CADENCES
curated by REIF and Berlin Atonal with Actress & Billy Bultheel


The Intersection of Sonic Art and Nike Guided Runs is here: CADENCES.

Join electronic musician Darren Cunningham aka Actress and composer Billy Bultheel for their 30-minute running explorations in the form of unique soundscapes that experiment where running and art collide.

Originally recorded at Berlin Atonal & curated by REIF and Atonal in collaboration with Nike, these brand-new Guided Runs are now available on the Nike Run Club App. Click below to tap into a new field of acoustic experiences and then just breathe and let your feet do the rest.

CTA 1: Soundscape: Actress – Run Now



CTA 2: Soundscape: Billy Bultheel – Run Now












b+
Mäusebunker CC

Only a few buildings are given nicknames by the people of their city; the Mäusebunker was one such example, widely recognized as a symbol of technological progress and human dominance over nature. Nothing was supposed to leave the rooms of the former animal testing facility, yet people knew what was happening behind the walls. Following public protests and its decommissioning, the Mäusebunker is still waiting for a new use today.

In regards to new legislation, such as the Climate Change Act that promotes climate neutrality by 2045, we can't longer afford to demolish existing buildings, thus the preservation and conversion of the Mäusebunker can become an example and showcase for the successful transformation of existing living spaces, bringing together social, ecological and economic factors. Subsidised studios and workshops are created alongside rooms and spaces for cohabitation, which is prototypical for the coexistence of human and non-human uses in the city.








06/07
23H
LUX FRÁGIL

BASHKKA
NOPORN
live
DJ LYNCE







RICHIE CULVER - I WAS BORN BY THE SEA (LIVE)

27/01
TEATRO RIVOLI UNDERSTAGE
PORTO






I was born by the sea (The remixes)
Richie Culver

Daytime TV (Rainy Miller Remix)
It’s hard to get to know you (Space Afrika AmbiV)
Pigeon Flesh (MOBBS’ Butcher Mix)
Love like an Abcess (Aho Ssan Remix)
Nervous Energy  (Teresa Winter Remix)
I was born by the sea (Fila Brazililia Remix)
Dream about Yourself (Bonus)


AVAILABLE ON
BANDCAMPAPPLE MUSIC











26/01
GALERIA ZDB
Lisboa

RICHIE CULVER
CARINCUR
ALCAIDE















29/12
22:00
LUX FRÁGIL

XEXA live
JOÃO PIMENTA GOMES
live
CARMINHO com Pedro Geraldes
VAN DER
NKISI
MADALBA


REIF has always been from here. It was born abroad, formed between Berlin, Paris and São Paulo, but it has also always belonged to Lisbon. An alliance of artists for an ideal of common sharing, an ongoing movement with the purpose of materializing the abstract into the concrete. The agglutinating sphere imagined by the visionaryimpulse of Marcelo Alcaide is translated into the representation of different expressions of identity. Aspractical results, through his homonymous label that explores a vast aesthetic, material and sonic spectrum, compilations were released that made Wolfgang Tillmans, Jeff Mills, Ron Trent, Dominique Gonzalez-Foerster, CEM, Carminho, Isabel Lewis, rRoxymore, LABOUR, Karl Holmqvist or CRYSTALLMESS cohabit in the same narrative. Also the residency at Berghain/Panorama Bar, the mecca of freedom and avant-garde cult; programs like 'Sound Catharsis' for Centre D'Art Contemporain Genéve or co-commissioned projects for institutions like Julia Stoschek Collection or HAU Berlin; and recently the release of 'I was born by the sea', the first LP by the thinker and conceptual artist, Richie Culver.


When it comes to reflecting on a rallying cry is to think of Lux. A place-embryo that shaped ideas essential to the very foundation of REIF, an ideal place for a first presentation in the city. For the openness and trust in an ongoing relationship like the one between Alcaide and Lux, only a story of non-conformism could be told. A curatorship made of contrasts, bringing artists never imagined in the same line-up, however, of enormous pertinence. A sign that fado, techno, Afrofuturism, gabber and experimental can cross in the form of a unanimous speech. XEXA brings a futuristic and courageous dream, the emerging voice of an artist descendant of São Tomé living in London; the artist João Pimenta Gomes, musician and sound explorer, brings a body-piece to distort the concept of a club; Carminho, fado's greatest soul and incendiary voice joins the guitarist Pedro Geraldes to rethink the canons and open new sound doors; Madalba proves that visceral techno can be elegant, unpredictable and celebratory; Van Der, alias Vanderley Neves, dedicated to unstoppable and corpulent bpms; NKISI, finally, incorporates cerebral, explosive music from gabber to percussive aesthetics that he admires from South African music.

On the 29th of December REIF focuses on its materialization and tells a vibrant story mentioning the past, the present and showing where it is heading. It has always been Lisbon, it has always been Lux, REIF is from here and it is here to stay.

Joaquim Quadros









This is the second iteration of sungazing that began at Kraftwerk Berlin in November within the X100 Festival.  This new work shares conceptual ideals to the first iteration, and now notably features the two dancers Cassie Augusta Jørgensen and Daniil Simkin, the video work and visuals of Evelyn Bencivcova, Enes Güç, Zeynep Schilling, light design by MFO, costuming by Marcelo Alcaide and Johnny McMillan as movement consultant.





In this interwoven relationship, the elements shift from temporally aligned to temporally disjunct, transforming HAU2 into a multi-sensory experiential space. While finding inspiration in Zoroastrianism, an Iranian religion thousands of years old, and its rituals revolving around fire and the sun. “sungazing” dives further into the possibilities within club culture’s hedonism to political action and civil disobedience.





Concept, Direction & Music: LABOUR (Farahnaz Hatam & Colin Hacklander) / Performance: Cassie Augusta Jørgensen, Daniil Simkin / Visuals: Evelyn Bencicova, Enes Güç, Zeynep Schilling / Light: MFO (Marcel Weber) / Movement Consultant: Johnny McMillan / Costumes: Marcelo Alcaide
3d Visual assistant: Alejandro Spano / Visual assistant: Sofie Von Royen

Special thanks to:  Callie’s and Outer / Co-Production: REIF


Visit note: Abrupt light changes, flashing lights and strobe lights are used.







