II As Forest Swords, Liverpool native Matthew Barnes produces an evocative blend of haunting melodies, jagged dub beats and looping guitar lines. Surfacing with debut EP ‘Dagger Paths’, Forest Swords grounded his reputation with 2013’s highly acclaimed ‘Engravings’, a powerful body of songs that is both euphoric and bleak, heavy and triumphant. Having taken time to collaborate on soundtracks with Massive Attack and Young Fathers, and score dance performance ‘The Shrine’, Forest Swords marked his solo return earlier this spring with ‘The Highest Flood’, the first taster of his forthcoming new album for Ninja Tune.

Rewire Festival 2017

Forest Swords

Daniel Wohl + Slagwerk Den Haag + Matangi Quartet present Holographic

Gábor Lázár

20:00 — 20:30 . Korzo Theater 21:30 — 22:00 . Korzo Theater 23:15 — 23:45 . Korzo Theater With his intensely minimalist computergenerated music and abrasive synth tones, Budapest-based sound artist Gábor Lázár is single-handedly constructing the future of electronic music. Deconstructing rave sounds into rich and repetitive sound sculptures, Gábor Lázár bridges the gap between conceptual composition and dance motivated club culture. At Rewire, the Hungarian artist walks a slightly different path, presenting kaleidoscopic light and sound installation ‘A Trap For Your Attention’.

GAIKA

00:00 — 00:45 . Paard II Brixton-born vocalist and producer GAIKA is a visceral product of contemporary London. Drawing from hip-hop, dancehall, and grime, GAIKA’s dystopian, futuristic sounds convert the hyper-real and chaotic moments of London’s recent past into dark, melodic collages that lurch into combat against heavy vocals. Toning it down ever so slightly on his Warp Records debut ‘SPAGHETTO’ – described as his ‘reggae lovers rock record’ – GAIKA’s live performances remain a physical reflection of his powerful message, a call for action for a society that’s been tearing itself apart and needs to find unity.

Greg Fox

19:30 — 20:00 . Prins 27 Hall New York-born percussionist Greg Fox channels the relentless energy of his hometown into an astonishing array of musical outlets. A practitioner of the rapid-fire percussive stroking known as the Moeller technique, Greg Fox’s octopus-like reach

extends into the brutal prog of Brooklyn trio Zs (also performing at Rewire 2017), the manic improv rock of Guardian Alien, and the beat-heavy psych of GDFX. And that’s just scratching the surface. In between drumming for the likes of Liturgy, Colin Stetson, Ben Frost, Skeletons and PC Worship, to name but a few, Greg Fox explores pioneering rhythms as a solo artist using a hybridised electroacoustic drum kit to echo the beat of his own heart.

HOEK & Dieter Vandoren

20:30 — 21:15 . Korzo Studio Amsterdam-based producer HOEK and Rotterdam-based artist Dieter Vandoren present a new audio-visual work commissioned by Rewire and the Netherlands Institute for Sound and Vision’s RE:VIVE initiative. Traversing the line between the familiar and the sublime, HOEK moulds archival field recordings into intensely expressive sound worlds. Complemented by Dieter Vandoren’s ambient light architecture, this results in a menacing and disorienting experiment in sound and space.

Horse Lords

23:30 — 00:15 . Prins 27 Hall Baltimore quartet Horse Lords has quickly established itself as a pioneering force in the American DIY scene. Coupling the otherworldly harmonies of their hand-modified and re-fretted guitars with the pulsating duet of two percussionists, the band constructs dense layers of krautrock, African polyrhythms, and classical minimalism.

The result is a sound that is at once stark and lush, tightly interwoven and threatening to fly apart, making their hypnotic recordings and visceral live performances thrilling affairs.

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21:15 — 22:00 . Paard II Canadian vocalist and producer Jessy Lanza has been uplifting crowds with her energised, jazzed up electro compositions since her 2013 debut, ‘Pull My Hair Back’. Co-produced with Junior Boy’s Jeremy Greenspan, the album brought a refreshing, jazz-inspired form to electronic pop. Signed to Kode9’s Hyperdub label, Jessy Lanza has since become prominent for her Chicago footwork-paced ballads and unique vocal distortions. On last year’s follow-up ‘Oh No’, she confidently modernises her influences, adding touches of Japanese 80’s synth artists Yellow Magic Orchestra, whilst maintaining her characteristically slick, housed-up R&B.

Lorenzo Senni

00:45 — 01:30 . Paard I Italian artist and producer Lorenzo Senni is a tireless investigator of dance music’s mechanisms and working parts.

Steadfastly loyal to the sound and rave culture of the 90s, Lorenzo Senni strips away the era’s predictable highs and lows, instead zeroing in on nuanced builds and complex arpeggios to craft abstract compositional electro and deconstructed experimental trance that teeters on the edge of euphoria. Signing to legendary London label Warp Records in 2016, Lorenzo Senni released his latest effort, a 6-track EP entitled ‘Persona’, to rave reviews.

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Lorenzo Senni

Jessy Lanza

Slowdive

Pete Harden & Ensemble Klang

NAH

22:45 — 23:30 . Prins 27 Foyer NAH is the solo project of Philadelphia-born, multi-disciplinary artist Michael Kuhn. A staple of the city’s rich avant-garde scene and frequent collaborator of fellow resident Moor Mother, NAH is a prolific sound sculptor who’s developed a dynamic synthesis of textured noise and confronting hip hop rhythms. Performing live with little more than a drum kit and vocals filtered through dense layers of distortion, he channels a frenetic energy that teeters on the edge of violent hostility and playful chaos.

N.M.O.

01:30 — 02:15 . Paard II Uniting under the ever-changing acronym N.M.O., drummer and producer Morten J. Olsen and synthesis aficionado and visual artist Rubén Patiño unleash an electrifying approach to live performance that incorporates club music, military-style drumming, fitness and absurdity. Dubbed ‘Military Danceable Space Music and/or Fluxus Techno’, their releases are characterised by a unique blend of repetitive percussive patterns and synthetic sounds that, when combined with performative elements, explodes during their short and intense live shows.

22:45 — 23:30 . Lutherse Kerk With a dynamic approach to contemporary music and sonic adventure, The Hague collective Ensemble Klang have quickly risen to become one of the Netherlands’ top ensembles. Attracting today’s leading composers by virtue of their innovative programmes and exciting commissions, Ensemble Klang offer the floor to one of their own at Rewire 2017, artistic leader and guitarist Pete Harden. With his latest work ‘Precious Metals’, the British-born composer explores texture and resonance through distorted trombones and stuttering guitars, conjuring a world of rich humming surfaces punctured by howling wild vibrations.

Slowdive

21:30 — 23:00 . Paard I Slowdive are a legendary British shoegaze outfit founded by long-time school friends Rachel Goswell and Neil Halstead in 1989.

When they first emerged, the band was heralded as the creator of a wondrous new music that blended the atmospherics of Brian Eno with the noise of The Jesus and Mary Chain. Twenty years on, the trio of releases Slowdive put out before their premature 1995 demise have each become defining icons of 90s rock. Reuniting in their original constellation, with Simon Scott on drums, Slowdive treat Rewire 2017 to acclaimed originals ‘Souvlaki’ and ‘Pygmalion’, as well as the celestial haze of recent newcomer ‘Star Roving’, their first new music in 22 years.

Friday March 31

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S.T. Cordell

20:00 — 20:45 . Prins 27 Foyer The musical brainchild of Woody Veneman, S.T. Cordell is a five-piece, Eindhoven-based analogue dance outfit whose rollicking motorik and electrifying live improvisations evoke infamous avant-garde predecessors like Can and Neu!. Reuniting last year after a prolonged hiatus, the newly energised S.T. Cordell incorporate repetitive bass grooves, psyched-out vocals, analogue samples and whirling synth explorations to create an invigorating, highly danceable musical experiment.

Tirzah

20:00 — 20:45 . Paard II London-based singer and songwriter Tirzah burst onto the scene in 2013 with Mica Levi collaboration ‘I’m Not Dancing’.

Drawing her influences from the disparate sounds of The Streets and Robert Wyatt, her silky and soulful garage vocals, casual, precision cut production and gently inviting lyrics garnered universal acclaim. Although she’s been relatively quiet since 2014’s ‘No Romance’ EP, Tirzah reappeared with two new songs last summer. On “Time Moves Slow Reach Hi,” her voice retains its dreamy tones as it gets newly washed over with slight processing, suggesting she’s added a few new techniques to her performance bag.

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Rewire Festival 2017

Torus & Nikki Hock

Zs

22:00 — 22:45 . Prins 27 Hall As Zs, saxophonist Sam Hillmer, guitarist Patrick Higgins, and drummer Greg Fox dispense endless streams of hypnotic free-jazz, brutal prog and minimalist drone.

Heralded as one of the strongest avantgarde bands in New York, the trio are primarily concerned with challenging the physical and mental limitations of both performer and listener. Their first release in the current incarnation, ‘Grain’, cannibalised the sounds of Zs past to create a relentless vision of their future. Returning in 2015 with ‘Xe’, the trio recorded their full-length ‘debut’ in a single take – no overdubs and no editing.

