Artists

X-RAY AUDIO PROJECT
pre­sen­ta­tion & live performance

x-ray_audio_project_bones

x-ray audio

Many older peo­ple in Rus­sia remem­ber see­ing and hear­ing strange vinyl type discs when they were young. The discs had par­tial images of skele­tons on them, were called ‘Bones’ or ‘Ribs’ and orig­i­nated in the Cold War years of the Soviet Union.
In an era when the record­ing indus­try was ruth­lessly con­trolled by the State, music-mad boot­leg­gers had found an incred­i­ble alter­na­tive means of mak­ing ille­gal copies of for­bid­den record­ings — they repur­posed used X Ray plates obtained from local hospitals.

The X-Ray Audio Project is telling this amaz­ing story of for­bid­den music, cold war cul­ture, boot­leg tech­nol­ogy and human endeav­our with an online archive, a book, documentary, live events and a trav­el­ling exhibition. Stephen Coates and Aleks Kolkowski will give a pre­sen­ta­tion about the his­tory of this first boot­leg cul­ture and you will wit­ness a live x-ray cut­ting from a musi­cal performance.

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x-ray audio project

 ALIENATA

Alienata

Alien­ata is a return­ing guest, she played Krake Fes­ti­val twice until now and since she is con­stantly devel­op­ing and renew­ing her­self and at the same time keep­ing her unique alien­ated style we decided to book her again this year.
Alien­ata moved from Spain to Berlin in 2011 and has influ­enced the Berlin music scene since then in var­i­ous ways. Not only did she play at selected events in clubs like Sui­cide Cir­cus, Berghain Kan­tine, Berghain, CTM Fes­ti­val, About Blank or Tre­sor, she also works in her nat­ural habi­tat at Record Loft. She recently released her first pro­duc­tion on her own label Kat Chan­nel, a col­lab­o­ra­tion with Snuffo from Snuff Crew.
When behind the decks, Alien­ata is closely attuned to both inter­nal and exter­nal influ­ences, and is uncon­cerned with pro­vid­ing lis­ten­ers with an “easy” expe­ri­ence. “My main inten­tion when I play as Alien­ata is to alien­ate peo­ple,” she has said.
There are not many DJs who always keep a lit­tle sur­prise for you, so we’re thrilled to have her on board again this year!

Click the link to watch an inter­view we did with her last year.

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Alien­ata

 ANNO STAMM // TRANSFORMA

Anno Stamm // Transforma

Anno Stamm // Transforma

ANNO STAMM is the pre­ferred moniker for the funki­est and wonki­est exploits of Anstam’s Lars Stoewe. For Krake he has devel­oped a spe­cial per­for­mance with artist group Transforma, which will be per­formed for the first time exclu­sively at Krake 2016. Trans­forma have pre­pared a new live visual instru­ment for this spe­cial occa­sion which will accom­pany Anno Stamm’s live set.

The artist group TRANSFORMA was founded in 2001 by Luke Ben­nett, Baris Has­sel­bach and Simon Krahl. They met while study­ing exper­i­men­tal film and media at the Berlin Uni­ver­sity of the Arts and soon moved from mak­ing videos, sound works and images to instal­la­tions, live cin­ema and performance.

Their declared goal is to put exper­i­men­tal film live on stage. And to use every­thing at hand — space, light­ing, music, bod­ies, a plot, objects and cam­eras — to trans­form the stage into a cin­e­matic instru­ment that enables sounds and images to acquire new res­o­nance, and every per­for­mance to unfold as a unique and fleet­ing phe­nom­e­non.
Terms such as „hap­ti­cism“ or man­ual ani­ma­tion per­haps best put the fin­ger on their tac­tic: for it implies a hands-on approach to real objects, and processes that can be defined, con­trolled and cal­i­brated man­u­ally. Manip­u­la­tion in its most lit­eral sense sums up Transforma’s aes­thetic inter­ven­tion in cin­e­matic or staged events. As such inter­ven­tion relies inevitably also on dig­i­tal tech­nol­ogy — from the cam­era to edit­ing to pre­sen­ta­tion — it falls under the head­ing „postdigitalism“ these days. Which is to say, dig­i­tal tech­nol­ogy may be deployed, but only to under­pin an inter­est in both the real and its dis­cernibly man­ual sig­na­ture treat­ment. This post­dig­i­tal approach now so com­mon­place in art and design could be noted already back then, in the work of Trans­forma; and their work may arguably, even have launched it.
Trans­forma has also pro­duced work in col­lab­o­ra­tion with musi­cians such as Appa­rat, Dieter Meier, Alex Banks, Chloé as well as the the­atre direc­tor Sebas­t­ian Hart­mann, chore­o­g­ra­pher Sônia Mota and the artist Yro.