AFTER PREMIERE at CAN: Dance with us! x REIF with Nedalot - free admission










Richie Culver –  I was born by the sea
12’’ Vinyl / CD / Digital / Streaming

STREAM/BUY - IWBBTS
ORDER 12’’ LP



With I was born by the sea, Richie Culver brings to a close a period of intense introspection and emotional reckoning with a debut album that serves as both an optimistic statement of intent and a final glance back at the painful places it explores. Following recent work with Blackhaine and Pavel Milyakov, I was born by the sea picks up where Culver’s EP for Italian label Superpang, Post Traumatic Fantasy, leaves off, painting an unabashed portrait of contemporary malaise, detailing a life lived behind closed doors, pinned under the crushing weight of austerity, sapped of the strength to do anything other than gaze out to sea and all the grey possibilities it represents. Where Post Traumatic Fantasy saw Culver returning to his hometown of Hull after a period spent entangled in London’s relentless sprawl, his first full length project reaches further back to his formative years working in a caravan factory and going to raves in and among Hull’s outskirts. Unspooling like a fever dream, I was born by the sea is the anxious clutter of a racing mind spoken clearly, a stark reflection on how it feels to have too many ideas and too much time to act on them.

Though unquestionably a snapshot of a time of significant difficulty, Culver reflects on this period with tender empathy and pitch-black humour, stitching together unflinching observations from England’s neglected corners, ‘there’s more mobility scooter repair shops and bookies than there are bookshops,’ and devastating vignettes of everyday struggle, ‘tears on the tin foil’, with surreal depictions of industrial grit, ‘skimming stones in a small pond by the slaughterhouse’. His DIY approach to production stretches the rough sinew that connects these fragments of memory, a process he describes as using a paired back collection of synths and drum machines to the best of his ability, ‘but to the least of their capabilities,’ wringing out visceral sound with self-taught urgency. During the album’s most impressionistic passages it’s as though Culver has transposed past internal turmoil into powerfully resonant noise, the Sisyphean sonics of ‘Create A Lifestyle Around Your Problems’, which evokes in its concrète clatter and MRI machine barrage the sound of making the same mistake again and again, or the stuttered jumble of ‘Its Hard To Get To Know You,’ its garbled vocal modulation and frayed edges of distortion channeling the paranoia of somebody listening to muffled voices through thin plaster, climbing the walls of their bedroom with the curtains closed, a nervous breakdown in stereo.

In counterpoint to this glides the ever-present spirit of the dance floor, which haunts the record from the moment it is invoked in its first few seconds. Opening onto a sea wall of bright synthesis, the stuttering vocals and bass tone chops of ‘Nervous Energy’ dump us directly into post-rave ecstasy, the echoing cry of a voice amplified by loudspeakers carrying the loose energy and surge of crowds moving in darkness. The incessant, dead phone line beep of ‘Pigeon Flesh’ builds to a pulse that suddenly swells into an anxious technoid surge, shapeshifting at lysergic speed into head shrinking audio hallucinations, a descent into the void of the present via machine music hypnosis. Even ‘Its Hard To Get To Know You’ summons the ego death drive of hardcore techno within its scorched textures, flickering indiscernibly between attritional noise and frazzled hardware stomp. Paying homage to both the parties of his youth and a countless succession of Sundays spent offering himself up within Berghain’s hallowed architecture, Culver’s experiments in addressing his formative relationship with rave provide an energetic glimpse at where he might take his sound next.

Between spikes of propulsive energy and grim mood pieces Culver returns to suspended passages of aching, glacial drift, the cold swell of the North Sea, accompanied by some of his heaviest testimonials. The gauzy ebb of ‘Daytime TV,’ its tumbling loops reminiscent of boats bobbing off a distant shore, sees the artist at his most checked out, slumped in front of his television, seven days a week. ‘I used to dream of doing something,’ he admits, ‘anything to get out of this town.’ ‘Love Like An Abscess’ pairs swirling currents of ambient shimmer with violent images of baseball bats lying next to beds and blood-stained mattresses, next to which Culver pleads in a desperate mumble, ‘let our love grow, like a broken abscess’.    
                                                                                                                   
Yet it’s with the album’s final word and title track that Culver reveals a glimmer of cautious optimism, a parting gesture of exposition and closure. ‘I knew I had to get away,’ he asserts, ‘so I did and I never looked back.’ What follows builds from a low throb, the flutter of a tiny heartbeat, to a resonant glow, embellished with unfurling synthetic burbles, oil rigs sparkling in the distance, golden light spilling across the sea. In reckoning with the place he had to escape, Richie Culver is now free to look towards the promise of something new, something hopeful.  



RICHIE CULVER

(Credit Nessim Stevenson)

Richie Culver first realised he understood art at an afterparty. Growing up by the North Sea, on the outskirts of Hull, the artist spent his formative years reckoning with the gravitational pull of his hometown, wracked with anxiety, aimlessness and low self-esteem. After leaving school to work in a caravan factory to facilitate a growing rave habit, Culver started to pull focus on himself in the abandoned warehouses and knackered bedsits of Hull’s party scene. It was on staggering to one of many post-rave afters that he was exposed to a book of Nan Goldin’s photographs. Through dense skunk smoke, over the chaos magic incantations of Genesis Breyer P-Orridge emanating from punctured speakers, Culver recognised something in the world viewed through Goldin’s lens. “I would look at the pages and understand these images,” says Culver. “This was where I was from. I realised that people were capturing this for a living.” It wasn’t long after this that he would learn that Throbbing Gristle had formed in the same city he had always felt so trapped by, an epiphany that would spell a sea change for the artist at his most embryonic.







