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The Performers

Michael Wertmüller

Stian Westerhus

Freddie Wadling

Michael Wertmüller, drumset / orchestral percussion, SwitzerlandMichael Wertmueller´s music is, on the one hand, full of raw power, on the other, speculative. The drummer, who is strongly physical and sensual in his performing, has been drilled from his (good!) education in complex time processes. Septulets, 11-tulets are beat in a dreamlike security such when a "normal" 4/4 beat appears, it nearly shocks the listener. Wertmüller is a figure full of contradictions. On the one hand, latently linked to tradition, even weirdly a native in Switzerland, on the other hand (painfully?) settled in the computer world and in extremely technological procedures. On the one hand, secretly romantic, also as an jazz musician and in life: on the other hand, working with the most modern material and procedures.

Stian Westerhus, guit, NorwayDirty, physical music that never lets you forget that at the heart of it is a human being playing a slab of wood with some strings on it. Stian’s 2010 solo CD on Rune Grammofon Pitch Black Star Spangled brought out some interesting phrases in reviews: critics wrote about “anguished howls”, “forlorn melodies”, the “hiss and crackle of amps and pick-ups” and a “darkly beautiful experience”.On stage Stian comes across as a fiercely uncompromising musician, totally in control of his instrument and his musical vision, unafraid to challenge himself and his audience.

voice: Freddie Wadling, Swedish underground legend.Freddie Wadling has been called ”The best rock voice in Sweden” so many times that it could be regarded as a standing epithet, and in that case a well-deserved one. No one else has his ability to express velvety softness one moment, only to explode into ragged bursts of steel wool growling the next, or to contrast heartfelt vulnerability with bleeding chunks of underground darkness. A few notes from this peculiar, bizarrely beautiful voice convince the listener that Freddie’s life has not been one of ease and happiness, and that the pain he conveys is the real deal.

Alf Terje Hana, e-git., Norway. Sophisticated sound culture, analoguos live electronic.Each time I approach Alf Terje Hana's guitar compositions I tend to think about Fripp and his tunes where without any kind of boundaries he express himself using the guitar as a medium. Mestermøte mellom det akustiske og det elektriske, frontet av gitarisk Alf Terje Hana aka 'Athana' og Stavanger Symfoniorkester. Med seg har de fått den legendariske Stewart Copeland, og til sammen utgjør dette "Athana Symphonic Experience"

Choir voices: Kamer Riga“Kamer… is one of the leading youth choirs of the world whose commitment to excellence and innovation is staggering. If you get a chance to hear Kamer… performing anywhere in the world, don’t miss the opportunity of a lifetime to be uplifted, moved, dazzled and inspired by the very best in choral singing!” A youthful passion combined with highly refined vocal skills and sensuous musicality — these are the qualities that best define the youth choir Kamēr..., founded in 1990 by conductor Māris Sirmais (1969), who led the choir until June 2012.

Werner Cee e-chin, electronics, Germanyappears on "Dry Haze" and "Fires of the Earth" About the InstrumentThe electroacoustic ch’in is a pentatonically tuned seven-stringed solid body zither. Sounds are picked up by electret pickups fixed at the bridge, transmitted to electronical sound processors and amplified there. In contrast to the original Chinese chín, it may be played using not only plucking, but also bowing techniques.So the e-ch’in is actually no longer the pure zither; rather it consists of a) the ch’in and b) the electronic equipment, both of which combined constitute a kind of „meta-instrument“. Just as in original ch’in music, central importance is attached to the sound character, the tone, the noise element of a sound. The playing of the e-ch’in focuses less on melodic tunes , but rather on the creation of a broad variety of tones and atmospheres. High amplification and electronic processing enables minute sounds produced at and by the instrument to be used for composition, offering an enormous potential of dynamics and sonority. The latter ranges from microtonal beats up to powerful sound cascades, from subtle, chamber music-like elements up to a monumental orchestral character. Still, in spite of the digital sound processing, the instrument maintains its rather „natural“ sound character, as all sounds are always produced and shaped „by hand“.

Fires of the Earth

Alf Terje Hana

Werner Cee

Dry Haze

voice: The Unthanks / Adrian McNally / Neville TranterRachel and Becky Unthank are honest young storytellers forging links between folk worlds old, new and other.Empathetic stories of love, loss, birth, death, brawls and booze make for a rollercoaster ride through the human condition, as Rachel and Becky’s folk-club unaccompanied singing upbringing is set against otherworldly musical pictures, arranged by a band with influences from Steve Reich to Miles Davies, Martin Hayes to Robert Wyatt...........It’s hard to conceive how music could sound so traditional and adventurous at once. Britain’s leading music journalist Paul Morley described them as “two of my favourite singers of all time.. music that is both supernaturally ancient and defiantly modern, as coldly desolate as achingly intimate”.

The Unthanks

Neville Tranter is the founder, the artistic force and the only constant factor in all those years of Stuffed Puppet Theatre. He is Stuffed Puppet.In his own brutal, ruthless but poetic way, he confronts the audience with their fears and dreams, urges and desires, personified by what are often life size talking puppets. Combining a minimal decor with sophisticated music,lighting and sound, using the oldest devices of the theatre as well as state of the art technology, Neville Tranter is capable of evoking images that the audience will not forget for a long time.

Neville Tranter

Kamer Riga