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ANNO STAMM
TRANSFORMA

CODEX EMPIRE
live

Codex Empire

Codex Empire

British pro­ducer Codex Empire who is based in Vienna just released his sec­ond EP „Cutpurse“ on auf­nahme + wieder­gabe fol­low­ing his remark­able remix for The Soft Moon, the debut EP „King­sevil“ and an appear­ance at the Boiler Room for auf­nahme + wieder­gabe label’s 5th anniver­sary. Hard hit­ting Indus­trial meets classy and straight Techno.

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Codex Empire

DEZ WILLIAMS
live

Dez WIlliams

Dez Williams

His day job at an elec­tronic com­po­nents fac­tory means that he is no stranger to rep­e­ti­tion,
rhythm and elec­tron­ics. His sound is per­haps a prod­uct of his daily grind with bore­dom,
escapism and a long term pas­sion for tech­nol­ogy, hor­ror and sci­ence fic­tion. Inspired by many of the clas­sic Chicago / Detroit / elec­tro / techno pro­duc­ers, like the finest, his sound is unique, uncompromising and unpre­dictable. His vision of techno is deep and futur­is­tic with a heavy dose of funk. Dez’s pas­sion for sound and the darker side of the human spirit com­pels him to cre­ate tracks on an almost daily basis and he sits on an incred­i­bly vast archive of cassettes, mini-discs and CD’s of his work.
Dez Williams has con­stantly retained an underground/cult fan­base. His debut LP ‘Elek­tronik Reli­gion’ for the SCSI label was hailed as “One of the very few truly great elec­tro albums of the new cen­tury”. Dez has had releases on a vari­ety of record labels includ­ing Bedouin, Earwiggle, Trust, Min­i­mal Soul, War­m­data, Acru­acree, Ai, Cheap, SCSI-AV, Killekill, Blase, Voodoo, and Ben Sims’ Native imprint. Williams’ tracks have found their way into the sets of DJ’s like Dave Clarke, Andrea Parker, Adam X, John Peel, Ellen Allien, Mike Dred and Rob Hall.
His tracks can range from dri­ving techno, to melan­cholic and dark syn­the­sizer orchestrations, ghostly deep lis­ten­ing, straight up elec­tro cuts and beyond.

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Dez Williams

FALLBEIL
live

Fallbeil1

Fall­beil

Fall­beil don’t reveal much infor­ma­tion about them­selves apart from the fact that they’re located in Ham­burg and their impres­sive list of gear (AKAI MPC 2000, ACIDLAB BASSLINE 3, ROLAND TR 707, DAVE SMITH EVOLVER, MFB 522, KORG EA-1, CASIO RZ-1, YAMAHA DD-10, ROLAND TR 626, MICROKORG, ROLAND CR-5000, DYNACORD) that reads like the futur­ist mem­bers of a huge elec­tronic band. Their live per­for­mances cre­ate a haunted and dis­torted elec­tro sound expe­ri­ence and are accom­pa­nied by tape record­ings being looped and cut live into noisy sounds and other shit. They released on New York Haunted, Con­tort Your­self, Ter­mi­nal Oper­a­tions and Hafenschlamm.

