download brochure music unlimited 2010 - waschaecht

unlimited 24
tickets & prices greets & thanks to:
all 3 days: Ä68 // Ä56 * // Ä50 **
ticket per day: Ä28 // Ä24 * // Ä20 **
free admission for all the afternoon sets in
im pavillonî, herrengasse 8
medienkulturhausî, pollheimerstr. 17
the soundtheatreî, stelzhamerstr. 9
there is a certain quantitiy of reduced tickets available
(euro 35 instead of 68/56 for all three days), especially
for those who cannot afford the normal price tickets for
any reason.
please write an e-mail to: spezialtickets@gmx.at
your request will be treated anonymously.
* reduced price for students, unemployed etc.
and also for members of ìclub ˆ1î
and ìarbeiterkammerî
(can just be bought at the desk on the evening of nov. 5,6,7)
** reduced price for members of our organsiation
ìkulturverein waschaecht welsî
you can subscribe for 2011 up from nov. 5, which
means, that the reduction works up from that date.
tickets local presale
vienna: substance record shop
salzburg: musikladen
linz: ticket service pirngruber
wels: strassmair, neugebauer, hermanns, schlachthof
ticket reservation is possible via musicunlimited.at
accomodation
hotel information at wels city marketing, tourismorganisation:
0043 7242 43495
room provided for people with sleeping-bags, itís for free.
please let us know in advance!
the promotors
kulturverein waschaecht wels, dragonerstr. 22, a-4600 wels
contact: wolfgang wasserbauer, peter neuhauser,
markus linsmaier
tel: 0043 (0)7242 67284 or 56375
fax: 0043 (0)7242 51521
info@musicunlimited.at
www.musicunlimited.at
norbert trawˆger, wolf eiselsberg, adelheid dahimÈne, g¸nther
mayer, lienhard dinkhauser, boris schuld, felix fellinger and freistil
magazin, bernhard blacher & wwedu, johannes kastinger & mkh
crew, fa. hofstetter, cafe strassmair, bv schl8hof wels, d22, anna
dobringer, thomas aumayr, johann reindl-schwaighofer, hermann
wimmer, sigrid vandersitt, karl langmair, wolfgang federmair, markus
lidauer, jugendherberge wels & crew, programmkino wels,
freiwillige feuerwehr wels, ottensheim crew, shorty, sonja, roman,
flocki, renate, kerstin, gabi & claudia, harry & kurt & pepi & walter,
all best boys & girls in the house, sowie falb, stˆger, huber,
fischer, pinter, klammer, neumayer, altenbuchner, oberlechner.
foto credits:
page 6, katerina ratajova (carla bozulich)
seite 8, piotr redlinski
seite 9, gerard rouy (isabelle duthoit)
seite 9, uli templin (johannes bauer)
seite 10, jack satta
seite 11, eckhart derschmidt
seite 14, peter gannushkin, downtownmusic.net (paul dunmall)
seite 15, susanna bolle (david stacken‰s)
seite 16, scott friedlander
seite 17, pascal petignant
seite 19, peter gannushkin, downtownmusic.net (weasel walter)
seite 23, piotr redlinski (carla bozulich)
seite 23, kama core (massimo pupillo)
seite 23, nisha sonde (marika hughes)
seite 23, piotr redlinski (ava mendoza)
seite 23, peak (nels cline)
seite 24, andy new (alex ward)
seite 24, andy new (john edwards)
seite 24, dave knapik (steve noble)
seite 26, remi alem goulet (will guthrie)
seite 26, angelina evans (jerome noetinger)
seite 27, aurora d. (massimo pupillo)
seite 27, jenny capsule (chris corsano)
imprint
content responsibility:
kulturverein waschaecht, dragonerstr. 22, a-4600 wels
texts written bei norbert trawˆger
corrections: sigrid vandersitt, karl langmair, wolfgang federmair
translations by anna dobringer
brochure layout (the printed one): johannes zachhuber
produced by ìdruckerei mitterm¸llerî, rohr/kremstal
print run: 5000
bank acount (feel free to make us rich):
allg. sparkasse oˆ, wels,
10300000981 blz 20320