Zs

Tirzah

22:30 — 23:15 . Korzo Studio Torus is the ever-evolving alter ego of The Hague-born artist and producer Joeri Woudstra. Debuting with a self-titled EP in 2012, Torus has gradually refined his expansive sonic aesthetic with each subsequent release. At this year’s festival, he’s joined by Amsterdam-based multidisciplinary artist Nikki Hock. Moving between reality and the metaphysical in search of other worlds, Nikki Hock sculpts the spaces and environments around him to create experiential landscapes. For Rewire 2017, the duo has developed an immersive light installation, replete with overstimulating, asynchronous strobes.

Friday March 31

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Saturday April 1 Workshop An Introduction to TouchDesigner - creating A/V projects

12:00 — 18:00 . The Grey Space TouchDesigner is rapidly becoming the de facto software for audio-visual performances, installations, projection mapping and interactivity in experimental, artistic and commercial projects. Its enormous flexibility and power comes from its integration of a node-based programming paradigm, Python as a scripting language, GLSL and much more. At Rewire 2017, Studio Loos will host workshops under the guidance of Darien Brito that will introduce participants to the creation of computer graphics and show them how to combine sound, visuals and lights in a live or fixed performance.

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The Wire In Conversation with Peter Zinovieff

12:45 — 13:45 . Korzo Club A true pioneer in the field of electronic music, Peter Zinovieff founded London’s Electronic Music Studio in the early 1960s, invented sampling and taught everyone from the Beatles to Bowie. The grandfather of the synth, he was one of the very first people to use a computer to control and compose electronic sounds, and almost certainly the first to wheel it onto a stage and perform. At Rewire 2017, The Wire contributor Robert Barry talks to Peter Zinovieff about his historic contributions to electronic music, as well as his new electro-acoustic collaboration with British cellist Lucy Railton.

Peter Zinovieff & Lucy Railton

Talk New Emergences #7 Poetry, Presence and Empowerment

20:00 — 21:00 . Korzo Club New Emergences is a recurring lecture and discussion series highlighting the current debates around gender in electronic contemporary music and sound art. At Rewire 2017, New Emergences presents its seventh edition, inviting festival artists AGF, Kubra Khademi and Moor Mother. Born on three different continents, these artists developed their respective artistic languages in environments that, at first glance, couldn’t seem more different from each other. On this occasion Rewire visitors can meet three exceptional artists who will come together to discuss issues based on their embodied experience of engendering poetry with activism.

How poetry can empower identity, occupying a muchneeded platform for under-voiced artists and disengaged communities. They will bring their potency for language and expression to discuss the power of speaking up and making people listen, and the effects of being heard.

Workshop RE:VIVE Sample The City

13:00 — 18:00 . Nutshuis First Floor Celebrating The Hague and its centuries old history, the RE:VIVE Initiative and The Netherlands Institute for Sound and Vision present ‘Sample the City’, an extensive workshop programme that gives 15 young producers exclusive access to unique archival films and recordings, and challenges them to turn the forgotten sounds and images of The Hague into progressive new musical works. Facilitated by SAE Institute Amsterdam, the producers are challenged to explore archival material in the form of field recordings and films, and push their technical and creative limits to generate inspired new works, and change the way we hear the past.

Saturday April 1

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The Sound of Story: An Exploration of Sound and Music in Games Talks & Presentations 14:00 — 18:00 . Korzo Club

The Sound of Story returns with a special video games edition, presenting leading music and sound practitioners working in the indie and AAA sectors. Exploring topics such as writing interactive scores, designing sound for immersive environments and working with procedural audio, The Sound of Story is an exciting opportunity to learn about the creative and technical processes behind innovative sound in games. Illustrated with clips, case-studies and anecdotes, The Sound of Story is a must for students, sound professionals, gamers, and music producers alike.

The Sound of Story at Rewire 2017 is co-produced by Lighthouse and Rewire.

John Broomhall John Broomhall is an acclaimed game music and sound creative, senior game development manager and commentator, with dozens of credits variously as composer/producer, audio director/consultant, sound effects designer and voice director. His prolific career encompasses such iconic titles as ‘Forza Motorsport’, ‘XCom’, ‘Transport Tycoon’, ‘Guitar Hero DLC’, and ‘American Idol’ and prestigious clients, Microsoft and Sony PlayStation. In 2009, he received a Recognition Award by the Game Audio Network Guild of America, and in 2013 co-founded Game Music Connect, to celebrate and explore the music of video games and the extraordinary talent behind it.

Talk John Broomhall will discuss game audio’s history, development and future directions, exploring what game sound can learn from its own evolution and from storytelling film sound.

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Adele Cutting Adele Cutting is a BAFTA award-winning audio professional working in the games industry. After fifteen years as the Senior Audio Director of Electronic Arts, working on blockbuster titles including the ‘Harry Potter’ franchise, she formed audio production company, SoundCuts, working with clients Microsoft, Gamesys and Nickelodeon on projects across a range of gaming platforms, from mobile to VR. SoundCuts was a finalist in the 2015 and 2016 Develop Awards for Audio Outsourcing, and the TIGA 2016 awards in the Audio Supplier category.

Talk Drawing on her many years of experience, Adele Cutting will discuss the creative considerations and challenges of working on different types of projects, and at varying budget levels.

David Housden Award-winning, BAFTA nominated composer David Housden is best known for his collaborations with visionary game developer Mike Bithell, including on his latest opus ‘Volume’, a sci-fi re-imagining of the Robin Hood mythology.

Housden creates melodic, original music scores that illuminate imaginary worlds with real emotion and immersion, and was instrumental in helping to bring to life 2D shapes with character and personality on Bithell’s indie hit ‘Thomas Was Alone’. Other projects include Bossa Studio’s BAFTA awardwinning ‘Monstermind’ and Sony’s virtual world, ‘PlayStation Home’.

Talk David Housden will discuss his approach to composing, the interactive nature of music, and his journey from playing in a garage rock band to working in games.

SØS Gunver Ryberg Danish sound artist and composer SØS Gunver Ryberg has a broad background in performance and production that encompasses multichannel installations, live concerts, performance art, video games, and much more. Through her award-winning, often site-specific work, she seeks to explore the potential of the acoustic space, and mix new forms of expression and new media. For video games, SØS Gunver Ryberg has created music and sound design for two acclaimed indie productions: the multiple award-winning INSIDE, which she worked on with Martin Stig Andersen; and, as part of SGR^CAV, a collaboration with Cristian Vogel, for twin-stick shooter game THOTH. Panel Talk Ahead of her Rewire 2017 live performance, SØS Gunver Ryberg will join the other speakers to discuss creating powerful and innovative audio for games.

Saturday April 1

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Aurora Halal

AGF & Kubra Khademi

19:00 — 19:45 . Korzo Theater Performing as AGF, German poet, vocalist and new media artist Antye Greie explores speech and spoken word within the depths of electronic music. At Rewire 2017, she’s joined by Kubra Khademi, an Afghan performance artist who examines her life as a refugee and woman by creating public performances that respond to extreme patriarchal politics. Together they present the world premiere of their new project, a truly subconscious work that fuses Khademi’s politically-charged performances with AGF’s distinctive sound art to address womanhood, white supremacy and intersectional feminism.

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Aurora Halal

01:30 — 02:30 . Paard II Aurora Halal is a New York-based DJ and producer, the creator of infamous Brooklyn club night Mutual Dreaming, and curator of upstate festival Sustain Release. Through her unwavering commitment to crude DIY experimentation and live hardware sets, she has become one of the most important figures in the city’s underground club scene. Cultivating a sound that ranges from hazy, dubby techno to offbeat, acid-drenched house, her shadowy and psychedelic live sets are built from a mass analogue gear that pushes her productions deep into hypnotic dancefloor states.

Baiba Yurkevich

Rewire Festival 2017

Carla dal Forno

23:15 — 00:00 . The Grey Space Basement CAO is the solo project of Peruvian electronic music composer Constanza Bizraelli. Routed in abstract ritual, her self-coined ‘blackened amazonic techno’ draws influences from cosmic disco, minimal synth, and black metal. Based between Lima and London, she released her debut “Marginal Virgin”, an album full of abrasive and heavily hypnotic electronics, last year via UKbased DIY imprint. While gearing up for the release of her second full-length, due out later this year, CAO also journeys into the otherworldly sounds of past and present, near and far with her monthly NTS radio show, “Subterranean Odyssey”.

22:30 — 23:15 . The Grey Space Basement Baiba Yurkevich is a Latvian-born artist, singer and producer and one half of Antilounge duo Loyu. Steeped in jazz and classical music tradition, her musical intentions consist of abstract introspective expressions and contemplative sonic explorations that strike a balance between brutal low resonances and bright melodic sequences. Exploring the power of the voice in creating and controlling electronic instruments, Baiba Yurkevich’s solo work incorporates live vocal processing, vast sonic soundscapes and bass-heavy intermezzos.