RICHIE CULVER – CREATE A LIFESTYLE AROUND YOUR PROBLEMS

VIA FACT MAGAZINE

OUT 11/22

STREAM/BUY - IWBBTS
PRE-ORDER DIGITAL LP

Vinyl / CD / Digital / Streaming

The resonant barrage of concrète clatter and MRI machine churn of ‘Create A Lifestyle Around Your Problems’ swells at the beating heart of I Was Born By The Sea, the devastating debut album from iconoclast, outsider artist Richie Culver. Unfurling as relentless friction, a Sisyphean surge and retreat that evokes trying and failing, again and again, to break out of an itching cycle of frustration, the track’s DIY sonics sandpaper a malleable surface upon which Culver inscribes his observations from the fringes that take on cavernous emotional potency with each repetition of his dissociated delivery. Here, the artist looks back at the “hardest working man in the job centre,” this “habitual bastard,” the “most underrated person in your family,” pinned under the crushing weight of his home town, obsessing over the need to escape while battling the apparent absurdity of such ambition: “you and god on a rollercoaster.” For the accompanying visual Culver, alongside close collaborator and Participant Records co-founder William Markarian-Martin, fittingly makes a return to his mother’s house in Withernsea, the titular seaside town of his birth. “The video was shot in my Mothers home near Hull. Where I was brought up also,” explains Culver. “You can hear the Sea from inside the house in Winter. Sometimes you can’t walk on the promenade because it’s so wet & wild.” Captured with an unflinching and poignant fusion of grey nostalgia and tender catharsis, Create A Lifestyle Around Your Problems evokes a past battered by the rain, shaken by personal struggle and ransacked by Tory austerity. Footage of foam-flecked waves crashing across sodden concrete is obscured by the phrase “picture yourself succeeding,” as cold rain smudges a blurry lens.



Director: William Markarian-Martin
Additional Camera: Takeru Brady
Music: Richie Culver









RICHIE CULVER - DAYTIME TV





OUT 11/22

STREAM/BUY - IWBBTS
PRE-ORDER DIGITAL LP

Vinyl / CD / Digital / Streaming


With I was born by the sea, Richie Culver brings to a close a period of intense introspection and emotional reckoning with a debut album that serves as both an optimistic statement of intent and a final glance back at the painful places it explores. Following recent work with Blackhaine and Pavel Milyakov, I was born by the sea picks up where Culver’s EP for Italian label Superpang, Post Traumatic Fantasy, leaves off, painting an unabashed portrait of contemporary malaise, detailing a life lived behind closed doors, pinned under the crushing weight of austerity, sapped of the strength to do anything other than gaze out to sea and all the grey possibilities it represents. Where Post Traumatic Fantasy saw Culver returning to his hometown of Hull after a period spent entangled in London’s relentless sprawl, his first full length project reaches further back to his formative years working in a caravan factory and going to raves in and among Hull’s outskirts. Unspooling like a fever dream, I was born by the sea is the anxious clutter of a racing mind spoken clearly, a stark reflection on how it feels to have too many ideas and too much time to act on them.

Though unquestionably a snapshot of a time of significant difficulty, Culver reflects on this period with tender empathy and pitch-black humour, stitching together unflinching observations from England’s neglected corners, ‘there’s more mobility scooter repair shops and bookies than there are bookshops,’ and devastating vignettes of everyday struggle, ‘tears on the tin foil’, with surreal depictions of industrial grit, ‘skimming stones in a small pond by the slaughterhouse’. His DIY approach to production stretches the rough sinew that connects these fragments of memory, a process he describes as using a paired back collection of synths and drum machines to the best of his ability, ‘but to the least of their capabilities,’ wringing out visceral sound with self-taught urgency. During the album’s most impressionistic passages it’s as though Culver has transposed past internal turmoil into powerfully resonant noise, the Sisyphean sonics of ‘Create A Lifestyle Around Your Problems’, which evokes in its concrète clatter and MRI machine barrage the sound of making the same mistake again and again, or the stuttered jumble of ‘Its Hard To Get To Know You,’ its garbled vocal modulation and frayed edges of distortion channeling the paranoia of somebody listening to muffled voices through thin plaster, climbing the walls of their bedroom with the curtains closed, a nervous breakdown in stereo.

In counterpoint to this glides the ever-present spirit of the dance floor, which haunts the record from the moment it is invoked in its first few seconds. Opening onto a sea wall of bright synthesis, the stuttering vocals and bass tone chops of ‘Nervous Energy’ dump us directly into post-rave ecstasy, the echoing cry of a voice amplified by loudspeakers carrying the loose energy and surge of crowds moving in darkness. The incessant, dead phone line beep of ‘Pigeon Flesh’ builds to a pulse that suddenly swells into an anxious technoid surge, shapeshifting at lysergic speed into head shrinking audio hallucinations, a descent into the void of the present via machine music hypnosis. Even ‘Its Hard To Get To Know You’ summons the ego death drive of hardcore techno within its scorched textures, flickering indiscernibly between attritional noise and frazzled hardware stomp. Paying homage to both the parties of his youth and a countless succession of Sundays spent offering himself up within Berghain’s hallowed architecture, Culver’s experiments in addressing his formative relationship with rave provide an energetic glimpse at where he might take his sound next.

Between spikes of propulsive energy and grim mood pieces Culver returns to suspended passages of aching, glacial drift, the cold swell of the North Sea, accompanied by some of his heaviest testimonials. The gauzy ebb of ‘Daytime TV,’ its tumbling loops reminiscent of boats bobbing off a distant shore, sees the artist at his most checked out, slumped in front of his television, seven days a week. ‘I used to dream of doing something,’ he admits, ‘anything to get out of this town.’ ‘Love Like An Abscess’ pairs swirling currents of ambient shimmer with violent images of baseball bats lying next to beds and blood-stained mattresses, next to which Culver pleads in a desperate mumble, ‘let our love grow, like a broken abscess’.                                                                                                                        
Yet it’s with the album’s final word and title track that Culver reveals a glimmer of cautious optimism, a parting gesture of exposition and closure. ‘I knew I had to get away,’ he asserts, ‘so I did and I never looked back.’ What follows builds from a low throb, the flutter of a tiny heartbeat, to a resonant glow, embellished with unfurling synthetic burbles, oil rigs sparkling in the distance, golden light spilling across the sea. In reckoning with the place he had to escape, Richie Culver is now free to look towards the promise of something new, something hopeful.  









DEVA is Steev Lemercier’s 7th album, this time released via REIF.

The new electronic LP is a sort of multicultural & musical journey mosaic towards spirituality & awareness accompanied by S. Lemercier’s abstract texts & eerie meditative vocals in all its Ying & Yang aspects.

In numerology, the number seven represents “a quest for knowledge”. It can also represents the seven wonders of the world or the seven basic chakras...

“Deva” means: A member of a class of divine beings. The title is related after the rich Indian religious culture & Mythologies from the “Vedic age” (heroic age 600 BCE) which always fascinated S. Lemercier to the core.