unlimited 24
2010, nov. 5.6.7
wels, austria
www.musicunlimited.at
info@musicunlimited.at
0043 7242 67284
------------------------------------------------------------
freitag, nov. 5
* marika hughes Ñafterlife radio musicì
* isabelle duthoit & luc ex & johannes bauer
* moekestra! (Ñthe end of an errorì & conduction by moe! staiano
george cremaschi, irene kepl, judith reiter, audrey chen, manuel mitterhuber, gigi gratt,
ava mendoza, dd kern, moz flotzinger, bernhard breuer, weasel walter, luc ex, isabelle
duthoit, liz albee, werner zangerle, martin zrost)
* flugfeld (helge hinteregger, martin zrost, paul skrepek)
l8 @ the bar: dj marcelle/another nice mess
------------------------------------------------------------
samstag, nov. 6
afternoon sets
no sugar (audrey chen, george cremaschi, liz albee) @ im pavillon
paul dunmall & john edwards & chris corsano @ medienkulturhaus
* les sons du nuage (david stackenas, sofia jernberg, xavier charles)
* mycale vocal quartet performs john zorns Ñthe book of angelsì
basya schechter, ayelet rose gottlieb, malika zarra, sofia rei koutsovitis
* radian (martin brandlmayr, stefan nemeth, john norman)
* scarnella (nels cline & carla bozulich, guest appearance by chris corsano)
* quok (ava mendoza, tim dahl, weasel walter)
l8 @ the bar: mischgeschick dj-team
------------------------------------------------------------
sonntag, nov. 7
afternoon sets
ava mendoza & nels cline @ thesoundtheater
carla bozulich & massimo zu & marika hughes @ thesoundtheater
* n.e.w. feat. alex ward, john edwards, steve noble
* wolfgang mitterer Ñmusic for checking e-ailsì
* thymolphthalein feat. anthony pateras, natasha anderson, jerome noetinger,
clayton thomas, will guthrie
* antoine chessex & massimo zu & chris corsano
l8 & the bar: lampe
-----------------------------------------------------------exhibition
by katerina ratajova ìstate of shockî
stagedesgin ìunlimited 24î by martin dickinger
-----------------------------------------------------------festival
Ñmusic unlimitedì facebook fanpage:
www.facebook.com/#!/pages/festival-music-unlimited-wels/127158530659072?ref=ts
------------------------------------------------------------

marika hughes
afterlife music radio
11 new pieces for solo cello
At the age of twelve, when Marika Hughes tried bowing the deep c string of a cello for the first time
she immediately knew, that this was the instrument to play. By picking up cello, she didn't just end
career as a violinist (which by then had already lasted for nine years), but also followed in her grandfathers
footsteps, being those of Emanuel Feuermann, an indisputable master musician, whom Artur
Rubinstein called ìthe greatest cello player of all timeî. Born in Galicia in 1902, he became an acclaimed
solo artist, got a chair at the Berlin University for Music at the age of only twenty-seven, till in 1933
Nazi officials ended the career of the half Jewish artist and forced him to emigrate to London ñ just like
his colleague Paul Hindemith whom Feuermann played with in a trio. He gave the first performance of
Arnold Schoenbergs cello concert, he acted as an ìone man revolutionî when performing 13 cello concerts
at 4 nights in New York, being an American citizen since 1938. Still all this only tells little of a man,
whose life and career brings to mind some of the darkest eras of this country.
Marika Hughes got inspired by a print of a Picasso artwork inherited from her grandmother to have
twelve of her closest colleagues compose cello pieces for her, including artists such as Eyvind Kang,
Trevor Dunn, Raz Mesinai, Nasheet Waits, Jenny Scheinman, Shahzad Ismaily und Carla Kihlstedt.
The project that was also initiated as a tribute to Marika's grandparents started in 2007 titled ìThe picasso
commissionsî and successfully premiered in New York in 2009.
The wide range of the artists involved in the project also shows the variety of Marika Hughes ' own
musical identity: being the daughter of two jazz club owners from the upper west side, she joined the
New York Youth Symphony, spent her holidays in chamber-music camps, graduated in political science
and studied cello at Julliard School. Then she came to know the huge musical variety of the East Bay
and its artists. She was, and still is, performing and recording with artists such as Karla Kilstedt and
Shahzad Ismaily (2 Foot Yard), Jewlia Eisenberg (Red Pocket, Charming Hostess), Charlie Burnhams
(hidden city), Whitney Houston, Mary J. Blige, Sean Lennon, Lou Reed, Ani Difranco and Jolie Holland.
www.marikahughes.com
2foot yard, borrowed arms, 2007
marika hughes, afterlife radio music, 2010