CAO

Carla dal Forno

19:15 — 20:00 . Prins 27 Hall Carla dal Forno is an Australian singer and multi-instrumentalist who made her atmospheric solo debut for Blackest Ever Black last October. Formerly of Melbourne cult group Mole House, Carla dal Forno’s solo endeavours are plain-spoken, vocal-driven affairs interspersed with melancholic instrumentals. Although her approach finds kindred spirits in the realms of ambient music, her compositions exude a dark, lo-fi aesthetic that draws from vintage post-punk, ‘80s synth pop, psychedelic folk and elements of pulsating dub.

At Rewire 2017, she’s joined by Gardland’s Mark Smith.

Daniel Lanois

Saturday April 1

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Daniel Lanois

Croatian Amor

21:45 — 22:30 . Prins 27 Hall Croatian Amor is the solo project of Danish musician Loke Rahbek. A founder of record label Posh Isolation, Loke Rahbek laid the foundation for a flourishing Copenhagen scene that has spawned both Iceage and Lower, as well as his own stream of gut-wrenching power electronics, noise, punk, and synth-pop. As Croatian Amor, Loke Rahbek indulges a more intimate and introspective self. Drifting away from his roots, ‘Love Means Taking Action’ is an evolving collage of meditative, post-industrial drone and soothing, synthetic soundscapes that unfolds as a mesmerising live audio-visual performance.

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Danel Lanois

22:00 — 23:00 . Grote Kerk Renowned for his production work with Brian Eno, Bob Dylan, Emmylou Harris and Willie Nelson, French-Canadian musician and producer Daniel Lanois is a celebrated artist in his own right. Over the course of 9 full-length albums, starting with stirring 1989 debut ‘Acadie’ and capped off by last year’s acclaimed ‘Goodbye to Language’, Daniel Lanois crafts lush sonic collages by pulling apart and reconfiguring melancholic samples of his own pedal steel and lap steel guitars. At Rewire 2017, Daniel Lanois presents the Dutch debut of his Instrumental A/V performance.

Rewire Festival 2017

Dazion

21:15 — 21:45 . Prins 27 Foyer Dazion is the musical alias of Dutch producer Cris Kuhlen. Working from his homebased studio in The Hague, Dazion delivers upbeat, Afro-influenced grooves and ’80s style Balearica marked by the affectionate lo-fi hiss of his dusty guitar pedals and poorly arranged cables. Often working with vocal collaborators, his recent four track EP for Music From Memory offshoot Second Circle showcases his deep love of goofy rhythm boxes and mid-’80s forgotten synths, and features contributions from Ghanaian singer and percussionist Ebou Gaye Mada.

Helena Hauff

03:30 — 05:00 . Paard II A long-time resident of Hamburg’s Golden Pudel Club, Helena Hauff has become one of the most revered DJ’s of her generation. An analogue freak, the sonic aesthetic of her eclectic all-vinyl sets is rooted in sharp acid sounds, cold Detroit rhythmics, industrial post-punk, and touch of atmospheric minimal wave. Though her sets may have been the talking point over the last few years, Helena Hauff’s own productions more than match up to the live spectacle.

In a relatively short period of time she’s put out releases drenched in punk and industrial attitude on Werk Discs, Ninja Tune and PAN.

Igor C Silva + Trash Panda Collective

22:15 — 22:50 . Korzo Theater Igor C Silva is a Porto-born composer devoted to electronics and new media music.

A recent graduate of the Amsterdam Conservatory, he composes expansive multimedia works in which performers, computers, psychedelia, noise and improvisation come together to create breath-taking sensory experiences. He’s also the founder of Trash Panda Collective, a twelve-piece

ensemble dedicated to acts of subversion.

At Rewire 2017, Igor C Silva and a condensed four-piece delegation of the collective, featuring a flute, saxophone, electric bass and percussion, perform two of his compositions, ‘Smart Alienation’ and ‘Your Trash’.

Jace Clayton presents Julius Eastman Memorial Dinner

20:00 — 21:00 . Grote Kerk New York-based artist and writer Jace Clayton presents the European debut of his tribute to Julius Eastman, an almost forgotten, gay African American composer who mixed canny minimalist innovation with head-on political provocation and tragically passed away in 1990 at the age of 49.

Conceived for twin pianos, live electronics and voice, the exhilarating sonic exploration sheds light on Julius Eastman’s artistic legacy by crafting new arrangements for ‘Evil Nigger’ and ‘Gay Guerrilla’, two of his most important piano compositions. Using custom-designed software to live-process the pianos, played by David Friend and Saskia Lankhoorn, Jace Clayton intersperses musical vignettes with Anat Spiegel’s vocals to lend context and nuance to Julius Eastman’s tragic saga.

Kassel Jaeger

20:30 — 21:00 . Korzo Studio Kassel Jaeger is the epithet of prodigious Franco-Swiss composer, writer and electroacoustic musician François J. Bonnet.

Over the course of nine solo albums, as well as works with the likes of Oren Ambarchi and Jim O’Rourke, Kassel Jaeger has explored a complex and delicate balance between concrète experimentalism, ambient noise, and electroacoustic improvisation rooted in field recording. Often drawing inspiration from remote natural environments and organic processes, his lush compositions are at once cerebral, enlightening and immensely rich in scope and sonic vision.

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Kassem Mosse

00:30 — 01:30 . Paard II Kassem Mosse is the pseudonym of enigmatic German producer Gunnar Wendel.

Having cultivated a reputation for creating some of the least conventional house and techno sounds out there, his 2007 debut struck a delicate balance between hypnotic, beatless sketches and muscular, dancefloor-oriented fare. His subsequent output under a variety of aliases spans raw, machine-driven workouts to smoggy ambient, alien noise, and swooping melodic arcs, and culminated in last year’s Honest Jon’s release ‘Disclosure’. Where his productions have inched further from dancefloor convention, his live sets retain their gripping urge, and are performed with a rotating set up of synths, keyboards and drum machines.

Kobe van Cauwenberghe

21:15 — 22:00 . Korzo Studio Antwerp native Kobe van Cauwenberghe is a guitar virtuoso. Interpreting, improvising and arranging for both electric and acoustic, he performs with electric guitarquartet Zwerm, the Nadar Ensemble and experimental duo Oh Mensch. At Rewire 2017, Kobe van Cauwenberghe presents ‘No [More] Pussyfooting’, a live rendition of Brian Eno and Robert Fripp’s classic, preambient studio-albums ‘No Pussyfooting’ and ‘Evening Star’ using contemporary technology in combination with the original “frippertronics” set-up of two reel-to-reel tape-recorders to restore these gems of experimental repertoire.

Moor Mother

23:00 — 23:45 . Prins 27 Hall The viscerally charged output of Philadelphia’s Camae Ayewa, Moor Mother is a gifted noise artist and poet who continues the legacy of African-American female musicians by giving voice to the unheard: expressing their sorrow, pain and anger.

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Moor Mother’s highly-acclaimed album, ‘Fetish Bones’, is both a sonic protest and form of time travel, her vocals hurtling deep into the stories of past black communities to confront the destitute present and future. Channelling her punk background and the spirit of Sun Ra, Moor Mother simultaneously wields harsh, cathartic noise and freely improvised textures of cosmic jazz.

Nimbus3000

20:00 — 20:30 . Prins 27 Foyer Nimbus3000 is a The Hague-based artist who combines sweet synth-pads with harsh contrasting rhythms and processed vocals to crafts intimate, plastic-sounding lo-fi pop that draws from early synth-pop, disco, noise and RPG-themed simplicity.

In 2016, he debuted with [Artist is Present], an album that inhabits the realms of early SNES flamboyance and millennial dance music.

Peter Zinovieff & Lucy Railton

23:00 — 23:45 . Lutherse Kerk British-born composer Peter Zinovieff is a true pioneer in the field of electronic music. Founder of London’s Electronic Music Studio in the early 1960s, Zinovieff was one of the very first people to use a computer to control electronic sounds, and almost certainly the first to wheel it onto a stage and perform. At Rewire 2017, he’s joined by Lucy Railton, a London-based cellist hailed as one of the leading instrumentalists working in experimental and electronic music. Collaborating for the first time, the pair have developed RFG, a new spatially-configured work for cello and computer that articulates a visceral encounter between a venerated technological innovator and one of new music’s rising stars.

Rewire Festival 2017

Pharmakon

Pharmakon

21:00 — 21:45 . Paard II Pharmakon is the guttural sounds of human pain – screams, growls and heaves – that emerge from New York City-raised power electronics specialist Margaret Chardiet.

With a selection of keyboards, pedals, loops and a microphone, Pharmakon constructs a cavernous sonic nightmare, engaging her voice and breath to the point of collapse, and dragging audiences into her bewitching disorientation. Debuting with her highly-charged album ‘Abandon’ via Sacred Bones in 2013, Pharmakon releases her eagerly anticipated third record for the label, ‘Contact’, on the eve of her Rewire 2017 performance.