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Fall­beil

GESO
visual show

GESO

GESO

We’re espe­cially proud to include GESO in our pro­gram­ming this year again. He per­formed at Krake Fes­ti­val twice already and the con­nec­tion grew stronger, as he is han­dling the fes­ti­val design since the 2016 edi­tion. As much as we love to work with him as a graphic and art designer, we do appre­ci­ate him as a visual artist and are very much look­ing for­ward to his per­for­mance.
Also known as Pablo IA (Pablo Igle­sias Algora, Madrid 1977) is an active cre­ative mind involved in dif­fer­ent art and design fields. As graphic designer and art direc­tor for GeeO­hDee stu­dio, as artist cre­at­ing works for exhi­bi­tions in gal­leries and fes­ti­vals (pre­vi­ously with his brother and part­ner), as dj and pro­mo­tor of elec­tronic music events and of course, as pub­lisher and cura­tor (since 1999) for his main project: Belio, an art pub­lish­ing house and orga­ni­za­tion who runs exhi­bi­tions, con­certs, fes­ti­vals, con­fer­ences and work­shops. Pablo IA actu­ally lives and works in Berlin, where he founded The Mask Col­lec­tive with Arnaud Iprex, apart of devel­op­ing his career as visual cre­ator Geso and free­lanc­ing for chal­leng­ing cre­ative projects.
Geso is the moniker he uses for his most per­sonal work, spe­cially focused in glitch and video art, live-video per­for­mances and urban inter­ven­tions. His videos are a com­bi­na­tion of glitches, geometric graph­ics, urban explo­rations, land­scapes and images from nature, evok­ing a sort of lost par­adise, a visual jour­ney through sym­bols and images extracted from real­ity in order to re-connect the viewer with a kind of col­lec­tive mem­ory.
Geso’s visual instal­la­tions, screen­ings and per­for­mances are usu­ally but not always con­nected with the exper­i­men­tal music scene and the club cul­ture. His most recent shows include Berlin Atonal Fes­ti­val (Berlin, 2014), Krake Fes­ti­val (Berlin, 2014 & 2013), Pla­toon Kun­sthalle 2nd Anniver­sary (Berlin, 2014) The Mask Show (Berlin, 2014), Adobe Cre­ative Cloud Launch Event (Los Ange­les, 2014), File Hiper­son­ica (São Paulo 2013), Crazy Lan­guage Show­case at Lunch­Meat (Prague, 2013), “Color Invo­ca­tion” per­for­mance at Knock Knock Who Is There (Berlin, 2013), Applied Sound Arts (Leipzig, 2013), We Love 8Bit Art Show (Berlin, 2013), CutOut Fest (Quere­taro 2012) and Metro Sound — sound art fes­ti­val (Madrid, 2011), etc.

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GESO

DJ GLOW

DJ Glow

DJ Glow

He is a leg­end in Vienna’s pro­lific 1990s techno scene, pro­moter of the first raves and with no doubt one of the best DJs around. DJ Glow moved to Berlin in 2007 and has been a reg­u­lar guest at Killekill ever since, mov­ing crowds with his very spe­cial mix of elec­tro and chal­leng­ing house and techno. He runs his label TRUST since 1998, home to avant­gardis­tic techno bass from artists like DJ Stingray, The Exaltics, Clat­ter­box, Lok44, as well as his own pro­duc­tions and col­lab­o­ra­tions with Patrick Pulsinger and Microthol.

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DJ Glow

KYOKA
live

Kyoka

Kyoka

Kyoka works as a musician/composer in Berlin and Tokyo and is known for her chaotic and direct musi­cal approach and a heavy-rough sound, result­ing in a bro­ken pop-beat with
exper­i­men­tal yet dance­able rhythms.
In 1999, she started to explore the poten­tial of synthesizers/computers and dur­ing her stay in los ange­les from 2004 to 2008, she enjoyed some first suc­cess when her songs charted at local radio sta­tions.
In 2008, her first mini-album »ufun­fun­fufu« was released on the berlin-based onpa))))) label, followed by »2ufunfunfufu« in 2009 and »3ufunfunfufu« as an exclu­sively dig­i­tal release.
2012 saw the release of her first 12″ ep »iSH« on raster-noton, which is now to be fol­lowed by »is (is super­pow­ered)«, her first full length album due in may, 2014.
A quote by ryuichi sakamoto may under­line the excep­tional tal­ent of kyoka: “panic! it sounds like a toy box turned up side down. how can she make such pretty and chaotic sounds!? i love it!”

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Kyoka

LUNCHMEAT 
room installation

Lunch­Meat are from the Czech repub­lic and call them­selves a cre­ative visual stu­dio. In their multi-medial approach they con­cen­trate on the dia­logue and con­sis­tency of image and sound.
The Cre­ative Lunch­meat unit com­monly deals with the use of new pro­jec­tions and their appli­ca­tions for non-profit and com­mer­cial enti­ties, which links them up to under­ground struc­tures within an inter­na­tional field of visual and sound artists. The depth of our activ­i­ties is wider, rang­ing from graphic design, pho­tog­ra­phy, through videos and ani­ma­tion to set design or inte­rior design.

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Lunch­Meat

SYL KOUGAÏ
live

SylKougai_1

Syl Kougaï

Syl Kougaï is a French elec­tronic music pro­ducer who com­poses rad­i­cally chis­eled elec­tron­ica with very unique sounds. Elab­o­rat­ing them with extreme demands, he has the pas­sion for com­plex syn­the­sis and delud­ing acoustics : har­mo­nious hisses, deep and tel­luric layers, crackling steel basses.
Syl Kougaï has released his third full stu­dio album « ΙΧΘΥΣ » in a joint effort between the well respected labels Schematic Records (USA) and Hymen Records (DE). Described as « immense and warped » by the Stalker Radio Show, it is no exag­ger­a­tion to say that this opus has shaken the world of IDM. A mind trip for all the lovers of for­ward think­ing music.