duthoit-ex-bauer
isabelle duthoit, voc, clarinette
johannes bauer, posaune
luc ex, acoustic bass
"it is a chamber music, wild and extreme. wild by the melodies, sounds, screams, rhythms, breaths
mingling, unravel: made and unmade by the game that leads the three musicians.
impacts, breaks of these materials draw shapes, structures. triggered by surprise by the commitment in
the moment, the building forms a colorful musical architecture, driven by a skeleton strange but alive.
the energy of these three bodies in motion is wild, each gesture is the anchor of sound. one is the other
constantly. there are the extreme in the dynamics experienced with certainty and passion in the music
range of the original instrumentation. all this gives reflections, joyous alchemy, a unique color, an amazing
sound for this trioì, that's what Isabelle Duthoit writes about her trio.
Educated in the field of classical music, Isabelle first played contemporary music in several ensembles,
meeting great composers such as Georges Aperghis, Klaus Huber, Gilbert Amy, George Crumb and
Vinko Globokar. Later she made her way to free improvisation, founding bands and playing with artists
like 4walls plus 2, Jacques di Donato and Jacques Demierre, or Martin Tetreault, Jean Derome, Ninh lÍ
Quan, Rhodri Davies, Nikos Veliotis, Urs Leimgruber, the Hiatus Projekt, or a ìromanticî punk-ensemble
with Tony Buck, Luc Ex, Veryan Weston and Hannah Marschall. She developed her very own style of
singing, combining primitive sounds, screams and laguage.
Of course Luc Ex is not a stranger to the Wels audience, (not just) being the initial force of the band
The Ex (1983-2002), a formation, widely known and acclaimed for its unconventional interpretation of
various musical styles, working with artists such as Han Bennink, Tom Cora, Sonic Youth, Fugazi und
De Kift, and consequently sticking to political beliefs and an ìecologicî way of making music. He was
and is part of the bands roof, 4 walls, sol6 and sol12, Franz Hautzingers Regenorchester and plays with
speeq.
Johanes Bauer is known to be on e of the outstanding trombone players in the improvisational music
scene throughout Europe, being part of groups like Doppelmoppel (with Conny Bauer, Uwe Kropinski,
Helmut ÑJoeì Sachse), Slawterhaus (with Jon Rose, Peter Hollinger, Dietmar Diesner), the Tradition
Trio, futch (with Thomas Lehn und Jon Rose), and Ken Vandermarks Territory band, Peter Brˆtzmanns
Chicago Tentet. He's been a part of our Music Unlimited Festval ever since its first edition in 1987, then
performing with Fred van Hove and Paul Lovens.
www.vimeo.com/8583935
www.lucex.nl
www.johannes-bauer.net

moekestra!
the end of an error (by moe! staiano) & conducted improvisation
moe! staiano, conducter
irene kepl, violine
judith reiter, viola
audrey chen, cello
george cremaschi, kontrabass
manuel mitterhuber, guit
gigi gratt, guitava mendoza, guit
dd kern, drums
moz flotzinger, drums
bernhard breuer, drums
weasel walter, drums
luc ex, bass guitar
isabelle duthoit, clarinet
liz albee, trumpetwerner zangerle, saxophone
werner zangerle, saxophone
martin zrost, saxophone
Born in 1973 in Staten Island, Mario Anthony Staiano Jr., better known as Moe! Staiano escaped any
form of academic musical training and became a drummer, percussionist an composer who taught himself
how bats would play a snare drum and how vibrators can make the cymbals sizzle. His earlier performances
included TV-sets and tablewear, and mostly ended with fireworks of some kind. Moe! was
the drummer of the ìrock-in-oppositionì-avant-metal-band Sleepytime Gorilla museum, in 2006 along
with Ava Mendoza, Ali Karim, Shayna Dunkleman and Liz Allbee he formed the post-punk-band mute
socialite. In 1997 he started performing with the Moe!kestra, turning graphic scores into impro-settings,
sometimes including pans, wineglasses, sirens and up to 45 musicians . Between 1997 and 2009 there
were nearly 60 stage performances featuring musicians such as Bruce Ackley, George Cremaschi, Fred
Frith, William Winant, John Shiurba, Bill Horvitz, Jonathan Segel (Camper van Beethoven), Tony
Maimone (Pere Ubu, They might be Giants), Michael Evans (God is my co-pilot), Shelley Burgon, Mark
E. Miller (Toy Killers) ad all the past and present members of Sleepytime Gorilla Museum.
In Wels, there'll be 12 musicians (all of them being ìbig namesî internationally and nationally speaking,
a nd known through projects like Tumido, Elektro Guzzi, Fuckhead, Trio Exklusiv and Braaz) coming
together to perform the piece ÑEnd of an Errorì.
Part two will be an ìconducted improvisationî or simply Ñconductionì, similar to the system developed
by Lawrence ÑButchì Morris or John Zorn.www.myspace.com/moestaianomoekestramoe!kestra, piece
no.11, two orchestras in seperate rooms, 2007duthoit-bauer-ex

flugfeld
helge hinteregger, throat
martin zrost, bass, sax
paul skrepek, drums
ì Yes, indeed: a world sensationî(Fritz Ostermayer)
Throatmusic was started by Helge Hinteregger in 2009. Hinteregger uses his larynx to generate
sounds and clicking noises. By using a d.i.y. microphone that is being placed on the outside of the throat,
he generates noises, which are being edited and arranged live via two digital touchpads. The pharynx
is being used as an additional resonance device. The result: delightfully bizarre universes of
noise...there are no prepared samples!
It 's fast, immediate, complex and loud, heavy jazz in capital letters written on walls of burbling and
noise. Helge Hinteregger with his spontaneous deformation of larynx vibrations, Martin Zrost playing
bass and saxophone, Paul Skrepek batters the drums. Music beyond your wildest imagination, chaos,
erupting out of infernal gullets in a precisely timed way. On their debut album (Mastering: Martin
Siewert), flugfeld arouse an extensive blaze, reminding of hardcore as well as New York no-wave, allowing
blues- particles and full bass-drones to rise from the bottom up to the top.
Is there anything left to say? Well, maybe:
ìWho says 'It's all been here before!'? Who says: 'It's just a question of interpreting it in a new way!'? To
this dogma, flugfeld's debut album replies nothing less than the re-invention of the wheel (...)î
www.throatmusic.at
flugfeld, flugfeld, rock is hell, 2010