Pussy Mothers

23:45 — 00:15 . Prins 27 Foyer Pussy Mothers is the cross-continental, Glasgow-based duo of Australian artist Hannan Jones and Scottish artist Murray Collier. Forming after a chance encounter

during a fire alarm, the duo released their debut, ‘The Number 1 EP’ on JG Wilkes and JD Twitch’s iconic Optimo Music label last year. Filtered through the extensive use of tape delay, space echo, and other vintage analogue effects, Pussy Mothers create slow motion cosmic disco with loose-limbed percussion, hip-twisting grooves and sassy, playful female vocals.

Reckonwrong

23:45 — 00:30 . Paard II The alias of London-based newcomer Alex Peringer, Reckonwrong released one of 2016’s hits with ‘The Passions of Pez’. Riding earworm hooks into the nether regions of wave and sound system music, Reckonwrong unleashes his most potent creative energies from the dancefloor. Releasing on Nic Tasker’s techno imprint Whities, Reckonwrong’s last two records sit valiantly alongside output by the likes of Kowton and Avalon Emerson. At Rewire 2017, he debuts his new live show.

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Swans

Sex Swing

22:15 — 23:00 . Paard II Sex Swing is an underground rock super group renowned for the shredding sound of their unrelenting live shows. Formed in 2014 with the coming together of skilled stray musicians across London’s avant-rock scene, Sex Swing operate at the most brutal end of the musical spectrum: dealing in physical psychedelia, punishing doom, ritualistic industrial and bruising volumes of avant-garde noise. With their blazing self-titled debut album, Sex Swing’s slow-burning bodily sonics probe the outer reaches of experimental music.

To do their sound any justice you need the power, intimacy and risk of their uncompromising live show.

SHXCXCHCXSH

02:30 — 03:30 . Paard II SHXCXCHCXSH are a mysterious duo from the industrial Swedish city of Norrköping who explore the darker and more experimental realms of techno.

Their bleak and meticulously detailed sonic palette blends elements of noise, drone, glitch, broken beats and pounding industrial into abrasive textures with brief respites of blissful ambient soundscape. Having released their third album in as many years in 2016, presenting a rolling matrix of white noise and wrought iron percussion that establishes SHXCXCHCXSH as a unique project in today’s electronic underground.

SØS Gunver Ryberg

00:15 — 01:00 . Prins 27 Hall SØS Gunver Ryberg is a Danish artist, composer and acoustic fanatic who thrives in the uncompromising extremities of electronic music. Armed with an arsenal of insistent industrial rhythms, raw techno and expressive sound art, her 2016 debut ‘AFTRYK’, for which she processed her own field recordings made inside a mountain, is a meticulous exploration of textures and timbres that challenges your state of consciousness. When performed live, the tracks become a terrifying sonic barrage of frenetic drum machines, murky drones, and walls of chaotic overdrive that aim to induce a transformative experience.

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Rewire Festival 2017

Smudged Toads

21:45 — 22:30 . The Grey Space Basement Smudged Toads is a three-piece krautrock outfit from Rotterdam. Debuting with twotrack EP ‘The Spawn/The Swamp’ at the tail end of 2016, Smudged Toads revealed a penchant for repetitive synth patterns, garage drums and atmospheric guitars resulting in a scuzzy mix of kraut, garage and electronics. With their release in tow, the band have made a name for themselves roaming the depths of Dutch underground with their largely improvised, frenetic and psychedelic live shows.

Swans

23:00— 01:00 . Paard I First formed in 1982, the legendary New York outfit surrounding singer, songwriter and multi-instrumentalist Michael Gira has had a profound impact on the musical world. Blazing a fiercely uncompromising trail through no wave, art-rock, industrial, sludge, doom, drone and folk, Swans have always championed a flagrant disregard for genre boundaries and, by extension, continuity. Their turbulent 30-year history, one of countless evolutions, reinventions, and lineup changes, is inextricably linked to band leader Michael Gira’s own sonic pilgrimage. In the six years since their sudden 2010 return, Michael Gira and Swans have charted soaring new heights. Releasing three revered albums – including final chapter ‘The Glowing Man’ just last year – the band have only served to feed their almost mythical status.

Virginia Wing

20:30 — 21:15 . Prins 27 Hall Virginia Wing are a Manchester-based duo dedicated to provoking pop structures with a cool and dreamlike distortion. Originally emerging as a trio, Virginia Wing ditched the cold, kosmische and post-punk palette of their debut in favour the expansive and

evocative avant-electronic of 2016 release, ‘Forward Constant Motion’. Diving headfirst into the synthetic waves that lap around the edges of their initial work, the duo exudes an inventive electro-pop aesthetic that draws as much from the compressed thump of ‘Homework’-era Daft Punk as the languid new age-isms of Laurie Anderson.

Waclaw Zimpel

21:15 — 22:00 . Lutherse Kerk Waclaw Zimpel is a Polish composer and classically-trained clarinettist. Having orchestrated a slew of melodic free-jazz experiments as a group leader early on, Waclaw Zimpel turned his focus to solo composition with last year’s ‘Lines’. Wading in the minimal music waters of genre greats Terry Riley, Steve Reich and Philip Glass, Waclaw Zimpel crafts gorgeous, looping soundscapes that incorporate ambient electronica, whirling psychedelia and free jazz textures. His live performances are a sight to behold; a one-man-ensemble, he plays an array of clarinets, synths and even a khaen – a Thai mouth organ made of bamboo – to conjure his staggering ‘Lines’ to life.

Wolf Eyes

19:45 — 20:30 . Paard II Detroit trio Wolf Eyes have evolved from underground curiosities into noise music pioneers over the course of their 20-year existence. Spending their early days honing their unique cacophony of industrial noise, death metal, experimental electronics and free jazz in the basements of their hometown, the trio have built a cult-like reputation through their absurdly prolific output, extensive touring, and the distinct style of sonic abjection they call ‘trip metal’.

Adding yet again to their vast discography this month, newly released ‘Undertow’ sees Wolf Eyes dive into new depths of the electronic and free jazz infected world.

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Rewire Festival 2017

Workshop An Introduction to TouchDesigner creating A/V projects

13:00 — 19:00 . The Grey Space TouchDesigner is rapidly becoming the de facto software for audiovisual performances, installations, projection mapping and interactivity in experimental, artistic and commercial projects. Its enormous flexibility and power comes from its integration of a nodebased programming paradigm, Python as a scripting language, GLSL and much more.

At Rewire 2017, Studio Loos will host workshops under the guidance of Darien Brito that will introduce participants to the creation of computer graphics and show them how to combine sound, visuals and lights in a live or fixed performance.

Musical Material The Order of Sounds 14:45 — 16:00 Het Nutshuis First Floor For the fourth edition of our Musical Material series, we present ‘The Order of Sounds’ with François J. Bonnet. Following Saturday’s Rewire 2017 performance as his musical alter ego Kassel Jaeger, Swiss composer, visual artist and author François J. Bonnet sits down with Gabriel Paiuk to discuss the philosophies of sound and listening laid out in his new book, ‘The Order of Sounds: A Sonorous Archipelago’. Making a compelling case for the irreducible heterogeneity of ‘sound’, he navigates between the physical models constructed by psychophysics

and refined through recording technologies, and the synthetic production of what is heard.

In this talk, Francois J. Bonnet explains the motivation behind his examination of modes of listening and mapping of plural sonic ontologies, as well as expanding on the ‘schizological’ nature of sound.

Masterclass The Sound of Story: Designing the Sound for No Man’s Sky

by Paul Weir 17:00 — 19:00 Het Nutshuis First Floor Paul Weir is a composer, sound designer and audio director whose work can be heard in No Man’s Sky, as well as dozens of games and in sound installations across the world. Using No Man’s Sky as a case-study, Paul Weir will discuss the process of sound creation and implementation for games. Divided into three parts, the masterclass will first look at the creative design process and offer practical advice on sound design techniques for games.

He will then demonstrate the technical implementation process and explore the ways in which game sound is increasingly diverging from linear media. Finally, he’ll cover the use of generative audio technology, looking at No Man’s Sky procedural environments, as a way of making soundscapes dynamic and responsive.

Paul Weir is the Audio Director for Hello Games, creators of the innovative sci-fi game No Man’s Sky, and for Microsoft’s Lift

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London studio, where he works on HoloLens AR projects. With more than forty game credits, Weir has worked in all aspects of game audio production through his company Earcom, on projects including Strike Suite Zero, Lego City Undercover, and Discworld Noir.

Whilst not a programmer, Weir frequently works closely with software engineers to create bespoke audio tools for his projects, including a procedural vocal tract plugin and generative music system for No Man’s Sky.

Screening Tony Conrad: Completely In The Present 13:00 — 14:36 Het Nutshuis Filmkluis Tony Conrad was a pioneering artist, composer, musician, performer and filmmaker whose open, innovative and interdisciplinary approach to media helped to define, expand and challenge artistic traditions in each field in which he worked. Tyler Hubby’s feature-length documentary debut, ‘Tony Conrad: Completely in the Present’, is a candid and insightful glimpse into Conrad’s world. Composed of recordings the filmmaker has been compiling since the two first met in 1994, the film follows the influential artist’s strange and uncompromising fifty-year path through experimental film, music, video, public television and education, as well as his unlikely resurgence as a noteworthy composer and performer.

