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OBS! Nigel Ayers (UK) blev på grund av inställda resor tvungen att ställa in sin konsert lördag kväll men lovar att återkomma till våren 2026. Istället spelar ljudkonstnären Henrik Rylander lördag kl. 21.00. Mer info nedan.

När sociala media svämmar över av reklam för att locka dig till ännu en konceptrestaurang, fest eller festival där du kan dansa och ha kul hela natten, erbjuds här ett välbehövligt alternativ. På GEIGER Oktoberfest kan du uppleva Nocturnal emissions med Nigel Ayers, iskall musik för flöjt och elektronik med Kazuko Ihara, introvert musik för kontrabas och brus med Kris Kuldkepp, ljudande mekanoskulpturer och trumpet med Pierre Bastien och Louise Laurain, svårlyssnad nutida kammarmusik med Gageego! och överraskningar av Mattin. Kvällen är slut innan kl. 22.00 och vi håller tiderna!

Atalante, Övre Husargatan 1, Göteborg

Biljetter medlem/pens/stud: 120 kr, ordinarie: 160 kr. Boka biljetter här –>

PROGRAM

FREDAG 24 OKTOBER

18.00 – Dörrarna öppnas

19.00 – Kris Kuldkepp (EE)

20.00 – Kazuko Ihara (JP)

21.00 – Gageego! (SE)

LÖRDAG 25 OKTOBER

18.00 – Dörrarna öppnas

19.00 – Pierre Bastien/Louise Laurain (FR)

20.00 – Mattin (EUS)

21.00 – Nigel Ayers (UK) ställer in, istället spelar Henrik Rylander (SE)

The artists

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Kris Kuldkepp (EE)

Kris Kuldkepp is an Estonian-born sound and performance artist based in Hamburg, Germany. Her work investigates the perception, materiality, and behavior of sound, emphasizing its resonance within physical spaces. With a background in classical and early music performance on the double bass and viola da gamba, Kris has transitioned to experimental practices that incorporate improvisation, deep listening, and a focus on singular sounds. Her artistic toolkit includes string basses, early music instruments, modular synthesizers, found objects, and live-electronics. 

Kazuko Ihara (JP)

Kazuko Ihara’s interpretations of modern classical repertoire have drawn enthusiasm and accolades from audience and composers alike. Notably, Karlheinz Stockhausen singled out in 2006, besting upon her the prize for interpretation at his annual festival in Kürten(Germany). Stockhausen’s repertoire is a natural vehicle for Kazuko’s highly charged and personal style of performing calling not only for extended techniques on the flute, but also extensive choreography, speaking, singing and dancing.

In her recital appearances,Kazuko frequently designs her programs to include pieces from various epochs.Ranging from Baroque to world premieres of new music, Kazuko seeks to invoke a sort of dialog between the music and audiences so that upon a first hearing, the essence of the music is understood and enjoyed by listeners.

https://kazukoihara.localinfo.jp

Gageego! (SE)

Repertoire october 24

Tomas Hulenvik – Punchverandan
Tomas Hulenvik – Vid Vattenverk
Tomas Hulenvik – Rocky Road
Joakim Sandgren – données brutes
Carola Bauckholt – luftwurzeln

Gageego! was formed in 1995 and is celebrating its 30th anniversary this year! Gageego works to explore and make contemporary music more accessible. As one of the most important practitioners in Swedish music, the ensemble is appreciated for interpreting today’s music at the highest technical and artistic level in a joyful and curious way. The group regularly collaborates with Swedish and international guests such as Peter Eötvös, Heinz Karl Gruber and Pierre-André Valade. In addition to concerts in Sweden, the ensemble has toured in Russia, Denmark and China, and has also played at the Lange Nacht der Neue Klänge in the Vienna Concert Hall. The Austrian press was enthusiastic:

”With precision, virtuosity and commitment, Gageego! delighted the Mozart-Saal,” said Der Standard.

The Wiener Zeitung wrote: ”Ensemble Gageego! made the audience forget their fatigue. The ensemble played precisely, beautifully and with commitment. A Swedish away victory”.

The group has had its own concert series in the Gothenburg Concert Hall for a number of years. And in the same way that Gageego! was born from the need of a number of musicians to play chamber music at a high level, the group is today driven by new challenges, both artistic and technical, in both modern classics and the very latest writing. The successes and the response from the audience spur the ensemble to further discovery and renewal. Gageego! receives support for its activities from the Swedish Arts Council and the City of Gothenburg.

