Sum Of R

Sum Of R is a new project by Reto Mäder aka RM74, Christoph Hess (Strotter Inst., Herpes Ö DeLuxe) and Roger Ziegler (Herpes Ö DeLuxe). In contrast to the mainly electronic nature of their present musical work, Sum Of R is much closer to the concept of a rockband of some kind. Mäder playing bassguitar, electronics and effects, Ziegler playing drums and organs and Hess with his familiar gear of old turntables and self-made tapeloops, Sum Of R create some kind of psychedelic, Doom Metal-influenced Experimental Rock. Visit Sum Of R: www.myspace.com/sumofr

RLW & TITO

Ralf Wehowsky founded the group P.D. (in 1981 renamed P16.D4) and the label Wahrnehmungen (in 1982 renamed Selektion) in 1980. P16.D4 were one of the most influential groups of experimental industrial music. They developed concepts of "Materialaustausch” long before the term remix was even coined. For their live appearances they were equally at home at Punk- and No Wave-festivals as at the holy grails of academic avantgarde like the "Ferientage Neuer Musik Darmstadt”. Since the early 90s Wehowsky worked under his own name (RLW).His quiet, highly complex style of composition, based on artifacts of instrumental and electronic lateral noises, is influential for numerous artists in the fields of electronic and improvised music. Visit RLW at: www.selektion.com Visit TITO at: www.transindustriell.de Selected Discography: Acht (1992, Selektion) When Freezing Air Stings Like Ice… (1994, Streamline) Revue Et Corrigé (1995, Trente Oiseaux) Pullover (1996, Table Of The Elements) Points Of Reference (2002, Perdition Plastics) Views (2004, Anomalous) Tonlose Lieder (2004, Paradisc) I.K.K - Purpur (2006, Sirr) Pirouetten w/ RM74 (2006, Crouton) The Pleasure Of Burning Down Churches (2007, Black Rose) TITO means Trans Industrial Toy Orchestra. In their 'Mahlzeit'-incarnation they are Peter Kastner, Ine Ophof and Jan Van Wissen. The German-Dutch collective often works in the tradition of the Fluxus movement and is interested in noises made by toys which were not built to be part of any kind of musical equipment whatsoever.

Kiko C. Esseiva

Kiko C. Esseiva is a composer with Swiss and Spanish roots who lived in squats for a big part of his life. He creates electroacoustic sound pieces that are warm, non-academic and colorful, spreading a humanity and richness which is far away from the sterility of a lot of todays electronic compositions. He creates very diversified atmospheres which combine acoustic instruments, noise, human voices, field recordings and static sheets of sound with a stunning freshness and musicality. According to the title of his first album ‚Musiques pour haut-parleurs’ (music for loudspeakers) his live shows are adventurous installations of amps in different sizes and qualities, that are all separately controlled by Esseiva at the mixing desk, making his compositions even more transparent, vital and expanded. Selected Discography: Musiques Pour Haut-Parleurs CD (Manufracture, 2004)

Herpes Ö DeLuxe

Herpes Ö DeLuxe, formed 1995, is a four piece group from Bern/Switzerland working in a musical field between atmospheric noise, electronica bruitiste, sombre soundscapes or harsh drones. Their instruments are partly analogue electronic gear, partly self-built or deconstructed tools like tape loops or turntables that are (mis-)used as rhythm machines. Live performances - electronic and acoustic soundscapes, ranging from ambient sounds and playful collages to devastating, rhythmic noise attacks - always refer to the moment. According to this, an exclusive set is elaborated for every event, no one of which is ever performed again in the same form, because the spontaneous aspect would be lost and a reproduction would be in opposition to the interactive play of the four musicians, which depends strongly on the situation of a given event. Shows are often complemented with performance elements or other actions. Besides concerts in the traditional sense, Herpes Ö DeLuxe have been involved in numerous other activities; they made the live music for the theater "Habgier?, and regularly produce the soundtracks for the ‘pyrotechnical interventions’ of the artist Pavel Schmidt (Solothurn/Munich). Those events usually take place in museums or art spaces. Sporadically they are also teaming up with singer Beat-Man (frontman of the well known Garage Rock/Punk-Band The Monsters). Under the name Reverend Beat-Man & The Church Of Herpes they are producing a more song-orientated brand of music, closer to the common "pop”-scheme but with a noisy edge. They call this genre Electronic Gospel Trash. Herpes Ö DeLuxe are Von Wurstfinger, Hess, BlindDoc and Roger.Z Selected Discography: Havarie CD (everestrecords, CH, 2003) Split-LP with OP Rechts & Hoschi (Tollerort Organisation, CH, 1997) Discography as Reverend Beat-Man & The Church Of Herpes: Your favourite position is on your knees CD/LP (Voodoo Rhythm, CH, 2006) Visit Herpes Ö DeLuxe at Tollerort Organisation www.tollerort.org and www.myspace.com/herpesdeluxe

rm74

Reto Mäder works at the periphery of music and noise with a weakness for atonal boxhauling and melancholic melodies. He scrapes surfaces and reveals very personal tracks filled with desperate, contemplative, but also grippingly paranoid moments full of frequencial surprises. The pieces of Mäder’s studies of aleatoric electro-acoustics includes a broad spectrum of sound sources like piano, organ, guitar, amp, harp, analogue and digital electronics, computer and field recordings. Mäder has been actively involved in electro-acoustic music since 1995. This resulted in 4 solo albums, a collaboration with RLW aka Ralf Wehowsky and in being a part of the actionist music group Ohne, together with Dave Phillips (Schimpfluch Gruppe, ex-Fear Of God), Tom Smith (To Live And Shave In L.A.) and Daniel Löwenbrück (owner of "Tochnit Aleph?-label). Since 2006 Reto Mäder runs together with Roger Ziegler the music label "Hinterzimmer". Reto Mäder aka RM74 produces music which is among the most undecipherably warped in the current electronic/laptop scene. In "Exkursion? we find a gazillion of distorted crumbles of pre-existing material, deafening feedback and frequencies a go-go and strange interludes with electric guitar; what's more, Mäder also uses his great sense of irony - not far from Asmus Tietchens' most scrambled deviations - introducing oblique melodic schemes zig-zagging around like a drunk or dumb sequencing constituting the backbone of a delirium of progressively melting keyboards.? (Massimo Ricci, Touching Extremes) "We are out in the woods, digital woodpeckers wake us up in the morning and RM74 plays a song as we move on. Sometimes RM74's music cold and chilly, but sometimes it's warm and intimate. RM74 tries to expand from the common grounds of microsound and comes up with a concept album: great! And within his concept he expands the music of microsound by ad ding music with an entirely different perspective and it still makes sense: great! A damm fine album!? (Frans De Waard, Vital Weekly) "Die Referenzen reichen hier von Iannis Xenakis bis Merzbow, von Pierre Henry bis Luc Ferrari. Mindestens.” (Martin Büsser, Testcard) Selected Discography: RM74/RLW – Pirouetten (Crouton, US, 2007) Exkursion CD (dOc, AT/DE, 2005) Instabil CD (Domizil, CH, 2002) Mikrosport CD (Domizil, CH, 2000) Selected Discography with Ohne Ohne 1 CD (ohnemego, AT, 2002) 020503 CD (the egg an we music, BY, 2003) Visit RM74: www.rm74.ch and www.myspace.com/rm74