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Jeff Mills

Das Ensemble Ohne Eigenschaften

DSR Lines

19:00 — 19:45 . The Grey Space Basement Playfully introducing themselves as ‘Music as not Music’ or ‘Playing as not Playing’, Das Ensemble Ohne Eigenschaften is an amorphous collective The Haguebased musicians who come together in all manner of shapes and sizes to perform original works. At Rewire 2017, the ensemble – comprising Lauge Dideriksen (Violin), Abel Fazekas (Clarinet), Peter van Bergen (Reeds), Orestis Willemen (Guitar), Leo Svirsky (Keyboard), Emil Erten (Keyboard) and Ivan Renqvist Babinchak (Percussion) – take on ‘… in nobis sine nobis … [Metamorphose I]’, a work for open instrumentation by Dutch composer Cornelis de Bondt.

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17:45 — 18:15 . The Grey Space Basement Antwerp-born composer and producer David Edren has steadily been releasing his serene electronic sounds as DSR Lines for the past twenty years. Starting off with programmed music, his DSR Lines output has gradually shifted to the realms of analogue synth improvisation. Renowned for his use of the classic ARP 2500 and Buchla 200 modular synths, both of which have had a profound influence on his overall sound, DSR Lines sees David Edren construct calm rhythmic structures and ambient soundscapes marked by delicacy and restraint.

Rewire Festival 2017

Tony Allen

Jameszoo Quintet

17:15 — 18:00 . Paard II Jameszoo is the ever-evolving alias of Dutch musician Mitchel van Dinther. First making a name for himself as a DJ with wide-ranging crates of avant-garde jazz, prog and krautrock, and electronic and beat experiments, he has gradually evolved into a producer capable of impressive sonic and rhythmic incongruities. A homegrown response to the prodigious L.A. Beat scene, Jameszoo released his highlyacclaimed debut album ‘Fool’ on Flying Lotus’ Brainfeeder earlier this year. Dubbed ‘naive, computer jazz’, Jameszoo performs this latest synthesis of avant-garde jazz, kaleidoscopic electronica and beat oddities with a five-piece band at Rewire 2017.

Jeff Mills & Tony Allen

20:45 — 22:00 . Paard I A rare collaboration between two musical masters, Detroit techno pioneer Jeff Mills and legendary afrobeat drummer Tony Allen join forces for just the second time in their storied careers. Fluidly transitioning from iconic DJ to visionary producer and back, Jeff Mills’ adventurous explorations of electronic sound, science-fiction and outer space chart a course deep into the realms experimental composition. His counterpart on the night is best known as the defining pulse of Fela Kuti’s propulsive afrobeat sound. Self-taught, Tony Allen combined American funk, jazz and R&B with highlife and Nigerian rhythms to revolutionise drumming. Together they treat Rewire 2017 to a jazz-infused union of expansive techno textures and pulsating live percussion.

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Oliver Coates

20:00 — 20:45 . Lutherse Kerk A relative newcomer on the scene, classically-trained cellist, composer and producer Oliver Coates has already built up a remarkable résumé. The graduate of London’s prestigious Royal Academy of Music can be heard on last year’s Radiohead album ‘A Moon Shaped Pool’, has recorded with the likes of Actress, MF DOOM and Massive Attack, and played on Mica Levi’s ‘Under The Skin’. In his solo work, Oliver Coates strives to take on radical forms of classical and electronic music with his acoustic, stringed instrument.

Released last year, ‘Upstepping’ showcases his unique, cello-driven electronic arrangements, seamlessly fusing elements deep house, techno, ambient and rattling footwork in a gorgeous collection of minimalist dance tunes.

Radian

14:15 — 15:00 . Paard II Pillars of Vienna’s vibrant electronica scene, Radian boast a catalogue that stretches back to their self-titled debut in 1998. The trio’s relentless commitment to their precise and refined craft has produced no fewer than six full-length albums, including this year’s widely acclaimed, ‘On Dark Silent Off’. Mining sounds often overlooked or filtered out, like the noise of a cable entering the socket of a guitar or the rattling of a marble on a cymbal, the trio craft contrasting textures of light and dark, sound and silence that converge into experimental electronica, free-jazz and instrumental post-rock.

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Ryan Teague Ensemble

17:00 — 17:45 . Lutherse Kerk Combining chamber orchestration and electronic processing, talented Bristolbased multi-instrumentalist Ryan Teague composes arrangements that straddle minimalist, electro-acoustic, ambient and jazz music. With a reputation for crafting epic soundscapes and euphoric, drawn out productions, his work sits alongside the likes of Nils Frahm and Portico Quartet. ‘Site Specific’ is Ryan Teague’s latest album and serves as a detailed demonstration of his uniquely cinematic ambience, channelling polyrhythmic structures alongside brooding bass-lines and subtle melodies.

At Rewire 2017, Ryan Teague brings his compositions to life with a full ensemble.

Sarathy Korwar

15:30 — 16:15 . Paard II Equally at home behind a classical tabla as he is a drum kit, U.S.-born, India-raised and London-based musician Sarathy Korwar channels his unique spectrum human experience into freewheeling improvisations that seamlessly blend sacred Indian folk, open-ended jazz and the experimental electronic grooves of his Ninja Tune label. His extraordinary debut, ‘Day To Day’, is the culmination of his rich and varied upbringing. Conceived on an extended trip to rural Gujarat in western India, the album fuses field recordings of the traditional folk music of the Sidis with jazz and electronics.

Rewire Festival 2017

Sarathy Korwar

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SUMS: Kangding Ray & Barry Burns (Mogwai)

SUMS: Kangding Ray & Barry Burns (Mogwai)

The Chi Factory

18:30 — 19:30 . Paard I SUMS is the collaborative project of French electronic producer Kangding Ray and Mogwai multi-instrumentalist Barry Burns.

Born by virtue of Berlin Atonal, Kangding Ray was given carte blanche by the Berlin festival to follow up his 2013 performance and come up with something deserving of the monstrous space. Uniting to play a range of electronic and amplified instruments, with support from drumming wizard Merline Ettore on live percussion, the two genre-leading artists craft a warm and organic fusion of spatial electronics and stunning post-rock sounds that seamlessly blends the best of their musical legacies.

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18:15 — 19:00 . Lutherse Kerk Founded by multi-instrumentalist and producer Hanyo van Oosterom in 1984, The Chi Factory is a fluid and ongoing collective comprising some of the most forwardthinking artists from Rotterdam and beyond. Coming together for the first time in the early 1980s, the collective gathered in an old farm in the Dutch countryside to tirelessly and endlessly perform their heady invocations of ambient psychedelia.

Returning some thirty years later, The Chi Factory reunite to enact their pioneering vision at Rewire 2017, performing the atmospheric ambient and mystical psychedelia of their ‘Original Recordings’, as well as newcomers ‘Bamboo Recordings’ and ‘Kallikatsou Recordings’.

Rewire Festival 2017

These Hidden Hands

19:30 — 20:15 . Paard II As These Hidden Hands, British-born producers Tommy Four Seven and Alain Paul forge atmospheric, boundary-pushing electronic music. The long-time collaborators debuted their These Hidden Hands with the release of their acclaimed self-titled album in 2012. Following a brief quiet spell, the duo resurfaced last year with “These Moments Dismantled”, a jarring single featuring the haunting vocals of Lucrecia Dalt, and soon after their long-awaited sophomore record, ‘Vicarious Memories’, an exquisite listening experience that meticulously melds the cavernous, post-apocalyptic depths of their past with beams of lush, organic instrumentation.

This Is Not This Heat

16:15 — 17:15 . Paard I Emerging from the UK’s fruitful DIY scene, This Heat were formed in the South London borough of Brixton in 1976.

Too strange to fit in with their punk contemporaries, the band concocted some of the most experimental ideas ever committed to tape during their short-lived existence.

Drawing from musique concrète, krautrock, the burgeoning industrial scene and even dub reggae, their heavily politicised and wildly original songs sowed the seeds of generations of post-punk, avant, noise and post-rock to come. Reuniting after 40 years, This Is Not This Heat sees James Sedwards and Grumbling Fur’s Daniel O’Sullivan join founding members Charles Bullen and Charles Hayward to breathe new life into the band’s pioneering sounds.

Willem Marijs + Gert Jan Prins + Peter van Bergen

16:15 — 17:00 . The Grey Space Basement Willem Marijs is a The Hague-based visual artist renowned for his mesmerising light and sound installations. Teaming up with experimental sound artists Gert-Jan Prins and Peter van Bergen at Rewire 2017, the trio debut their latest creation, the Light and Sound Machine. Channelling GertJan Prins’ FM modulations, Peter van Bergen’s cracked reeds and electronics, and Willem Marijs’ flashing tubes, Light and Sound Machine is an interactive tubes installation predicated on noise, unpredictability and instability that harks back to days of unbridled electronic and computer music experimentation.

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The Music of the Body

By Adam Harper

T

he body, as notorious body-horror filmmaker David Cronenberg says, is the first fact of human existence. As much as portions of the self can be abstracted away - the intellect, the mind, the soul - the body is the beginning and the end.

