hobbykeller festival #3
25.10.2025 doors: 18:00 noise 19:00
Line-Up
ABLE NOISE
Baritone guitar and drum duo Able Noise experiments the physicality of music performance through voice, tape and unconventional methods of playing their instruments. They craft a minimal, immersive performance that blends free improvisation and elemental rock. Their recorded work relies less on their respective instruments, and more on an assemblage of field recordings, heavily processed instrumentation, and exploratory mixing techniques. Their output is primarily focused on live concerts, letting their music be shaped by the acoustic and aesthetic properties of the space, and the dynamics formed between themselves and their audience.
bandcamp
https://ablenoise.bandcamp.com/album/high-tide
facebook
https://www.facebook.com/this.is.able.noise
DAS GÜNTHER
Das Günther – mischt seit 7 Jahren die alternative Techno, Party und Festivalszene (Fusion, Sysiphos Berlin ,Chaos Communication Congress) uvm.) mit ihrem Improvisations-Spektakel auf. Mit dem Album „Strawberry Gelato“ 08.03.2024 streckt die Band erstmals mit klassischem Songwriting die Fühler in Richtung Post-Punk und Indie aus, ohne ihre Wurzeln für das Politische, Absonderliche und Tanzbare zu verlieren.
Günthers Mutter beschreibt ihr Kind wie folgt: „Party! Party! Depri! Depri!“ Für die einen braucht es nach Günther eine Therapie, für die anderen ist Günther die Therapie. Günther führt wie ein schäbiger Clown nicht nur das Publikum sondern auch sich selbst an der Nase herum. Günther schreibt keine Lieder, sondern erfindet sie auf der Bühne. Günther ist Punk, Clown und Mutti zugleich.
Die Fans von Das Günther, beschreiben die Band aus Hannover oft etwas anders: „Das Günther musst du Live gesehen haben, sonst verstehst du ́s nicht“; „WTF, war das denn?“ oder „Wurde da grad während des Singens 7 mal das Kostüm gewechselt?“. Nachdem sie minutenlang Textfragmente wie Mit Staub Geschwängert, Im Darkroom Sind Wir Alle Geschwister oder Allein Auf Ecstasy mitgesungen haben und die Körper leergetanzt sind, findet die ein oder andere Textzeile noch auf dem Kopfkissen oder in den Träumen der Konzertbesucher:innen ihre persönliche Bedeutung.
KOU
– A project by Apolline Schöser (half of Nina Harker) & Thomas Coquelet.
Rewires your brain for the better
Apolline & Thomas have been performing since 2022 under the KOU guise with 24 electronic harmoniums. Producing dense layers of tones & overtones. On their debut album KOU steers in another direction. The harmonium appears occasionally, but more prominent are delicate guitar pluckings, distant vocal effects, synths, flutes, piano strokes, a touch of musical magic and Apolline’s jazz not jazz vocals.
About their first album:
As soon as the needle drops it’s clear we are jump-cutting straight to the other side of the mirror. Cats purr, a woman sings as if asleep, drum machines stutter and warp and Alvin Lucier is not ’sitting in a room that is not different to the one you are not in now’. If you’re already confused, join the club. But, it’s the good kind of confused, a bewildering experience akin to the first time hearing the Faust Tapes or watching Inland Empire. Wait though, as pigeons coo and the tape machine clunk-clicks a gorgeous weirdo version of Roger’s and Hart’s Blue Moon emerges to let you know this isn’t just dada splurge, there’s a genius pop sensibility at work here too. Side two takes us further into the murk with mournful detuned brass, stoned Joan La Barbara-esque vocalese and a droning Farfisa hymn, before ending with another too-tempting snatch of DIY pop. Some of the references are recognisable. All kinds of 70s/80s European art prog – think early Battiato, Pierot Lunaire’s Gudrun, Lucia Bosè and Gregorio Paniagua’s Io Pomodoro etc etc. There’s a strong whiff of 90s us goof-off surrealism too- Bongwater, Siltbreeze, Royal Trux’s Twin infinitives, the damaged folkier side of Alastair Galbraith, Half-Japanese, early Beck even all feel relevant.
Like an oddball group of friends you might meet by chance and end up weirding-out with for days, the minds behind this deliciously odd music allow you to stay for a while in their strange subcultural world. You might not want to live here forever but a short trip, while it lasts, rewires your brain for the better.
LICHT-UNG
Mitten im Wald. Auf einmal war da eine Lichtung – kryptische Minimalästhetik, keine Namen, keine Titel, aber wahnsinnige
Krach- und Klangexkursionen. Licht-ung: Lyrik, Essays, Bilder, Fotos und… Musik. Punkkeinrock nennen sie das. Alle Konzerte, die bisher standfanden, waren anders – ganz anders.
Der hobbykeller ist gespannt – twisted knister – pumpel gerumpel – struppig tanzen
LIEGENAAR
is an experimental improvisation duo from Antwerp. Their practice takes on different forms reaching from noise performances and sound installations to food art.
With an ever-changing set-up they construct an atmosphere that is both welcoming and hostile at the same time. They are interested in using a variety of lo-fi techniques and sound sources like tape recordings, diy electronics and found objects. This results in a mixture of murky vocalizations layered upon dissonant drones glued together with handmade and manipulated instruments carefully beaten to pulp.
Liegenaar is a (childish) corruption of the word liar. It is an accusation that is rendered harmless by the naivety that creeps into it.
MILKWEED
describe their sound as slacker-trad, which is both true and somehow insufficient. For three years Milkweed have refined a formula – taking existing source material (a folklore journal, a book on Welsh myths, another on bronze age human remains and most recently Thomas Kinsella’s masterfully stark translation of the Táin Bó Cúailnge), cutting up the words and feeding them through a woodchipper of lo-fi production and experimental folk music.
On the face of it their musical concerns are transatlantic – they follow the rich creative line that runs between British traditional music and the songs and tunes of the eastern United States. In reality their scope is global, and rooted in deep time, with influences from prehistory bleeding into a troubled and troubling modern era. As a result their music doesn’t sit easily anywhere, but ricochets between bewitching folk music and disconcerting hauntological experimentation.
Milkweed’s anonymity isn’t affected, R. from Milkweed insists. “We don’t wear masks, you can come to a show and say hi. We’re not gonna be weird. But in terms of me trying to sound interesting? I’m not a very interesting person.”
Mehr Infos:
https://hobbykeller.info
@hobbykeller:festival
Plakat: konzeptless
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