That is most likely the reason why you are going to meet with the Goddess of death, time and change “Kāli” along the journey for example.

You might also fight with the contemporary smartphone Zombies, get a drastic Tarot reading, a challenging Barefoot walk or have an insight of a weird dream that S. Lemercier had on a heat wave night in which he was a sceptical Angel in the gate of Heaven that wasn’t so sure to let people’s in before they offer a valid redemption! 

DEVA was entirely written & composed by Steev Lemercier in 2021-2022 during his artistic residency at “Nepitella” beautiful farm-house located in the countryside of Caltagirone in Sicily, where he was additionally facilitating some Osho Meditations techniques such as; Kundalini or DEVAvani.


TRACKLIST:

Reset
DEVA
Zombie
Insane
Delicate
The Hike
Tarot
Kāli
Barefoot
Bitter!
White Horse
NoGate



Written, Composed and Mixed by Steev Lemercier
Mastering: Jammin Masters (Berlin)






STEEV LEMERCIER – DEVA

Directed by JD Schneider
Sound Composition: Steev Lemercier


"Our western society finds it so difficult to accept duality in a single being…
As children, we are taught that there’s good & evil separated from each other instead of witnessing that we are duality and that both extremes inhabit each and every single being on this planet.

Kali is the Goddess of destruction & rebirth.
Kali means time.
Time creates everything but also destroys it all. We cannot escape from time! … It’s running after us so sharply that we continuously fail to take a single deep breath! DEVA means a member of a divine class. In Deva, Steev Lemercier impersonates a derivative of Kali. A male version of her dark majesty.

Flying on his broom, seeking for a new world (dis)order, Steev/Deva is dancing to destroy & destabilise the universe exactly where Kali left it centuries ago. Fire will raise, water will spill and there will be absolutely no mercy to be shown! This world needs a reboot but for coming to that point, all must be destroyed again at 1st… Beware & Bewitched! A new Kali era is just around the corner and you won’t be spared unless you accept & embrace your dark side too..."

DEVA was written & composed by Steev Lemercier in 2021-2022.









STEEV LEMERCIER – RESET




RESET is Steev Lemercier’s intro spell from his new album DEVA.


“Sometimes we get no other choices,
then to reset,
Start all over for the best!
The witching hour has come,
to cast a Spell on all humans
& turn them to Animals!”


Music/Lyrics by Steev Lemercier
Filming: Enzo Mauro
Editing: Steev Lemercier














Shedding your narrow shoes, spreading your toes and go barefoot is good for your body, mind, soul & last but not least; for the earth.


BAREFOOT is the first single of Steev Lemercier’s upcoming LP release DEVA - out via REIF on 24/09

.

“ And Barefoot we came,
Testing the thickness of our soles/souls,
Loving the pain of each sharp stones,
Harden skin, stronger within! ”







STEEV LEMERCIER


Steev Lemercier is a Swiss-French-Sicilian multimedia artist moving between performance art, music productions and deejay-ing. 
His subjects deal with the human conditions; the most basic emotions, sexuality, gender identity, addressing sensibilities, rage & fantasies in the contemporary political landscapes.


‘BAREFOOT’  IS AVAILABLE ON
BANDCAMPJUNO  ⁄  BEATPORT / ITUNES
TRAXSOURCE / HARDWAX  / APPLE MUSIC










EVENTIDE

Fa’ Pawaka, Labour
with Sainkho Namtchylak




Julia Stoschek Collection

SEP 15, 16 - 8PM, 10PM



Within the framework of the group exhibition at dawn, JULIA STOSCHEK FOUNDATION and REIF are excited to premiere a new, site-specific collaboration between the multidisciplinary artist Fa’ Pawaka and the sonic duo LABOUR, uniting Pawaka’s practice of “sacred tunings” with LABOUR’s “sonic activations.” Titled Eventide, the evening will consist of a sonic parcours led by the artists and will culminate in a sound bath in the upstairs cinema.

The program is assembled by Berlin-based collective REIF, and explores notions of recalibration and expansion, proposing a deliberate undoing of preconceived ideas and limitations within and around us. It centers the experience of the audience and represents a continuation of REIF’s past explorations, often manifested as gatherings, LPs, and videos, which have been developed through its record label and events. REIF was founded around ideas of collective, community-based engagement through which they
seek to enable various forms of togetherness and release.

According to a quote by Alice Coltrane, from which at dawn, the exhibition’s title, is borrowed, every morning–at dawn–we should “sit at the feet of action.” This saying encourages us to recalibrate and set an intention and goes on to suggest that, at eventide (or evening), we should become so big that “sky will learn sky.” Eventide can refer to the space of a
day but also of a lifetime, and conjures a state in which we are open to the universe, becoming conduits for what the cosmos has to offer. In their activation Fa’ Pawaka and LABOUR work toward this recalibration and sonic catharsis, inviting us to listen and feel our bodies in relation to each other and everything around us.


Curated by Marcelo Alcaide, Lisa Long.

Composition: Fa’ Pawaka, LABOUR
Gong: Elisa Lindenberg
Throat Singing: Sainkho Namtchylak
Scenography: Roberta Jurcic, Marcelo Alcaide with Zakaria Rugs
Light: GRAU
Choir, Percussion: Show Choir
Custom Sound System by H.A.N.D. HiFi

Thanks to Callie’s for the studio space.


Supported by Nike ISPA

ISPA is a philosophy. A set of design principles that represents a pinnacle, experimental expression of Nike design across all categories, including the latest innovations and established creations. It is product-agnostic, driven by experimentation and targeted toward solving problems for unique athletes and artists. ISPA is a belief that, with a little inspiration, any problem can be solved with the materials at hand.