It has to be reckoned with. In the work of many of the artists at this year’s Rewire, the body spills back vengefully onto the sound stage, where circuitry and digital accounts and wi-fi have striven to hold it hovering at bay. As the body returns, locked into conflict with the ‘soul’ it gave birth to but which it will ultimately defeat in the dark, it roars its finitude with fear, confusion, despair.

Music is never complete until the body plays its part. The ear is often thought of as a microphone - a passive apparatus, coolly receiving input. But the ear is of the body’s more bizarre organs: a fine tangle of connecting parts, coils, hairs and membranes that would look most at home hiding within in a coral reef. Another thing all too often forgotten about the ear is that it typically comes with a pair of legs attached, and arms, and hands, eyes, nervous, genitals, nostrils, a stomach, a spine. The ear has its tasks to perform in ultimate relation to those of the whole system: eat, drink, fuck, facilitate reception of ephemeral personal and social rewards. For all these things, music is here to help, and the body completes it and contains it like the lid on a box.

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Rewire Festival 2017

The collaboration between Arca and Jesse Kanda is probably the pre-eminent example of the body as a site of creative possibility in recent electronic music. Meeting through the website DeviantArt, the electronic producer and the visual artist had been friends for many years when their combination first made waves with FKA Twigs’s EP2. For the videos, Kanda deployed digitally rendered human bodies flapping like discarded rubber gloves in abyssal voids.

Arca’s debut album Xen (2014) was named after a longtime persona of Arca’s, a quintessence of his queerness, femme yet non-binary and unbounded. Kanda designed Xen’s body around Arca’s own, and sent it flaunting its transcendence, dancing and twisting scandalously on the album cover and in the video for the title track, and burning more coldly, wrapped in pale teal skin in ‘Thievery’ and ‘Sad Bitch.’

On Arca’s newest album Arca, the voice, that most innately bodily of musical instruments, is in the spotlight. A high, eerie Spanish crooning is surrounded by a minimal presentation of Arca’s gleaming architectures, like Caetano Veloso’s performance from Pedro Almodovar’s Talk To Her (a film about queerness and the tragic crimes of the body) has been trapped for eternity in some shadowy dimension. In the video for ‘Anoche,’ a corsetted Arca luxuriates physically, stretching and self-sculpting, amid a scattering of gravely injured bodies, leaving the viewer unsure if the musician is luxuriating or mourning. The video for ‘Reverie’ is more striking still: Arca wears a ragged matador’s jacket and as the camera zooms out we see he is perched atop prosthetic leg exten- Arca’s music is his prosthesis: sions that give him the metatarsus both the sonic and visual and fetlock of a hoofed mammal. Ap- elements of his projects are parently drunk and suffering some an extension of his body. distress, he produces a phallic bull’s horn and later appears pierced and bleeding: he is both bullfighter and bull. Arca’s music has always been about as organic as an electronic music of synthesised timbres gets. Arca’s music is his prosthesis: both the sonic and visual elements of his projects are an extension of, a flowering of, his body.

Pharmakon’s music is so extreme and intense it cannot help but be bodily. Her album covers reflect this: on one her body is superimposed with and reduced to chunks of meat and offal, in another her body is already a home to the maggots that threaten to claim her after death. On the cover of this year’s Contact, those maggots become the fingers of other bodies, tightly gripping her upturned face and pulling her down to the depths, like ringlets of hair come grotesquely alive. Pharmakon’s vocalisations are at the outer edges of physical possibility, crisscrossed with cracks and scars as if being torn apart by the unfathomable and terrifying forces surrounding a black hole. Her howl makes her seem both childlike and ancient, both tiny and awesomely large.

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In fact her scream seems to extend beyond her body, to cross some metaphysical ontological threshold on account of its extraordinariness, and transform into the music that surrounds it.

As Alejandro Jodorowsky once fantasised, ‘I imagine... with great pleasure... all the horrible stirrings of the nonmanifested to bring forth the scream which creates the universe. Maybe one day I’ll see you trembling, and you’ll go into convulsion and grow larger and smaller until your mouth opens and the world will come from your mouth, escaping through the window like a river, and it will flood the city. And then we’ll begin to live.’ Pharmakon’s scream gives birth to a new universe which is her new body, one over which she has new power and control; it clothes her like a storeys-high mech made up of boulders and old obelisks, leaving the deceptively small, contorted sliver of her mouth visible.

Moor Mother’s latest album Fetish Bones is strewn with bodies: dead ones that demand justice with new voices. It is rooted in anger over violence to black bodies both recent (such as those to which Black Lives Matter has responded) and ancient (the ongoing ghosts of the Middle Passage). Lyrically, she becomes a metahistorical force, a vengeful spirit that abides up and down black pasts and futures, pointing to human remains. On ‘Deadbeat Protest,’ she ritualistically incants ‘you can see my dead body at the protest,’ as if those killed had passed into the memory-technology of sound recording in order to transmit such desperate messages. As the fetish bones are brought up to accuse the present and prepare for the future, they bring with them a grimy, kaleidoscopic flurry of noise: it is the mad swirl of the time vortex, the charivari of way too many dead, the clanking of chains and irons that still, obscenely, imprison bodies that should have lived.

Moor Mother sometimes adds a layer of modulation (such as a pitch-shift) to her voice to give it a supernatural weight. It is a technique that extravagantly costumed and baroquely mythological rapper Rammellzee used to use, and it sits within a wider tradition of voice modulation including Afrika Bambaataa’s vocoder, Roger Troutman’s Talkbox and the Autotune used to increasingly bizarre effect by many contemporary rappers: all extensions of the body into the transcendental. They imply bodies with contours, abilities and motives that can only be left to the imagination: demons, robots, cyborgs, aliens. As Kodwo Eshun has pointed out, black people have often been made into such things, and today it becomes a way for them to reflect critically on identity.

Gaika, one of the more twisted masters of the arcane MCing traditions of the 2010s, also modulates his voice, but not just electronically. He often appears with his face tightly swaddled in a mask, and his voice is often just as squeezed and disguised. Like the best mic controllers, his is a voice of many flavours, each ornately built around affects so alienated they have become allegor-

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ical personifications. Alternately screwed and laid-back (and regularly somehow both), his drawl is the trace made by a body dragged and dragging itself through an ominous space. And this space is an enormous abandoned warehouse where decommissioned machineries stage a ponderous dance, buzzing and blaring with their foghorn calls to romance.

But not all bodily manifestations need be violent or grotesque.

The body still haunts the impeccable elegance of Jessy Lanza’s music. Firstly and most-straightforwardly, it is her masterfully calculated grooviness that quite literally pulls the body into the music. Funk like hers tends to be saturated with syncopations: sonic events that surround, anticipate and even point to the regular beats but are not actually on them. Those regular beats are often less emphasised (being deep, short, relatively unpitched, or even absent altogether), leaving regularly spaced gaps that are easy for the body to fill in by moving with regularity. Notice how subtle barely perceptible - the 4/4 kicks in ‘Vv Violence’ (on Oh No) are. That particular Gaika’s drawl is the trace beat is supplied by the body of the lis- made by a body dragged tener and the dancer. Even if you don’t and dragging itself through actually dance to it (I defy you not to at an ominous space. least nod your head), the movement is psychologically present. We talk of a ‘mind’s eye,’ and there is certainly a ‘mind’s body’ that reconstructs and experiences the music as an imaginary body. And then there are the glamorous, gigantic syncopations in the chorus of ‘I Talk Bb’: a big amethyst staircase to the stars, one for which you have to bend your knees a bit more.

And the surroundings of Lanza’s voice are so electrical and polished that they make even her perfect croon alluringly organic by contrast. It’s like roaming over a Mondrian painting with your eye, only to find that one square contains a small photograph of an eye staring back at you. The synthesisers weave geometrical constellations, the drum machines scoot you forward on obedient clockwork, but the voice is clearly something that breathes. The incredibly subtle way you can hear the tongue in ‘Going Somewhere’ - and it’s a component part of a voice asking the listener to ‘say you love me’! Blush.

The body - having it, perceiving it - is the best part of music.

That’s because while the body is a kind of doom, the skin a prison, a vengeance upon the ideal, the awful clothing of the soul, music can move it, enlarge it, render it virtual and multitudinous: make it and unmake it, real and unreal.

The Music of the Body

39

There is no ‘single’ woman 40

Rewire Festival 2017

By Jo Kali

T

he recent foregrounding of women in electronic music is great, but it isn’t enough. Women are not fairly represented. New generations don’t see themselves represented and think of music as a possibility for themselves. Many don’t get the opportunity to learn or to access equipment or studio spaces. Female artists are ‘female’ artists. They get labeled and written about in derogatory or gendered ways. So why is feminism important to music? Why should these issues be responded to?

The ways in which the music industry has begun to address and respond to many of these issues reveals a much deeper proliferation of gender inequality within society. Addressing feminism as a movement within the music industry needs to be an ongoing process of change, recognition and listening, and it is important to note that these implications for change also apply to other oppressive institutions such as racism, homophobia and ableism. Intersectionality interconnects these liberation ideologies, but here I use the word feminism to relate specifically to Even if music is used as an women in music. escape or as a shelter, it’s

still inherently political.