no sugar
george cremaschi, bass, electr.
liz albee, tp, electr.
audrey chen, cello, electr., voc.
In the autumn of 2010 No Sugar made their first appearances throughout the stages of Europe.
George Cremaschi, bass player from the Bay Area, and Liz Albee, trumpet player with an affinity for
electronics, meet the cello player Audrey Chen.
This is a kind of music that has its origin s in more than the four cardinal points: trumpet, analogue
electronics and bass create intimate ìpostî-structures including parts of free improvisation, classically
built electronics, folk songs and pure noise and sound. Compact-improvisations, which uncover their
double life as compositions, tales in a foreign language, everybody seems to understand.
Liz Allbee's work includes many genres: Neue Musik, improvisation,electronic composition, Asian folk
and pop, noise, minimal, free jazz or experimental rock, she has been working with musicians like
Anthony Braxton, Leo Smith, Cecil Taylor, Rova, Birgit Uhler and Gino Robair. Allbeeís main instrument
is the trumpet.
George Cremaschi was born in New York City and studied music and composition. He lives in
T·bor/Czech Republic, where he also works as a curator for cesta, an international arts residency center.
He worked with international artists such as Greg Goodman, Saadet T¸rkˆz, Evan Parker, Nicolas
Collins and Andrea Parkins, to name just a few.
Audrey Chen is a cello player of Chinese-American origins. After years of classical education and specializing
in old music and Neuer Musik, Chen now finds her own ways of telling music, combining the
interaction and interferences of cello, voices and home-made analogue synthesizers. She has worked
with musicians like Phill Niblock, Michael Zerang, Aki Onda, Elliott Sharp, Susan Alcorn, Phil Minton,
Nate Wooley, Miya Masaoka and Le Quan Ninh.
dunmall-edwards-corsano
paul dunmall, sax
john edwards, bass
chris corsano, drums
During the last 30 years, Paul Dunmall elaborated his very own distinctive sound, which marks him as
one of the most uncompromising (as if one could be more than just uncompromising...Dunmall manages
even that) and most talented reed players (not to mention the bagpipes...). In his earlier days he
really traveled with Johnny ìGuitarî Watson for a whole year, and was active in the areas of folk (e.g.
with Danny Thompson and Polly Bolton). Lately he could be more and more with American musicians
(William Parker, Hamid Drake, Chris Corsano, Henry Grimes, Andrew Cyrille, Ö)
Wether playing in small formations or in big bands, his musical sensitivity and fantasy, together with his
pronounced ability for sounds put him in the front row of all the improvisators acting within the international
jazz scene.
Read more about John Edwards and Chris Corsano on the other pages!les sons du nuage

les sons du nuage
david stacken‰s, guitar
sofia jernberg, voc
xavier charles, clarinet
Les Sons du Nuage is the name of this new trio-connstellation, that carries the promise of making us
hear the sounds of the clouds down here on earth. No trip into the blue, but a light blue matter nevertheless...
plezant!
Born in Ethiopia in 1983, singer and composer Sofia Jernberg grew up in Vietnam and Stockholm. In
Stockholm she is currently studying composition and was called a ìrising star of the voiceî by the
Swedish press. During the last years, her musical collaborations included artists like Lene Grenager
(spunk), Gush (Mats Gustafsson, Sten Sandell and Raymond Strid), Fred Loberg-Holm (Seval) or
Cecilia Persson. Together with her, Jernberg is co-leaderof the group Paavo, a perfect example for the
possible interaction of freely improvised and notated music.
David Stacken‰s was born in Sweden in 1974 and started playing the guitar at the age of 10. After graduating
from the Royal College of Music in Stockholm he entered the Swedish free music scene in
1998 and is now known by his full and percussive style as one of Sweden's most original and creative
Guitar players. He is part of Ensemble Animes (with Raymond Strid and Johan Berthling), Tri-Dim and
of duets together with Mats Gustafsson.
The handling of sounds as known by French Clarinette player Xavier Charles ranges from slight noise
via sound poetry to electroacoustics. Being a co-organizer of the French festival DensitÈs himself, he's
been part of many festivals for Neue Musik in France and other countries and played with musicians
such as Jacques di Donato, Frederic le Junter, Martin Tetreault, the ex, Etage 34, Axel Dˆrner, JÈrÙme
Jeanmart, John Butcher, Otomo Yoshihide, Tim Hodgkinson, Camel ZÈkri, Emmanuelle Pellegrini and
Michel DonÈda. Currently he is examining the ranges of clarinet sounds in a surrounding of vibrating
speakers, and works at a virtual solo project, covering famous rock songs, that have special meaning
for him in his special way.
Heaven may be closer than it appears...
david stacken‰s, the guitar, h‰pna, 2000
sofia jernberg, paavo, canca del pao, found you recordings, 2010
xavier charles (mit john butcher, axel dˆrner), the contest of pleasure, another timbre, 2006