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Syl Kougaï

THE EXALTICS
live

TheExaltics-Live

The Exaltics

For over 20 years by now Robert Witschakowski is part of the elec­tronic music scene. In 2006 he founded the project The Exaltics as well as the electro/ techno label SolarOne­Mu­sic with his long term friend Nico Jagiella. Since then he pub­lished count­less 12“s and sev­eral LP’s with labels like Clone, Crème Orga­ni­za­tion, Bunker or his own label SolarOneMusic. He turned his deep cin­e­matic and most of all charis­matic elec­tro into his own trade­mark and crosses it over with another sig­na­ture sound of his, which is his spe­cial dark dri­ven acid techno.
Dur­ing his live per­for­mances Robert works with a well known Berlin Artist to be able to bring his unique ver­sion of elec­tro and acid music on stage. This duo guar­an­tees pure energy dur­ing their live performances.

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The Exaltics

TURNTABLE NOISE ORCHESTRA
by Max Durante

turntable orchestra LOGO PICCOLO

Max Durante has a long musi­cal his­tory. Sonic Groove label boss Adam X named Max Durante a true leg­end and inno­va­tor of ‘Indus­trial Techno’ in the early 90’s. At some occa­sions you can catch him prov­ing his per­cus­sive approach to DJing, using a drum­stick to add beats and noise over the play­ing record, han­dling the record player like an instru­ment. We are pround to be able to present a spe­cial per­for­mance he cre­ated for which he is comb­ing his impres­sive turntable skills and extends them to a sound col­lage con­sist­ing of loops cre­ated in real time. Make sure not to miss this noisy and per­cus­sive instal­la­tion piece, which he will present exclu­sively for Krake Festival.

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Max Durante

UNHUMAN & SIRIO GRY J 
b2b dj set

Unhuman & Sirio Gry J

Unhu­man & Sirio Gry J

The project UNHUMAN is all about dark­ness and mis­an­thropy. All human him­self, Manos
Simo­tas is the pro­ducer, DJ and pro­moter work­ing behind this alias, cre­at­ing a rad­i­cal extreme sound with drone and rhythm influ­ences mixed with the worst human night­mares.
Born in Athens, his father’s first present — Manos was about seven years old — was a „20 years best of Black Sab­bath“ album. Inspired by those sounds, his musi­cal edu­ca­tion started a year later with learn­ing the gui­tar. Later on, he dis­cov­ered the power of fre­quen­cies and sound.
After grad­u­at­ing high school, he stud­ied sound engi­neer­ing while he was already work­ing in sev­eral stu­dios. Exper­i­men­tal, post punk, dark ambi­ent, noise rock and new wave were just a few gen­res in which he exchanged, while work­ing with great musi­cians and artists from the dark under­ground.
UNHUMAN was founded as a noise project in 2012 in Athens with the release of his first tape, named „Emperor Black“ on Species Pro­duc­tions and sec­ond, a split tape with „To The Lovers Farewell“ on Red Venice Records.
More and more inter­ested in rad­i­cal noise, exper­i­men­tal and indus­trial music, a whole new world of pos­si­bil­i­ties opened up when Manos moved to Berlin in 2012. After found­ing the Lärm-Alarm-Lärm fes­ti­val, he com­bined the idea of under­ground music and high qual­ity events and brought the result onto a next level.

VINYL TERROR AND HORROR
sound per­for­mance

Vinyl Terror and Horror

Vinyl Ter­ror and Horror

Vinyl –ter­ror & –hor­ror is a col­lab­o­ra­tion between Camilla Sørensen and Greta Christensen. Our approach to music starts from a visual and sculp­tural prac­tice. Turntable decon­struc­tion and rearrange­ment of the vinyl media in all imag­i­na­tive ways is strongly influ­enc­ing our sounds.

We are work­ing in the field of cin­e­matic sound­scapes with a high tol­er­ance level of pos­si­ble hifi disasters. Sentimental heart­break­ing sequences where the opera singer is loop­ing and the birds are singing back­wards……. until the break­down of nee­dles and chaos tak­ing over. Cut up and mis­treated records loop­ing and creak­ing from dust and sloppy treat­ment. Pick-up‘s being pushed dis­re­spect­fully over grooves. Records spin­ning back­wards and for­wards while played from mul­ti­ple pick-ups simul­ta­ne­ously. Mean­while the lady in stil­letoes just keeps on walk­ing down the stairs. Repetitive arrange­ments, dark sounds, neck break­ing mixes, film-amateur sound effects, scratches, quieks, vinyls, ter­ror and horror.

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VINYL TERROR AND HORROR