Music is a social environment, refuge, political space, but the music industry is an economic marketplace. Clubs and scenes get romanticised as havens and utopias where crowds share a pounding rhythm as one dancing body, we lose ourselves and our struggles and come together as one happy community. This image is problematic because it leaves the political outside. It says that music is creative and cultural, and that exists without politics. But this isn’t the case. Even if music is used as an escape or as a shelter, it’s still inherently political.

These should be spaces where making progressive changes, like adopting feminist critiques, should be made without hesitation.

Feminism within music, and the struggles women still face, highlight how distant the music world is from ever being apolitical.

If we understand feminism as a body of social, political and ideological movements that seek to establish equal opportunities between all genders, then we should understand this as

There is no ‘single’ woman

41

Finnish vocalist and new media artist Antye Greie Riposte, better known as AGF, describes herself as a ‘poemproducer’. Her productions bring together glitch-laced electronic and digital culture with speech and spoken word.

AGF has worked with female:pressure, an international network who have been collecting and reporting gender statistics facts on labels and festivals since 2013. female:pressure started an ongoing conversation about the systematic lack of representation and visibility of women in electronic music.

They’ve been successful for translating their demand for recognition of a problem into an instigation of change. Now, hardly any music festival lineup is released without media commentary on the gender balance: good or bad. At Rewire 2017, AGF joins Kubra Khademi, an Afghan performance artist, who explores her own experiences as both a refugee and a woman by creating a responsive performance aimed at male-dominated societies and extreme patriarchal politics. Both self-defined as feminists, these artists find new and interesting ways to disrupt and challenge the archetypal structures that we are exposed to.

Their acts of disruption and challenge are important for the feminist movement. The absence of women needs to be ab-normalised. The strat-

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AGF

a structural issue; one which requires a critical reevaluation of our current industry at more than a surface level. Feminist discussions intertwine the political with the cultural and the personal: in music it is much more than listening to women’s music, having women represented on lineups and welcoming women into your space. Feminism demands a radical cognitive adjustment, not just balancing numbers. It’s based on the notion of equality for the genders, but simply placing women on an equal plane of visibility to men is only the first step of many. Adopting a feminist attitude is to begin treating women with the same respect as men and giving them the same opportunities.

egy of disrupting spreads awareness as well as gathers attention to the ab-sence of representation. Similarly, Pharmakon’s guttural noise challenges any previous conception that noise is a masculine genre. The power electronics specialist, real name Margaret Chardiet, claims her voice and incarcerated screams as the foundations of her music. She infiltrates the gender stereotype of the female voice as pop singer, idle gossiper or robotic public announcer. Her natural-seeming engagement with her electronic set up protests the male dominated sphere of engineering and technology. It’s powerful to see these individual stereotypes reversed because it incites others to follow, it becomes a male dominated world that women have entered, until even more enter and it’s no longer gendered.

Danish artist SØS Gunver Ryberg is fascinating to listen to. Her sounds can be felt as much as heard. But it’s hard to not to watch her and first be reminded that things written about her have often remark on the contradiction between the harshness of her sound with her blonde, petite image. Her sounds are excessive and Without truly representing chaotic, not stereotypically equality, feminism falls at ‘female.’ But then, what is? the first hurdle.

Would her music sound more settling had it come from a man? What seems to be missing is a theoretical understanding of why these changes really need to take place. Why is feminism so important to music? The feminist movement translates these daily personal experiences of women into socio-political issues that can be explained and targeted as a collective.

Unsettling, ambiguous experiences get drawn out and shared into an agenda that gets taken apart by an entire community. Histories of feminism provide us with important examples of activist techniques - protests, consciousness raising, free speech. We defend this right to free speech, which is crucial, but often we shy away from defending free practice (think: music), where people occupy space in a different, less hypothetical way. We become encouraged to find new ways to address and respond to new problems as they arise.

There is no ‘single’ woman

43

Our current political environment is problematic for embracing a feminist attitude into the music scene. Feminism eradicates and opposes inequality, but these characteristics make it wholly incompatible with patriarchal capitalism: an environment which compounds and exacerbates inequality. The music industry is inseparable from a wider society that is structured with men holding the most power and women being largely excluded. Perhaps throughout society we can reduce feminist goals to representation and pay? But the reality is that achieving these goals will not hinder institutional sexism existing at almost every level of music record stores, festivals, studios, clubs... In truth, the predominant focus on representation on festival lineups might be clouding the real issues that are maintaining sexist attitudes within society.

The music industry is inseparable But without this focus where do from a wider society that is we begin to gather recognition? structured with men holding the And where do begin to impact most power and women being changes? largely excluded.

To overcome sexism, it is necessary to combat this system as a whole. The entire industry must be critiqued and examined, but we need to recognise it as a long process which can only be taken step by step. With support from big institutions and names remaining paramount; a good example being Boiler Room responding and immediately stopping the sexist slander from boys hiding behind laptops and posting onto a live stream of talented, deserving female DJs performing.

It’s important to consider the politics in all of this. In many ways the union of capitalism and music as an industry has promoted individualism over collective action. Music is no longer freedom of expression and source of social life; it’s also an economy that many of us depend on. For women this means being taught to celebrate the success of individual women (we have a handful of incredible pioneers, but where are all the average women composers in history?) without recognising the vast difference between a certain woman succeeding in a society which still exploits and restricts the most vulnerable and a movement that is reconstructing a fairer society for everyone. This discussion needs to opened up to include many under-represented groups, including ethnic minorities and people living with disabilities, groups that are structurally disadvantaged. Being opposed to feminism, seeing it as a threat or disregarding it completely are actions that centre on fear, power and control. Feminismmight materialise in ways in which some people find threatening, but it’s a conversation that has to be participated in.

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Rewire Festival 2017

Moor Mother

During the festival the discussion series New Emergencies brings AGF, Kubra Khademi and Moor Mother together into a debate around gender in electronic music and sound art. These artists each have a diverse and important experience of being a woman. AGF raised in East Germany, Kubra Khademi an Afghani refugee based in Paris, and Philadelphia’s Moor Mother an activist/ community-focused artist. The intersectionality of feminism is incredibly important for its future.

Without truly representing equality, feminism falls at the first hurdle. A feminist music industry needs to respond to its criticism and develop as a movement in order to move forward and stay relevant. These artists are three of the most politically engaged at the festival, and it’s important to give them this space to speak about the Without truly representing implicit activism in each of their works. equality, feminism falls at To understand where their politics the first hurdle. come from, what are their alignments, feminist positions and own implications. The discussion directly addresses the different approaches and the lack of homogeneity within feminism, especially within the electronic/underground music and sound art scene. Creative environments are bound with freedom of expression. Solidarity among women with various experiences encourages enthusiasm for different kinds of women.

There is no single ‘woman’.

There is no ‘single’ woman

45

internationale podiumkunsten

amsterdam 3 – 25 juni 2017

A NIGHT IN INDONESIA KANDE, BOI AKIH, JOGJA NOISE BOMBING, SENYAWA, FILASTINE, SEKAN

À L’OMBRE DES ONDES KRISTOFF K. ROLL

Indonesische pop, folk, noise en EDM in alle zalen.

16 juni, Paradiso

Ervaar vanuit een strandstoel andermans dromen, gemixt met geïmproviseerde soundscapes.

15 – 18 juni, IJpromenade bij EYE

ORCHESTER-FINALISTEN STUDENTEN KONINKLIJK CONSERVATORIUM, CHRISTINE CHAPMAN

ROBOTS/NON/ROBOTS MOUSE ON MARS, ENSEMBLE MUSIKFABRIK, ANDRÉ DE RIDDER

Werk uit Karlheinz Stockhausens legendarische operacyclus LICHT. 20 juni, Muziekgebouw aan ’t IJ

Elektronische en akoestische geluiden door avantgarde-orkest, elektronica-pioniers en percussierobots.

10 juni, Muziekgebouw aan ’t IJ

BLACK ANGELS GEORGE CRUMB, RAGAZZE QUARTET, SLAGWERK DEN HAAG, IVES ENSEMBLE

  PROMS € 10 per concert, met o.a.

ORGAN PROM TOM JENKINSON & JAMES MCVINNIE

Topensembles spelen een doorsnede uit het adembenemende oeuvre van George Crumb.

23 juni, Muziekgebouw aan ’t IJ MARGARET LENG TAN: COWELL, CAGE, CRUMB

Ontregelende muziek op Maarschalkerweerdorgel (McVinnie) en bas (Jenkinson aka Squarepusher).

MANTRA LUCAS & ARTHUR JUSSEN

Pianiste Leng Tan speelt o.a. Metamorphoses, Book I, nieuw werk van George Crumb voor versterkte piano.

9 juni, Muziekgebouw aan ’t IJ THE MIRABEL SESSIONS KAPOK

Een van de opvallendste jazzbands in de huidige Nederlandse indie-muziekscene.