mycale vocal quartet
john zorns Ñbook of angelsì
basya schechter, voc
ayelet rose gottlieb, voc
malika zarra, voc
sofia rei koutsovitis, voc
Prepare yourself for a completely new concept of madasa: expressive, substantial, spiritual, witty and
passionate, all in one. Basya Schechter, Ayelet Rose Gottlieb, Malika Zarra and Sofia Rei Koutsovitis
are advocates for the art of creative vocalism, in ìbook of angelsî the meet in an intimate a-capella constellation,
to interpret John Zorns eleven sings. The lyrics are written in Hebrew, Jiddish, Ladino,
French, and Arabic, and originate from the mysticisms of a Rumi or the works of the Portuguese author
Fernando Pessoa or the Hebrew Bible. Mycale make plainly beguiling and powerfull ìnew Jewish
musicî and by doing so deliver the most beautiful and impressive contribution of the whole Ñbook of
angelsì-series.
So what we have here is sound artistry at its best: emotional, rich in its details and it's sense of cooperation:
every singer is an exception for herself, but they are interacting as a team, and become a veritable
entity. It's a musical concentrate, you will want to hear again and again.
Ayelet Rose Gottlieb was born in Jerusalem in 1979, her routes reach back to Sephardic origins of
1492. Her vocal artistry combines improvisation and composition, scales of the middle east and adventurous
lyrics.
Basya Schechter unites a psychedelic sensibility with a pan-mediterranean sensibility, inspired by her
travels through the Middle East, Africa, Israel, Egypt, Turkey or Greece, she combines Chasidic songs
with Sephardic folk-rock, also with her band Pharaoh's Child.
SofÌa Rei Koutsovitis is one of the most versatile and most wanted vocalists of the New York music
scene. Lately she toured with the Maria Schneider Jazz Orchestra and worked with artists such as John
Scofield, Russ Ferrante, Avantango and Bobby McFerrin.
Malika Zarra is a multi-cultural magician with French-Moroccan origins, who easily unites seemingly
un-uniteable languages and traditions enriching one another. Her work is inspired by her Berber,
Gnawa, and Shaabi heritage and the intellectual elegance of French pop music. Combining this with
jazz rhythms, she performed at Carnegie Hall, or the London Jazz Festival and the Duke Ellington Jazz
Orchestra at Salzburger Jazz Herbst.
www.mycalevocalproject.com
mycale, the book of angels, vol.13, tzadik, 2010

adian
martin brandlmayr, drums, vibraphone, percussion, computer
stefan nÈmeth, synthesizer, computer
john norman, bass
Founded in the mid- nineties in Vienna (and nevertheless not so much tending towards an ìAustrianî
but to a more Chicago-Postrock-ish direction...), there don't seem to be enough appearances of this trio
on Austrian stages: the release of their last, magnificent album ÑChimericì happened in 2009, and there
hasn't been a single concert in this country since!
Radian made their stage debut in 1997, and just around that time, their debut EP was released via the
label Rhiz. The band had already sent a demo tape to the Chicago based band Tortoise, who liked
what they heard, and a meeting at a concert in Wels led to a subtle work-friendship: Radian opened
Tortoise's Vienna shows, in 2001 they were invited to Tortoise's All Tomorrows Parties, where they were
discovered and signed by the label Thrill Jockey. The second album was recorded in Chicago with John
Mcentire, the following tour led Radian to places like the Centre Pompidou, or the Neues Center for
Austrian Art in New York City. 2004 led to the release of the album Juxtaposition, which was followed by
Chimeric in 2009, an album about which Ben Ratliff (NY Times) wrote:
Ñradian, a trio from Vienna, creates music that plays with your sense of aural identification and aural
distance. it goes in hard for little sounds we make when weíre not quite yet ìmaking musicî: the tiniest
flop and swish of wire brushes on a drum-head, the quick pop of a plug entering a socket or a circuit
being switched, the sound of a finger depressing a computer key. on ìchimericî those little noises pan
across the speakers or create a compound rhythm, arranged by post-editing into elegant, complex syncopation,
each portion of the rhythmic cycle expressed with different volume or compression or room
tone.
since the bandís beginnings, the timbre, shape and resonance of martin brandlmayrís drums have been
its trademark. (heís a wonder: a drummer with a beautiful sound and feel who pushes back against his
own virtuosity.) those human touches, his perfectly timed, rhythm-conscious strokes and rustles, are
surrounded by all kinds of other incidental noises, both handmade and digital.ì
www.radian.at
radian, chimeric, thrill jockey, 2009