FA’ PAWAKA



Fa‘ Pawaka, a.k.a. Fahrani Empel, a.k.a. favelamunk, is a multidisciplinary Indonesian artist that lives in Berlin. In the last four years, she has worked with alchemy crystal bowls, fascinated by their healing qualities and the body’s immediate calm in response to them. Sacred Tuning is an immersive experience that releases psychological blockages, lowers emotions, and activates our pineal gland. It was created with Olle Holmberg and Elisa Lindenberg. “Our cells are made out of crystalline structures; therefore, the crystal bowl’s frequencies are received by humans directly at the cellular level in the process,” Fa’ says. “It is a powerful activation.”
LABOUR



LABOUR is the collaborative project of Farahnaz Hatam and Colin Hacklander, whose compositions and performances center on the transformative potential of sound. Trained in molecular biology, Hatam works primarily with SuperCollider, a complex platform for audio synthesis and algorithmic composition that is a language unto itself. Hacklander is a percussionist, drummer, and composer, with a background in post-tonal theory and electronic music. As LABOUR, they compose ambitious and reverently experimental audio works. Their practice promotes active listening and heightened sensory awareness, which form the core of their “sonic activations” series that continues their exploration of acoustic space as a potentially radical gesture. The name LABOUR is inspired in part by an early definition of Marx that gives ontological significance to the realm of work, as articulated by the philosopher Christopher J. Arthurs, who defines labor as “the ontologically fundamental productive activity in and through which one becomes what one is.”

SAINKHO NAMTCHYLAK

Sainkho Namtchylak, born in Tuva on the border to Mongolia, is a singer, poet, writer, performer and painter educated in music ethnography and voice teaching at Akademie of Gnesin in Moscow. Namtchylak has released multiple free jazz albums, published two books of poetry, and exhibited in Austria, China, Russia, and Italy.
GRAU

GRAU is an interdisciplinary artist duo that explores how living light can mediate the emotional relationship between humans and their environment through immersive installations, sculptures, and products.

H.A.N.D. HiFi

In a landscape dominated by off-the-shelf mass-produced sound systems, H.A.N.D. HiFi specializes in building unique audio experiences, particular to each surrounding. The prototype used in Eventide at JULIA STOSCHEK COLLECTION was originally designed to be set-up as four-point system on a dance floor with roughly 150 sq.m. Displayed as a wall, listeners are confronted with all the sound coming from the same plane.
SHOW CHOIR

Show Choir, a newly founded performative mixed choral ensemble organized by Jessica Gadani and Anna von Glasenapp, intents to create a space for Berlin’s artists and performers to come together in song. In a very literal sense, individual voices are developed through a regular practice of harmonic togetherness.

ROBERTA JURCIC

Roberta Jurcic works as an architect at the bplus.xyz office in Berlin and teaches at the Design Studio s+ at ETH in Zürich. In her practice she investigates the connection between housing shortages in city centers and the privatization of land, and has co-founded the initiative Global Moratorium on New Construction.
ZAKARIA RUGS

Zakaria Rugs aims to restore the individual commitment to handcrafted goods, neglected through fast-paced, mass-produced, unsustainable production cycles. 












GAY BARS SAVED MY LIFE
Eleonora Meoni
Marta Orlando

Project for a costumed polysexual hoodie. 2022



"GBSML it´s a sentence, a statement, a bunch of words, urban haiku, visual poetry embroidered in red cotton on black plain hoodies.

According to the increase of spreading of STD (sexual transmission diseases) among people of all genders and all sexual preferences, we thought to customize an item that broadly is belonging to the cis-male sphere, with an ironic yet deep sentence addressed to women and queer youth. "


Available for orders via raum@reif.life
Part of the sales will revert to Schwulen Beratung Berlin.






MARTA ORLANDO



Marta Orlando (*1980 in Caserta, IT) is a visual artist based in Berlin. Through her work Orlando builds shapes reflecting upon the processes undergone from significances in contemporary culture. She presented her works in venues such as Husslehof, DE (2015), Museo MACRO, IY (2014), as well as within the project Biennalist, that took place concurrently to the 53. Venice Biennial. She contributed to previous events of the collective Pane Per Poveri, in the context of which her works were shown in the Victoria Square Project, GR (2018), Supportico Lopez, DE (2018) and the Marinoni Theater in Venice, IT (2015).
ELEONORA MEONI



Born in 1978 in Florence. The absence of curriculum vitae is Miss Meoni’s artist’s statement. Photography: Marcelo Alcaide







Poster Edition: Alexandre Diop, 2020, The Indo-European Mithos 4


26/08/22
22:00
PANORAMA BAR

Via Berghain

NKISI
CRYSTALLMESS
CHRIS KORDA live
SADFORNOREASON
ONIO



The US activist Chris Korda is one of the most interesting personalities of the global techno scene. As a speaker for the Church of Euthanasia, an officially recognised religious community, she has been criticising overpopulation and the impending environmental collapse since the early 90s, calling for abortion, cannibalism and bestiality and creating absurd slogans such as "Safe The Planet, Kill Yourself" - which was also the name of one of her first major hits. As a gigolo act, Korda, who defines herself as a transgendered person, performed around the electroclash hype for a few years before taking a fifteen-year break, during which time she wrote software programmes for 3D printers. Korda has now been musically active again for three years, with two electronic albums on Perlon and two piano albums on Mental Groove testifying to her immense talent. Her music is in complex polymeters, meaning that many different, odd time signatures are used simultaneously. In combination with the original use of the vocoder, this results in an otherworldly, musical beauty with a radical message: The (Wo)Man Of The Future. Tonight Korda plays live at Panorama Bar as part of the REIF night, with CRYSTALLMESS, Nkisi, ONIO and SADFORNOREASON as DJs.










Poster Edition: Richie Culver

10/06/22
22:00
PANORAMA BAR

Via Resident Advisor

NO BRA live
TAYHANA
EMMA DJ
BABYNYMPH live
Cali Rose b2b CRSSWRRDS
ONIO



REIF is a Berlin party series, a record label and a loose association of international artists from different generations who work on topics such as queer identity and various forms of expression of thought and togetherness. Their first compilation '01', which was released last December, brought together such diverse acts as Wolfgang Tillmans, Cali Rose, rRoxymore and Jeff Mills. This Friday they are releasing the successor '02' with 26 new tracks by CRYSTALLMESS, CEM, Ron Trent and Emma DJ, BABYNYMPH and No Bra, who are also playing at the REIF premiere in the Panorama Bar - the latter two are playing live as well a DJ set. NYC-based artist Susanne Oberbeck aka No Bra is an icon of queer British underground, She always performs her subversively poetic post-punk electro tracks without a top. TAYHANA is an Argentinian DJ and producer who clashes Latin American music such as reggaeton and cumbia with rough electronic dance tracks in her sets. Also exciting: a B2B from the REIF artists Cali Rose and CRSSSWRRDS.