C.N.T – Pierre Bastien & Lous Laurain (FR)

There is no such thing as a left-handed trumpet: three fingers are enough to lower the valves, without requiring exceptional agility. In fact, most trumpet players could have as little as one arm. Their left hand serves only to help the other lift the instrument, which is nevertheless very light.
But Louis Laurain and Pierre Bastien are not one-armed. Before meeting each other, they had already decided to put their neglected hands to good use: to add percussion to their melodic instrument, or to make it polyphonic, harmonic, noisy…So don’t expect medieval or military ringing from this duo. Instead, you’ll hear an orchestra, with its pounding rhythms and swaying basses. For Louis and Pierre play the trumpet with four hands, and sometimes even without their mouths.

Mattin (EUS)

Mattin is an artist, musician and theorist working conceptually with
noise and improvisation. Through his practice, writing and pedagogy, he
explores performative forms of estrangement as a way to deal with
structural alienation. Mattin has exhibited and toured worldwide. He has
performed in festivals such as Performa (NYC), Shanghai Biennial, No Fun
(NYC), Club Transmediale (Berlin), Arika (Glasgow), Sonic Protest
(Paris) and lectured and taught in institutions such as Dutch Art
Institute, Cal Arts, Bard College, Paris VIII, Princeton University and
Goldsmiths College. In 2017, he completed a Ph.D. at the University of
the Basque Country under the supervision of the philosopher Ray
Brassier. Along with Anthony Iles he edited the book Noise & Capitalism
(Kritika/Arteleku 2009). In 2012, CAC Brétigny and Tuamaturgia published
Unconsitituted Praxis, a book collecting his writing, interviews, and
performance reviews. Anthony Iles and Mattin are currently in the final
stages of editing the volume Abolishing Capitalist Totality: What is To
Be Done Under Real Subsumption? (Archive Books). Urbanomic published his
book Social Dissonance in 2022. Mattin is part of the bands Billy Bao,
Regler and Al Karpenter and has over 100 releases in different labels
worldwide. Since 2020, he co-hosts the podcast Social Discipline with
Miguel Prado. Prado and Mattin are also part of Noise Research Union
(NRU) with Cécile Malaspine, Sonia de Jager, Martina Raponi and Inigo
Wilkins. In 2017, Mattin took part in documenta14 (Athens and Kassel).
Mattin is an associate professor at the Tromsø Academy of Arts at
UiT–The Arctic University of Norway.

http://www.mattin.org

Nigel Ayers (UK)

Nigel Ayers (b. 1957, UK) has cut a bracing, subversive path through the contemporary underground, bridging DIY industrial enthusiasms with multimedia experimentation to form a singular body of work. His sound art has included numerous audio releases and live performances through his group Nocturnal Emissions. His sound art collaborations includes work with Bourbonese Qualk, C.C.C.C., Andrew Liles, Lustmord, Randy Greif, Robin Storey, Expose Your Eyes, Stewart Home, Z’EV, and Zoviet France. In 1980, he founded the record label Sterile Records, releasing the first records by John Balance, Maurizio Bianchi and Lustmord, among many others. In 1987 he formed the Earthly Delights (record label).

https://www.nigelayers.com

Henrik Rylander (SE)

Henrik Rylander är en konceptuell ljud- och bildkonstnär som utforskar gränsen mellan struktur och kaos. Med en bakgrund som trumslagare i det explosiva garagebandet Union Carbide Productions och senare i det mer rituellt orienterade The Skull Defekts, har han förflyttat sig från rockens fysiska energi till ett mer analytiskt och undersökande arbete med ljudets egen materia.
I sin soloverksamhet arbetar Rylander ofta med rundgång som instrument – en process där ljudet blir självförstärkande, kontrollerat och okontrollerat på samma gång. Hans musik kan beskrivas som minimalistisk till formen men maximal till verkan: små förändringar i frekvens eller resonans får monumental tyngd. I verken möts skarpa, högfrekventa toner och djupa, vibrerande baser, och ur detta växer en kompromisslös ljudvärld som både prövar lyssnarens tålamod och öppnar för en meditativ närvaro.

Henrik Rylander is a conceptual sound and visual artist who explores the boundary between structure and chaos. With a background as the drummer in the explosive garage band Union Carbide Productions and later in the more ritualistically oriented The Skull Defekts, he has moved from the physical energy of rock to a more analytical and exploratory engagement with the very material of sound.
In his solo work, Rylander often uses feedback as an instrument – a process in which sound becomes self-reinforcing, both controlled and uncontrolled at the same time. His music can be described as minimal in form yet maximal in effect: small shifts in frequency or resonance take on monumental weight. Within his works, sharp, high-frequency tones meet deep, vibrating basses, giving rise to an uncompromising sonic world that both tests the listener’s patience and opens up a space for meditative presence.

henrikrylander.com