scarnella
nels cline, guitar, devices
carla bozulich, voice, guitar, bass, devices
the leaves sympathize. they break from the sky,
like whispers, like fossils
worn smooth and revived.
absolutes testify, absolutes testify.
every kind of dreamer walks through this door from a hole in their head
when they fall asleep wanting more, more, more.
(carla bozulich; underdog)
more, more, more, no: it's the only show Scarnella will play in Europe this year.
Carla Bozulich ( The Geraldine Fibbers, Ethyl Meatplow, etc.), singer-guitarist with the husky-like voice
and the six-stringed ìtorturerî Nels Cline(Wilco, The Nels Cline Trio, Geraldine Fibbers, Mike Watt,
Thurston Moore, Charlie Haden) are Scarnella, and they have many styles/instruments/ ways to make
sure they're being heard. Carla not only plays the guitar and sings, but also operates bass and sampler,
Nels concentrates on his guitars, many effects and toys, toys, toys and toys.
Scar nella is a work in progress, that doesn't want to be finished (and hopefully, it won't be). Not easy
to define...an innerly blazing psychological drama with the lightness of a cotton-wool cloud.
Born in New York in 1965 Carla Bozulich was 15 when she became part of the postpunk-band Neon
Vein, later she played with Ethyl Meatplow or Geraldine Fibbers (named after the imaginary friend she
had as a child), followed by two movie soundtracks, the performance "fake party", and a Willie Nelson
tribute album. Together with Marianne Faithfull and Marc Ribot she was an opener at the 2009
Ruhrtriennale. The following band album Ñhello voyagerì was released under the name Evangelista (but
of course we know this in Wels...)
Last but not least: Chris Corsano will appear on stage as a spacial guest.
scarnella, smells like records, 1998
www.nelscline.com
www.carlabozulich.com

quok
ava mendoza, guitar
tim dahl, bass
weasel walter, drums
The power trio quok was founded by Ava Mendoza, Tim Dahl and Weasel Walter, three musicians who
share a background of free jazz, heavy rock and noise music, and form these origins into a punchy
melee of bizarrely polyrhythmic and melodic songs, no taboos for sound improvisation in sight.
The musicians, who worked with artists such as John Zorn, Archie Shepp, Yusef Lateef, Mike Watt
(Minutemen), Carla Bozulich (The Geraldine Fibbers, Evangelista), Tatsuya Yoshida (Ruins), Eugene
Chadbourne, Marc Ribot, Evan Parker and John Butcher. always act at the edge of their compositions
and vocabulary.
Composer and guitar player Ava Mendoza lives in Oakland, she was part of many bands, focussing on
heavy rock, free jazz, improvisation and contemporary classical music. Her solo works originate in the
melodies of blues and country, which she edits in her very own way, combining melodic, atonality,
abstract sounds, improvisation and compositions.
Tim Dahl studied acoustic and E-bass, was a student of Yusef Lateef, studying music theory and composition
at the University of Massachusetts, he later played with Lateef on stage, as well as with Archie
Shepp. 1997 he moved to New York and founded the band the Hub, touring the USA, Europe and
Japan.
Weasel Walter (born Christopher Todd Walter in Rockford, Illinois) is a composer, multi-instrumentalist
and improviser, who in 1991 founded the legendary the Flying Luttenbachers together with Hal Russel
(nrg ensemble). He worked with musicians like Ken Vandermark, Henry Kaiser, Jim O'Rourke, Mary
Halvorson, Jeb Bishop, Fred Lonberg-Holm, Marshall Allen and many more and managed to uncompromisingly
merge abstract music with no wave, death metal, free jazz, gamelan, noise music, hardcorepunk
and classic modernity. He was an important contributor for the no-wave/noise/improvised underground
in Chicago during the 1990ies and early 2000s.
Weasel Walter worked with influential underground-rock bands such as Lair of the Minotaur, Bobby
Conn, us maple, cock esp, the Scissor Girls, Erase Errata, The Chicago Sound, Harry Pussy and
Quintron.
By the way: on his website, Weasel Walter reminds us: first name: Weasel, last name: Walter ñ Ñlet's
get something straight right now everybody: don't call me "walter". i don't come up to you and call you
by your last name. we're not in japan or the military. get used to it!ì
avamendozamusic.com
nowave.pair.com/weasel_walter

