MoE / DEAD / Cilantro @ Rhiz Vienna, Vienna [15. Oktober]

MoE / DEAD / Cilantro


54
15.
Oktober
20:00 - 23:00

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Rhiz Vienna
U-Bahnbogen 37-38 / Lerchenfeldergürtel, 1080 Wien
DEAD

Weighing in at a combined 120 kgs but boasting a power to weight ratio of 550hp/ton, DEAD are often mistaken for a band of considerably larger mass. The power trio has met it’s match; make way for the power duo.DIY as fuck, DEAD answer to no one, not even themselves. They run their own label (WeEmptyRooms – est. 2005) and tour relentlessly. Their hand made merch is the stuff of legend, surpassed only by their live shows. Jace does the drawings, Jem does the screen printing. Overseas they are pimped by like-minded labels Eolian Empire, Wantage USA and Rock Is Hell.
Link to music:

weemptyrooms.bandcamp.com/album/we-wont-let-you-sleep

Link to Videos:

youtube.com/playlist?list=PLZrVNnoIZEAkHoKW_ty_J2LWsZJ_GUNcI

MoE
The Norwegian band MoE has focused on expanding DIY attitudes from the 80s and 90s, especially inspired by great thinkers and autonomous musicians like Steve Albini, Greg Ginn and Ian MacKaye. Mixed with their own attitudes and with their background from noise and contemporary music.
With countless collaborations exceeding the borders of rock and noise, MoE seeks the absolute presence in the execution of the music. Loud and violently, they molest their instruments and brings the listener closer to a healthy insanity. The intensity of the music has created resonance in China, Japan, Vietnam, Mexico, Thailand, Malaysia, Australia and numerous other countries and makes the band one of the most adventurous DIY bands in Europe.

Link to music:

moepages.bandcamp.com/album/examination-of-the-eye-of-a-horse

Link to Videos:

Wild Horses og Dolls Eyes

About:

facebook.com/moepages

conradsound.com/moe/

MoE & DEAD will be supported by
CILANTRO

Angélica Castelló: paetzold, ukulele, organ, tapes, electronics
Billy Roisz: electric bass, organ, piezzo, electronics

cilantro presents a world full of enigmas, labyrinths, sometimes abrasive, sometimes ecstatic, a complex and delicate subjectivity. cilantro deals with blurry edges of contradictory matters, the bordering areas between noise and silence, tenderness and rudeness, beat and drone, inner consciousness and outer awareness, control and freedom, forming the pieces by pulling the lever between structure and chaos, beauty and ugliness, demonstrating a thrilling display of human and technological interplay.

review @ bad alchemy cilantro / borderland / mikroton cd 53:
Bad Alchemy, Rigobert Dittmann:
Von wegen mikro. Im Borderland (mikroton cd 53) von CILANTRO erwarten einen hypersome Raupen, Grillen, groß wie Ochsenfrösche, Walfische auf Rädern, Gray-cap 'Mold', wamperte Figuren, die Big Dom oder Prince Tubby ('Prinz Wompe') heißen könnten. Weird Sonic Fiction, wie «Melancholie des Widerstand» (aka «Die Werckmeisterschen Harmonien»), «City of Saints and Madmen» oder «Dunkle Stadt Bohane», wahrhaftig vertont. Angélica Castelló & Billy Roisz reiseführen nach 'Smoketown' (nach Ambergris...) mit Rauchspuren von Paetzold-Blockflöte, Ukulele, E-Bass, Organ, Computer, Tapes, TVSamples und Electronics, ohne Scheu, als narrativ und phantastisch (miss)-verstanden zu werden, wenn sie da wummern, brausen und krimskramsen, überzogen mit einem knisternden Geräuschfilm. Aber auch nostalgischer und hauntologischer Patina, wie bei 'Calypsoblues' und 'Lullaby for a Ghost', wo das Blau und Immergrün zu Evergrey verrauscht, verdüstert und verflimmert sind.

mikroton.net/recordings/index.php/catalog/mikroton-cd-53/
mikroton.bandcamp.com/album/borderland

PARIS
3min. 40sec., 2017
Video by Billy Roisz
Music by MoE

In perfect synchronicity with the music, horizontal, vertical and diagonal lines flicker across the black screen in a staccato rhythm. The range of colors includes red, white and blue with occasional yellow. In addition — as a visual analogy for the song´s brutal nature — real-life footage of a torn-up street briefly appears several times. Despite the two-dimensionality of the visual level, this sculpture of sound and image pulls the video´s viewers into the depths, which is intended both formally and metaphorically. While the use of non-representational videos to accompany electronic music is now fairly unremarkable, combining metal and an abstract visual language is extremely uncommon. In paris, Billy Roisz provides impressive evidence that catharsis and abstraction are in no way mutually exclusive: «Show no mercy!» (Norbert Pfaffenbichler)

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