R02 / CARMINHO - MEU AMOR MARINHEIRO 
(LIVE AT MANOUCHE STUDIOS 2022)










R02 / JOÃO PIMENTA GOMES – DOPPELGäNGER WITH CARMINHO AND HARRY PARTSCH

Excerpt of Poly-Free Eurorack modular synthesizer, Western Electric 15A Replica, power amplifier MAAT Museum, Lisbon 2022



“I started recording Doppelgänger (with Carminho and Harry Partch) in November 2019 at the Wyndham Hotel in New York during the first days of Carminho’s tour. The vocals and final take were recorded in the hotel room on 1–4 November.  

Every sound was created by Carminho singing the Harry Partch scale note by note using different “articulations” (aaaahs, taaaaas, eeeehs, etc.). I broke all of the notes down individually and it left me with a kit of one-shots that I used for this piece.

For the recording, I connected the modular synthesiser directly to the Portastudio and created the master in mono. It was important to do only a few takes, as at the time I wanted to capture the energy and spirit of recordings from the 50s and 60s, which I always imagined came from the fact that musicians then only had the chance to do one or two takes.


I was studying the work of the producer Joe Meek and I was really inspired by the idea of the recording studio as an instrument. My Eurorack setup explored this relationship between re-amping ideas, axis and off-axis recording, and how to translate and apply these techniques through the synthesiser, exploring volume as the starting point to modulate the timbre of the sounds and my spatial perception of stereo in terms of proximity and distance. I think recording music quickly is what most enhances it, what really brings it alive. I made some basic musical scores, something I could memorise after a few rehearsals, to use as a guide. The idea of drone music doesn’t really interest me. What I look for is an evasive sound – something wild that’s hard to tame. Before these recordings, I had rarely done a take where I felt I had influenced the sound rather than just satisfying a preconceived idea about structure or energy.  

It was also important to follow this constant flow of energy from start to finish, as the modulations move from within the music outwards; to try to ignore my thoughts, and to let the body respond to the sound with the aim of capturing that moment. I didn’t do an overdub and the mixing took place in the days after the recording.

My relationship with the synthesiser is chiefly about sound processing rather than creation. I feel it’s the natural extension of my work as a music producer, something I explore when I record a band in a particular space, as that space between the musicians mutates and is transformed by the collision and accumulation of sound waves in a room. It is the process of sound in its entirety and not as a relationship between the execution and the result. I’ve always thought it was really important that everything – instruments, people, speakers, signal path, atmosphere, microphones, and tape recorder – should have the same importance and that managing these elements in a song should be a dynamic process”.




JOÃO PIMENTA GOMES


João Pimenta Gomes (Lisbon, 1989) is a visual artist and musician that lives and works in Lisbon. In his artistic practice, he addresses references mostly related to music and explores the relationships between space and body through by manipulating modular synthesisers, images and objects, enabling encounters between the analogue and the digital, the sensory and the conceptual. His most notable exhibitions include Clouds (Kunstraum Botschaft, Berlin, 2021), Trabalho de Inverno (Galeria Quadrado Azul, Lisbon, 2021), as member of the group Matéria Simples, with whom he also held A Ilha de Calipso (Appleton Garagem, Lisbon, 2020), and Micro Ressonâncias (Appleton Box, Lisbon, 2020).



02 - REIF
AVAILABLE ON
BANDCAMPJUNO  ⁄  BEATPORT / ITUNES
TRAXSOURCE / HARDWAX  / APPLE MUSIC









02127777272 is the reimagining of 02167777272 from ÇÇ001. Where we hear Kübra Uzun’s WhatsApp audio messages about queer life in Istanbul and their support on Çiçek Çocuk’s mental health issues for the time period.

´Began this track during the elections of Mayor of Istanbul, hoping for a better future for our mentality, our freedom, unfortunately nothing has changed, we're still not free’ - Çiçek Çocuk


Songwriter(s): Kübra Uzun, Çiçek Çocuk
Producer: Çiçek Çocuk
Mix: Can Kuman
Mastering: Barış Ergün

Director(s): Alper Yıldırım & İpek Çınar
DOP: İlkin Eskipehlivan
Producer(s): Çiçek Çocuk, Alper Yıldırım & İpek Çınar
Styling: Antre Sex
Make-Up: Tusidi
Special thanks to Pera Museum, Hypercortex UK, Bengisu Öten, Kübra Sarıkaya, Yasemin Köker and Jilet Sebahat


ÇIÇEK ÇOCUK



Çiçek Çocuk is a Istanbul based producer, songwriter, performance artist and DJ. Their first LP record ÇÇ001 is a hyper-electronic theatrical pop experiment, lyrically questioning the enquiries of modern queer youth in Istanbul. They’ve also produced tracks and remixes for artists such as Kübra Uzun, Ceytengri, Elz and the Cult, Debonair Detsuki. They have previously performed on Pera Museum, a queer performance series based in Barcelona ‘Uñas y dientes’, Who’s in a Bunker? by Hood Base and Red Bull Music festivals and such.
KüBRA UZUN 



Istanbul-based singer, songwriter and DJ, Kübra Uzun is a queer activist, working as in Turkey and also on international basis of various platforms.






R02

CRYSTALLMESS - Dreaming at my doorstep
No Bra - The Cult of Hierarchy
BABYNYMPH - Trauma Pop Pt. II ft. Diana Starshine
João Pimenta Gomes - Doppelgänger (with Carminho and Harry Partch)
La Chatte - Idole
Kübra Uzun, Çiçek Çocuk - 02127777272
Fuck U Pay Us - Board Up
Casual Melancholia - Spring
Bruno Mendonca ft. Gerzender - Don’t Cry for Me Brasilia
Jtamul - Hold
Eleonora Meoni, Ninon Liotet, Oliver Simon,
Steev Lemercier - HOCA
Grillo - Voz
Sing Libra - Fern Flower
Richie Culver - Create a Lifestyle around your problems
LABOUR - Kewin’s dance (4_4 Remix)
Emma DJ - Ill Rooster
Caroline Letho, SYM - Solução Acid
Yesh ft. Maria - Holy Ghost
Exotourisme - Dominique Gonzalez Foerster, Julien Perez - Sinking Backstage
Photonz, Shcuro - Free Block
Paid to Practice - Eric D. Clark, Eleni Polou-Smith - Human Beings being Human
Ron Trent / BTS - Time
Carminho - Meu Amor Marinheiro (live at Namouche Studios 2022)
Isabel Lewis - Deep Feelings
Parzubanil - 909 Love Story
CEM - Against the looking glass ft. Kewin Bo


AVAILABLE ON
BANDCAMPJUNO  ⁄  BEATPORT / ITUNES
TRAXSOURCE / HARDWAX  / APPLE MUSIC


Cover Artwork: Franco Mazzucchelli, Bieca Decorazione, 2004, PVC, air, wood frame, 60 × 60 × 15 cm.
Photo by Trevor Lloyd, Courtesy of the Artist and ChertLüdde.