ava mendoza & nels cline
ìwere one to hear the beginning of this, ava mendoza's solo guitar debut, shadow stories, on an old
turntable, one would be tempted to think the music pouring out of the speakers was of a bygone era.
could this be some obscure, overlooked master, employing skillful use of fingerstyle, harmonics, and
playing in some slashing, raw-yet-virtuosic manner? it would be easy to think so. then the reverse looping
starts, the layers of distortion pile up... this is the amazing and perhaps unlikely balancing act that
is ava mendoza's turf, and she owns it, let me tell you. i met ava when she was in her late teens. even
then it seemed clear that her curiosity, drive, and talent would lead to something notable. since those
days and since moving up to the san francisco bay area, ava has played with tons of improvisers, toured,
and made amazing music, sure. but i was truly not prepared for her beautifully twisted swing/blues
solo salvos (.....)
the point is this: ava mendoza is here and she is doing things. and she knows what she is doing. and
who knows what might happen to you when you start listening to her. time to begin...Åh
this is what Nels Cline, the great American guitarist of modern creative jazz says in the liner notes for
Ava Mendoza's Shadow Stories. Since 2004, Cline is lead guitarist of the US rock band Wilco, Grammy
winners of 2005. According to Wolf Kampmann, he is one of the few style-defining jazz guitarists, 2007
he was listed as one of the new top guitar players by Rolling Stone Magazine. Allright then.
ava mendoza, shadow stories, resipient, 2010
nels cline, coward, cryptogramophone, 2009
carla bozulich & massimo zu & marika hughes
ìas for massimo, me and marika we will be debuting new songs, playing some old favs (geraldine fibbers,
evangelista), maybe even something from zu or massimoís compositions.
and some improvs too.î

n.e.w.
alex ward, guitar
john edwards, bass
steve noble, drums
Noble, Edwards and Ward are experts when it comes to get across the most edged musical jokes in a
very skillful way of telling. n.e.w. consists of Steve Noble on drums, John Edwards on bass and Alex
Ward on E-guitar (no, not clarinet this time!).
Though they are very active improvisation artists, Noble and Edwards also have a past life as rock
musicians (Noble with rip and Rig&Panic, Edwards with Kevin Martin's God) So the n.e.w. music is a
noble blend of freely improvised sounds and the power and control of rock, far off the widely known stereotypes
Ward's guitar playing marks the center of the trio, being very different from the music he performs
when playing clarinet, with his melodic and harmonic turns he seems to be able to remind us of John
McLaughlin or Thurston Moore without any difficulty. Noble and Edwards are just as important for the
power of this music, together they play the part of a sedulous rhythm section.
Noble and Edwards also form two thirds of another full-power trio (completed by Alan Wilkinson), Ward
(on clarinet) and Noble's duo activities go back to the late 80ies, when the two played with Derek
Bailey, who later worked as a mentor for young ward, inviting him to his famous company weeks.
n.e.w., newtoons, bo'weavil, 2009
www.efi.group.shef.ac.uk/musician/medwards.html
www.efi.group.shef.ac.uk/musician/mnoble.html
de.wikipedia.org/wiki/alex_ward

wolfgang mitterer
music for checking e-mails
ìBorn in Lienz, Eastern Tyrol, in 1958 , Wolfgang Mitterer simply composes it all(...)î (Joachim Ody,
spex).
Mitterer is simply Mitterer, and if you're a professional Austrian, you know about the significance of
someone having become ìsimplyî som ebody ñ that's the point when even the Herr Hofrat, the Herr
Doktor and the Herr Professor have to step back and keep silent for a while.
ÑMitterer, once a searching impeller, meanwhile has become a classic himself. Commissioned pieces
for the Donaueschinger Musiktage, the Darmst‰dter Ferienkurse or the Steirischer Herbst made the
artist a part of the public avantgarde establishment. During the last years, he discovered the genre of
musical theater and composed remarkable electronically equipped operas. Does he seek a hybrid aestheticism
formed out of conventional instruments and electronic samples? Yes ñ in a way... his album
amazes the listener with the certain transparency and elegance Mitterer preserves when bringing his
background music out of the off spaces and generating his samples, bundling them in virtual three
dimensional surroundings, allowing them to move around the impalpable space, fraught with tension.
The meaning of ìbackgroundî is being put into perspective (:::)î (Julis Schˆlzel, Bayrischer Rundfunk)
Wolfgang Mitterer was already part of the first Music Unlimited festival in 1987 (call boys inc.), this
open minded sound artist creates music in all different phases and forms, that always contains a surprisingly
and sometimes fierc ely attacking brute force. These sounds seize you by all sides , take you by
the hand or scratch your skullcap, just above where your intellectual abilities try to find out, if all this
actually could be real...it can be, in Wels!
www.wolfgangmitterer.com
wolfgang mitterer, music for checking e-mails, col legno, 2009