11 juni, Bimhuis

Pianobroers spelen Karlheinz Stockhausens meesterwerk MANTRA. SACRED ENVIRONMENT KATE MOORE, RUBEN VAN LEER, RADIO FILHARMONISCH ORKEST, GROOT OMROEPKOOR

Zangeres Alex Oomens maakt in virtual reality een reis langs heilige gebieden in Australië.

24 juni, Het Concertgebouw

volledig programma: hollandfestival.nl

WO 5 - ZO 9 APR / minimalmusicfestival.nl

WORLD MINIMAL MUSIC FESTIVAL

Mark Ernestus’ Ndagga Rhythm Force, Phurpa, Suzanne Ciani, Moor Mother, Midori Takada, Ensemble Klang plays Femenine, Sjamsoedin e.a.

ZA 29 APR

GAUSSIAN CURVE

Support (Suso Sáiz + Suzanne Kraft) & Afterparty

VR 19 MEI

ONLINE RADIO FESTIVAL

Concerten van o.a. Klein, Bear Bones, Lay Low

DI 30 MEI

TERRY RILEY + GYAN RILEY

A GET-TOGETHER OF POP AND ELECTRONICS

tickets MUZIEKGEBOUW.NL /THERESTISNOISE

Partner in avontuurlijke muziek Als radiostation en opnameproducent vormt de Concertzender al ruim 30 jaar een uniek platform voor bijzondere en verrassende muziek – van jazz, klassiek, wereldmuziek en hedendaags tot neo folk, ambient, experimentele elektronica en nog veel meer.

In maart blikt de Concertzender diverse malen vooruit op Rewire 2017. Tijdens het festival zijn we aanwezig voor concertopnamen en met uitzendingen vanaf locatie.

Concertzender: radio voor muziekliefhebbers die het avontuur niet schuwen!

Word Vriend van de Concertzender Vrienden maken het mogelijk dat er mooie, kwetsbare, grensverleggende radio wordt gemaakt. Dat er prachtige concerten kunnen worden opgenomen en toegevoegd aan een snel groeiend muzikaal archief met veel dat ergens anders niet eenvoudig te vinden is.

De Concertzender kan uw steun goed gebruiken! Kijk op onze site voor meer info.

www.concertzender.nl jazz | klassiek | hedendaags | wereld | oud | raakvlakken | opera | crosslinks via kabel, app en internet

10 n e k e w r voo o!

15 eur

Lijfblad voor kritische geesten

PROBEER DE AANBIEDING WWW.GROENE.NL/MOOIAANBOD

factmag.com /factmagazine @factmag @factofficial

carhartt-wip.com

UNWIRE..

GO!

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12 APR

Transition Festival O.A. THUNDERCAT, MULATU ASTATKE & GOGO PENGUIN Vrije Geluiden Live

17 APR

Pulled Apart by Horses

26 APR

Dillon

29 APR

Seun Kuti & Egypt 80

11 MEI

Wire

17 MEI

DiCE no. 4 O.A. MIYA FOLICK, GORDI, HARRISON BROME

17 MEI

Howe Gelb piano trio

20 MEI

Joep Beving

22 MEI

Agnes Obel

25 MEI

Angel Olsen

25 MEI

DAAU

27 MEI

Wovenhand

13 JUNI

Ministry

20 JULI

65DAYSOFSTATIC

22 SEP

Bohren & der Club of Gore

4 NOV

Blick Bassy

9 APR

9-12 NOV Le Guess Who? Festival

Also at Rewire 2017 Rewire DJs Setting up shop in the Paard van Troje Foyer, we’ll be showcasing some of The Hague’s finest DJs throughout the festival weekend, including Some Clouds, Yon Eta, Siuli K.O., The Social Lover, 751, Gebben b2b Sam, Kipkillah, Steve Motto, Haron, Nimbus 3000, Kneena, Dazion and Sebastien Robert. Drop by on Friday, Saturday and Sunday as you weave your way through the Rewire 2017 programme.

Set times Friday 19:30 – 02:30 Saturday 22:00 – 04:00 Sunday 13:45 – 20:00

Bertus Gerssen - In Situ Book launch 31 March . 19:00 - 00:00 Exhibition 31 March — 2 April

Underbelly Vinyl & Books

The Grey Space Basement

A veritable mainstay of the Rewire festival landscape, underground and avant-garde curio shop Underbelly presents their unique offering of books, music, noise toys and films at the Paard van Troje Foyer this year. Whether you’re looking for serious sounds or funny noises, avant-garde films or crazy movies, critical writing or playful observations, and fancy art books or handmade zines, Underbelly’s carefully curated selection has it all.

‘In Situ’ is a photographic ode to The Hague’s infamous underground music scene by local documentary photographer Bertus Gerssen. It documents the scene’s intimate environments, from underground venue Dystopia to the Autonomous Centre, squatted villas and artists’ studios, all run by enthusiastic people giving it their everything.

Concertzender On the tail end of Rewire Sunday, Concertzender hosts a three-hour, live-radio programme. X-rated presenter Bob Rusche and Space Exposure’s very own Roel Janssen join forces to present a live radio broadcast straight from the ‘Paard van Troje’. Known for their exquisite selection of today’s experimental, avant-garde and electronic music, the two hosts will tackle all things Rewire 2017 until the mic drops.

Bertus Gerssen is a documentary photographer from The Hague. His interest lies with groups, communities and subcultures: from isolated villagers to squatters.

The book launch takes place at the basement of The Grey Space on Saturday, 1 April and features a lecture by Guy Tavares and live music from the local underground scene. The photo exhibition runs from Friday, 31 March until Sunday, 2 April, in the basement of The Grey Space. Books will be for sale at the location.

Also at Rewire

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General Info Rewire Ticket & Info Center The Grey Space Paviljoensgracht 20 The Grey Space is home to this year’s Ticket & Info Center. If you’ve purchased a ticket online, you can exchange your e-ticket for a Rewire wristband at The Grey Space.

Press registration and other festival-related information can also be found here.

After closing hours you can exchange your ticket at Paard van Troje. Please see timings below.

Food Tips During the festival there will be delicious food and snacks by Kaas & Worst op Wielen in the Foyer of Paard van Troje.

Opening hours Friday 18:00 – 00:00 (from 00:00 at Paard van Troje)

There are also a number of great restaurants and snacks in and around the festival venues. For your convenience, we’ve made a list of a few of our favorites:

Saturday 12:00 – 00:00 (from 00:00 at Paard van Troje)

SET Genki Tei . Schoolstraat 4 Great ramen right by Grote Kerk.

Sunday 12:30 – 20:00 (from 20:00 at Paard van Troje)

Little V . Rabbijn Maarsenplein 21 Cosy and affordable Vietnamese food.

Night trains

Burgerz . Prinsestraat 23 The name says it all.

If you’ve travelled to The Hague from surrounding areas in the Netherlands, you’ll have no trouble getting home at night.

Throughout the Rewire weekend, trains departing from The Hague’s two main train stations – Central Station and Holland Spoor – run approximately every 30 minutes until just after midnight. From midnight on, trains on Friday and Saturday run every hour from Holland Spoor. This train passes through Amsterdam, Utrecht, Leiden, Schiphol, Delft, Rotterdam, Dordrecht, Breda, Tilburg, Eindhoven and ‘s Hertogenbosch.

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On Sunday, the midnight trains leaving The Hague Holland Spoor only travel around the Randstad (Leiden, Schiphol, Amsterdam Central to Utrecht Central). This means they will not run in the direction of Tilburg, Amersfoort, ‘s Hertogenbosch or further.

Baladi Manouche . Torenstraat 95 Tasty Lebanese food.

Café Zeta . Grote Markt 28 Coffee, lunch and Thai on Grote Markt.

Full Moon City . Raamstraat 75 Best dim sum in town.

Eethuis Dayang . Wagenstraat 92 Delicious Indonesian take-away.

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Credits

Supervisory Board Dunja Colman, David Kenselaar, Remco de Valk

Thanks We would like to thank all of our partners and sponsors for their continuous support.

A big shout out to our amazing team of volunteers and ambassadors and of course a big thank you for visiting our festival!

Director Bronne Keesmaat Programming Bronne Keesmaat (Head of Programme) Martijn Buser, Henk Koolen

Rewire Festival 2017 is organized and presented by Stichting Unfold. Š 2017 Rewire Festival / Stichting Unfold

Marketing & Communications Bas de Beer (Marketing Manager) Phil van der Krogt, Pieter van Vliet Production Ingu van Zuylen (Production Manager) Willem Verheij, Joya de Bock, Annelieke Plugge

Disclaimer Although we always try to ensure editorial completeness, we may have missed certain copyright issues. If you spot something of yours that we used, drop us an email and we will credit you for the picture.

Education Zoe Kate Reddy

E-mail pr@rewirefestival.nl

Graphic Design HOAX www.hoax-amsterdam.com

Mail P.O. Box 243 2501 CE Den Haag

Web Development Basten Stokhuyzen

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Rewire Festival 2017

Funding & Institutional Partners

Sponsors

Creative Partners

Media Partners

www.rewirefestival.nl