Sonic Catharsis
(Sound as Political Manner)

Reif for Centre D’Art Contemporain Genéve’s 5th Floor


With the abrupt disruption of society as we knew it, countercultural communities were forced to deal with our spaces for play vanishing, forcing us to imagine new spaces we could migrate - simultaneously reinforcing the need for thought expansion and a reimagined a safe space.

For our residency at Centre d’Art Contemporain Geneve's 5th floor, we have commissioned a group of artists taking part in the two first releases of our label, 01 & 02 - to give form to varying cultural instigation strategies in order to investigate how we as a community can reignite the fires of night culture and create new ways of gathering as the world reopens. Reverberating from their bodies, new works, and untold stories; the artists collectively illustrate how sound can be a means of resistance.

Prioritizing experiences that don’t align with patriarchal values, we use art as a vehicle to craft new realities.
Movement and sound are ancient technologies we engage with throughout the residency, specifically the ways they manifest and morph in contemporary club culture.
We amplify sound, the chosen instrument, for political catharsis and social change.
Sonic Catharsis (sound as political manner) - REIF for Centre d’Art Contemporain de Geneve's 5th Floor - formalizes the work we have done outside of institutional spaces in order to reach new audiences, crafting a space for engagement with sound in a hyper contemporary manner.

REIF is a multifaceted cultural movement that actualizes through record releases and community activations - these actions deepen the conversation between artists and audience, and this new intersection with the CAC is a collision that allows culture at large to connect deeper in order to collectively progress into an expanded future.










rRoxymore, Josh Johnson
DE CENTERED




Isabel Lewis, Jeff Mills
DRIFT




Karl Holmqvist, Tabloid Press
KOTTI MANTRAS







WOLFGANG TILLMANS – CERTAIN SENSITIVITY
(LIVE WITH FRAGILE AT BOFFO 2018)


VIDEO FILMED AND DIRECTED BY WOLFGANG TILLMANS
EDITED BY MICHAEL AMSTAD
VIDEO FEATURING MICHAEL AMSTAD, ANDERS CLAUSEN AND PAUL MOELLER

MUSIC WRITTEN AND PRODUCED BY TIM KNAPP & WOLFGANG TILLMANS
LYRICS AND VOCALS BY WOLFGANG TILLMANS
MODULAR SWEEPS BY KYLE COMBS
SYNTH BASS BY TIM KNAPP
GUITAR BY JUAN PABLO ECHEVERRI






R01


Tabloid Press – Orchid
Wolfgang Tillmans / FRAGILE – Certain Sensitivity (Live at BOFFO 2018)
Sene – Junq Sonorum
Jeff Mills – Hatsumi
Cali Rose – Divinus
Karl Holmqvist – Call Your Girlfriend
Asmara – Soul Dramatique
fabaitos – B2U
Franziska Lantz – Meshe [Global Warming Records]
BOTO – Manco
Wild Daughter – Leckerman
Richard Kennedy – FYEO
Juan Ramos – Iniciado
rRoxymore – DE-Centered
MadAlba – Gonna Do With You

AVAILABLE ON
BANDCAMPJUNO  ⁄  BEATPORT / ITUNES
TRAXSOURCE / HARDWAX  / APPLE MUSIC










CADENCES
by Actress & Billy Bultheel

The Intersection of Sonic Art and Nike Guided Runs is here: CADENCES.

Join electronic musician Darren Cunningham aka Actress and composer Billy Bultheel for their 30-minute running explorations in the form of unique soundscapes that experiment where running and art collide.

Originally recorded at Berlin Atonal & curated by REIF and Atonal in collaboration with Nike, these brand-new Guided Runs are now available on the Nike Run Club App. Click below to tap into a new field of acoustic experiences and then just breathe and let your feet do the rest.

CTA 1: Soundscape: Actress – Run Now



CTA 2: Soundscape: Billy Bultheel – Run Now













b+
Mäusebunker CC

Only a few buildings are given nicknames by the people of their city; the Mäusebunker was one such example, widely recognized as a symbol of technological progress and human dominance over nature. Nothing was supposed to leave the rooms of the former animal testing facility, yet people knew what was happening behind the walls. Following public protests and its decommissioning, the Mäusebunker is still waiting for a new use today.

In regards to new legislation, such as the Climate Change Act that promotes climate neutrality by 2045, we can't longer afford to demolish existing buildings, thus the preservation and conversion of the Mäusebunker can become an example and showcase for the successful transformation of existing living spaces, bringing together social, ecological and economic factors. Subsidised studios and workshops are created alongside rooms and spaces for cohabitation, which is prototypical for the coexistence of human and non-human uses in the city.








06/07
23H
LUX FRÁGIL

BASHKKA
NOPORN
live
DJ LYNCE







RICHIE CULVER - I WAS BORN BY THE SEA (LIVE)

27/01
TEATRO RIVOLI UNDERSTAGE
PORTO







I was born by the sea (The remixes)
Richie Culver

Daytime TV (Rainy Miller Remix)
It’s hard to get to know you (Space Afrika AmbiV)
Pigeon Flesh (MOBBS’ Butcher Mix)
Love like an Abcess (Aho Ssan Remix)
Nervous Energy  (Teresa Winter Remix)
I was born by the sea (Fila Brazililia Remix)
Dream about Yourself (Bonus)


AVAILABLE ON
BANDCAMPAPPLE MUSIC










26/01
GALERIA ZDB
Lisboa

RICHIE CULVER
CARINCUR
ALCAIDE












Carminho
Meu Amor Marinheiro
(Live at Manouche Studios 2022)