thymolphthalein
natasha anderson, contrabass recorder and electronics
will guthrie, percussion and electronics
jÈrÙme noetinger, tape machines and electronics
clayton thomas, double bass and preparations
anthony pateras, prepared piano and analogue synthesizer
Thymolphthalein is an acid-base (pH) indicator. Its transition range is at approximately pH 9.3-10.5.
Below this pH, it is colorless; above this pH, it is blue. The molar extinction coefficient for the blue thymolphthalein
dianion is 38000 M-1cm-1 at 595 nm, this is what Wikipedia tells us, and wise guys that
we are, we are aware of course, that this has to be some kind of ingredient for magic ink...and a vivid
description for the operating principles of this five ingenious French-Australian musicians, who found
each other at the SWR2 new jazz meeting in 2009.
The unconventional pianist Anthony Pateras , born in Melbourne in 1979, has been releasing surprisingly
different and creative thrusts since the beginning of this century. He's romping about the areas
between performance, music, composition, teaching and organizing, exploring the musical universe
starting from his roots near Conlon Nancarrow, Post-Cageian tastes and electro-acoustic gales... The
LA Times awarded him ìfingers made of steelî after attending a solo performance...
The musical structures he created for a first tour in 2009 are an agglomeration of masterful imitations,
full of dynamics and ìdevastatingî electro-acoustics in the most variable timbres, using the unmistakable
sounds of a prepared piano to open the door to unexplored worlds. Anthony Pateras also is a part of a
groundbreaking Australian trio together with Sean Baxter and David Brown.
Natasha Anderson, player of an electro-bassflute merges the humming sounds of electro-acoustics
with fractured acoustic gestures and makes you familiar with seemingly poetic and eerie outlands.
Will Guthrie is the pro on the drumkit, which he enrichens with handmade electro-acoustic devices, for
easily creating all kinds of richly noised disaster. His technical skills make every pair of ears melt together.
JÈrÙme Noetinger (known in Wels by his early Music Unlimited appearance with Metamkine and Tom
Kora) is the live-sound maestro of distinctive electro-acoustic manipulation skills, supporting his colleagues
with ìexpert-timingî and breath-taking inventions.
Clayton Thomas, who moved from Sydney to Europe in 2006 is able to play his bass both reflectively
and virtuously, partly canon, partly kinetic strolling. He's known to the Music Unlimited audience by his
taking part in Christof Kurzmann's ÑEl Infierno Musicalì (with Ken Vandermark, amongst others).
Thymolphthalein will play their only concert in Europe at Music Unlimited, their debut-vinyl (editions
mego) will be released this year.
www.anthonypateras.com
This project has been assisted by
the Australian Government
through the Australia Council, its
arts funding and advisory body

chessex-pupillo-corsano t
antoine chessex, sax, electr.
massimo pupillo, e-bass
chris corsano, drums
These three musicians will join together as a trio for the first time at this edition of Music Unlimited,
which holds out sound live-action and intense improvisation.
Chris Corsanos approach to drumming is nothing less than unique, offering a width of sound range,
that knows how to use the kinetic energy of concentrated silence as well as of explosions, easily hopping
from one to the other, always acting in great empathy with his fellow musicians (including Paul
Flaherty, Jandek, Sunburned Hand of the Man, Six Organs of Admittance, Kim Gordon, Thurston
Moore, Matt Valentine, Nels Cline, Jim O'Rourke, Mick Flower, C. Spencer Yeh and Bjˆrk (Ñvoltaì)).
Massimo Pupillo, bassist of the legendary Italian metal/math/no-wave/free/jazz/core/punk- (I hope I didt
forget anything!) band zu, with which he still performs successfully worldwide, plays a physical, percussive
style. He's been friends with the Amsterdam punk band The Ex for may years, and worked with
artists such as Mats Gustafsson, Eugene Chadbourne, Ken Vandermark. Mike Patton, Peter
Brˆtzmann, Toshinori Kondo and Paal Nilssen-Love (Hairy Bones).
Antoine Chessex is a sax player, who searches to free his instrument from its well-tempered tradition,
sometimes by mincing its sounds through a guitar amp, sometimes by losing himself to the infinitiy of
circular breathing. Chessex is a Swiss saxophonist, improvisator, composer and musician, who was
born in Vevey in 1980. His works base on his explorations of the corporeality of sound and spaces.
Nowadays he mostly performs as a solo artist, or works with such diverse artists as Thomas Ankersmit,
Lasse Marhaug, Zbigniew Karkowski, Didi Bruckmayr, Axel Dˆrner, Mattin, Dave Phillips, Hans Koch,
Christian Weber and the media artist Ulrike Gabriel (flow 2002-2003).
Soundly articulated, rocking free music, that's what we all hope there is to be expected from this experimental
collaboration you should not not not miss.
zu, carboniferous, ipecac, 2009
chris corsano & paul dunmall, identical sunsets, esp, 2010
antoine chessex, terra incognita, absurd, 2009
www.myspace.com/zuband
www.soundimplant.com/antoine
www.cor-sano.com