Friday, April 28:
Saturday, April 29:
The Julius Eastman Memorial Dinner by Jace Clayton
Sunday, April 30:
Monday, May 1:
Ian William Craig
Ariel Efraim Ashbel and friends
Kris Verdonck / A Two Dogs Company
and many more
Friday, May 5:
Saturday, May 6:
This Is Not This Heat
Stephan Geene feat. Claudia Basrawi, Justus Köhncke & Ricky Shayne
Kris Verdonck / A Two Dogs Company
and many more
Starting today day passes and multi-day passes are available now on www.donaufestival.at.
The detailed complete programme along with the leitmotif, new formats, and the venues will be announced in a press conference on March 9, 2017.
The velvety voice of Scritti Politti mastermind Green Gartside once reconciled the hit parade and post-Marxism. Now the band returns to celebrate the stylistic openness of their post-punk/art-pop project.
In his The Julius Eastman Memorial Dinner-Project DJ and musicologist Jace Clayton reworks select piano pieces by the Afro-American minimal composer with vocal punctuations and electronic soundscapes.
Benjy Keating aka Palmistry couples sugar shock melodies and skeletal dancehall beats with melancholic r’n’b vocals.
Gonjasufi stands for surreal confusion and psychedelic deconstructivism, which in its present form could be imagined as an encounter between battered blues and distorted funk noise on an operating table.
Horse Lords ride the drone with guitar and saxophone, sanding the edges off math rock until a krauty fluid begins to emerge.
In the past years the one-time metal poster children Ulver have delved in the direction of grave electronics and create hypnotic film soundtracks as well.
Maurice Ravel’s “Boléro” gets funky, disappears into the night, and morphs into a house track. Black experience deconstructs the white canon. In minor matter choreographer Ligia Lewis advocates minority appropriations and a (life) art of transference.
The duo Equiknoxx merges the concentrated essence of Jamaican dancehall beats and dub vibes with electronic textures into subtle vibrating sound sculptures.
Shimmering post-punk/no wave guitars, surging drums, and vocals between ennui and the eruption of a volcano: Girl Band reanimates the energy of noise.
The modular oscillators of the legendary 60s synth pioneers Silver Apples now generate a melancholic, pulsating retro-futurism, where there’s constantly strange chirping and the shy voice of the only remaining original member Simeon sings against losses.
The musician and performer Colin Self presents Siblings, a theatral fantasy between opera and revue. Conceived as the sixth and final part of Self’s Elation performance series, it stakes out a proliferating meeting space for the alien drags, who advocate empathy for the disintegrated and unidentifiable and negotiate practices of sympathy and caring.
Wedged between post-industrial and harsh noise, Margaret Chardier aka Pharmakon goes her own path, using the macho genre to attack the audience with concentrated aggression, live and in the face.
To counter the darkening of the present age, director Ariel Efraim Ashbel invokes futurisms of past decades and unleashes their associative potential, while theoretician Stephan Geene in collaboration with musician Justus Köhncke performatively reconstructs the subversive, erotic, and political brisance of a Lebanese schlager singer in West Germany in the 1970s.
Bridges to other times and their potentials are also built by This Is Not This Heat, who resurrect the trailblazing no wave/art rock band This Heat, and with the lustrous ambient signature sound of GAS live headed by the Cologne-based author-techno pioneer Wolfgang Voigt.
Elysia Crampton coalesces nomadic sounds from Latin America and trippling beat structures into multifaceted tracks, while Klara Lewis celebrates atmospheric drones and lets her sound files slide into almost poppy passages. Jagged and unforgiving – like the veteran colleagues of the noise institution Einstürzende Neubauten – words that best describe The Body: “No One Deserves Happiness,” screams the gloomy latest album of the metal libertines.
The exceptional guitarist and neo-singer Stian Westerhus explores the sombreness of amputation, conceived as a metaphoric vehicle for music full of a wounded beauty, which also manifests at times in the radiant vocals of Ian William Craig cutting through clouds of electronic glitches and distortions.
Deafheaven are the seminal act in blackgaze, a hybrid of desatanised black metal and the dense, psychedelic guitar walls of the shoegaze genre.
Moor Mother call their low-fi rap spiked with free jazz a churning brand of “slaveship punk”.
With his scourging minimalist tracks DJ LAG is the poster child of the booming Gqom scene in Durban, South Africa.
The producer Actress’s digital cuts promise lurching noise dance tracks on the verge of collapse.
Gazelle Twin contrasts her cold wave electronic with the artistic intimacy of her breathy, morphed voice.
Altered body gestures and forms of perception also play a role in the video works of artist Vika Kirchenbauer; with a sequence of fascinating installation inventions, the visual artist and theatre maker Kris Verdonck speaks not only of objectophilia but also the absence of humans.
You only need to change your direction
Maybe donaufestival is a conversion program of the imaginary. Or a ritual. Or a virus.
Maybe it dreams of electric sheep, hanging freestyle from the cliff face, hoping for WE-NGOs instead of ME-INCs.
Maybe the future is already here, and we just don’t see it.