29/12
22:00
LUX FRÁGIL

XEXA live
JOÃO PIMENTA GOMES
live
CARMINHO com Pedro Geraldes
VAN DER
NKISI
MADALBA


REIF has always been from here. It was born abroad, formed between Berlin, Paris and São Paulo, but it has also always belonged to Lisbon. An alliance of artists for an ideal of common sharing, an ongoing movement with the purpose of materializing the abstract into the concrete. The agglutinating sphere imagined by the visionaryimpulse of Marcelo Alcaide is translated into the representation of different expressions of identity. Aspractical results, through his homonymous label that explores a vast aesthetic, material and sonic spectrum, compilations were released that made Wolfgang Tillmans, Jeff Mills, Ron Trent, Dominique Gonzalez-Foerster, CEM, Carminho, Isabel Lewis, rRoxymore, LABOUR, Karl Holmqvist or CRYSTALLMESS cohabit in the same narrative. Also the residency at Berghain/Panorama Bar, the mecca of freedom and avant-garde cult; programs like 'Sound Catharsis' for Centre D'Art Contemporain Genéve or co-commissioned projects for institutions like Julia Stoschek Collection or HAU Berlin; and recently the release of 'I was born by the sea', the first LP by the thinker and conceptual artist, Richie Culver.


When it comes to reflecting on a rallying cry is to think of Lux. A place-embryo that shaped ideas essential to the very foundation of REIF, an ideal place for a first presentation in the city. For the openness and trust in an ongoing relationship like the one between Alcaide and Lux, only a story of non-conformism could be told. A curatorship made of contrasts, bringing artists never imagined in the same line-up, however, of enormous pertinence. A sign that fado, techno, Afrofuturism, gabber and experimental can cross in the form of a unanimous speech. XEXA brings a futuristic and courageous dream, the emerging voice of an artist descendant of São Tomé living in London; the artist João Pimenta Gomes, musician and sound explorer, brings a body-piece to distort the concept of a club; Carminho, fado's greatest soul and incendiary voice joins the guitarist Pedro Geraldes to rethink the canons and open new sound doors; Madalba proves that visceral techno can be elegant, unpredictable and celebratory; Van Der, alias Vanderley Neves, dedicated to unstoppable and corpulent bpms; NKISI, finally, incorporates cerebral, explosive music from gabber to percussive aesthetics that he admires from South African music.

On the 29th of December REIF focuses on its materialization and tells a vibrant story mentioning the past, the present and showing where it is heading. It has always been Lisbon, it has always been Lux, REIF is from here and it is here to stay.

Joaquim Quadros









This is the second iteration of sungazing that began at Kraftwerk Berlin in November within the X100 Festival.  This new work shares conceptual ideals to the first iteration, and now notably features the two dancers Cassie Augusta Jørgensen and Daniil Simkin, the video work and visuals of Evelyn Bencivcova, Enes Güç, Zeynep Schilling, light design by MFO, costuming by Marcelo Alcaide and Johnny McMillan as movement consultant.





In this interwoven relationship, the elements shift from temporally aligned to temporally disjunct, transforming HAU2 into a multi-sensory experiential space. While finding inspiration in Zoroastrianism, an Iranian religion thousands of years old, and its rituals revolving around fire and the sun. “sungazing” dives further into the possibilities within club culture’s hedonism to political action and civil disobedience.





Concept, Direction & Music: LABOUR (Farahnaz Hatam & Colin Hacklander) / Performance: Cassie Augusta Jørgensen, Daniil Simkin / Visuals: Evelyn Bencicova, Enes Güç, Zeynep Schilling / Light: MFO (Marcel Weber) / Movement Consultant: Johnny McMillan / Costumes: Marcelo Alcaide
3d Visual assistant: Alejandro Spano / Visual assistant: Sofie Von Royen

Special thanks to:  Callie’s and Outer / Co-Production: REIF


Visit note: Abrupt light changes, flashing lights and strobe lights are used.







AFTER PREMIERE at CAN: Dance with us! x REIF with Nedalot - free admission










Richie Culver –  I was born by the sea
12’’ Vinyl / CD / Digital / Streaming

STREAM/BUY - IWBBTS
ORDER 12’’ LP



With I was born by the sea, Richie Culver brings to a close a period of intense introspection and emotional reckoning with a debut album that serves as both an optimistic statement of intent and a final glance back at the painful places it explores. Following recent work with Blackhaine and Pavel Milyakov, I was born by the sea picks up where Culver’s EP for Italian label Superpang, Post Traumatic Fantasy, leaves off, painting an unabashed portrait of contemporary malaise, detailing a life lived behind closed doors, pinned under the crushing weight of austerity, sapped of the strength to do anything other than gaze out to sea and all the grey possibilities it represents. Where Post Traumatic Fantasy saw Culver returning to his hometown of Hull after a period spent entangled in London’s relentless sprawl, his first full length project reaches further back to his formative years working in a caravan factory and going to raves in and among Hull’s outskirts. Unspooling like a fever dream, I was born by the sea is the anxious clutter of a racing mind spoken clearly, a stark reflection on how it feels to have too many ideas and too much time to act on them.

Though unquestionably a snapshot of a time of significant difficulty, Culver reflects on this period with tender empathy and pitch-black humour, stitching together unflinching observations from England’s neglected corners, ‘there’s more mobility scooter repair shops and bookies than there are bookshops,’ and devastating vignettes of everyday struggle, ‘tears on the tin foil’, with surreal depictions of industrial grit, ‘skimming stones in a small pond by the slaughterhouse’. His DIY approach to production stretches the rough sinew that connects these fragments of memory, a process he describes as using a paired back collection of synths and drum machines to the best of his ability, ‘but to the least of their capabilities,’ wringing out visceral sound with self-taught urgency. During the album’s most impressionistic passages it’s as though Culver has transposed past internal turmoil into powerfully resonant noise, the Sisyphean sonics of ‘Create A Lifestyle Around Your Problems’, which evokes in its concrète clatter and MRI machine barrage the sound of making the same mistake again and again, or the stuttered jumble of ‘Its Hard To Get To Know You,’ its garbled vocal modulation and frayed edges of distortion channeling the paranoia of somebody listening to muffled voices through thin plaster, climbing the walls of their bedroom with the curtains closed, a nervous breakdown in stereo.

In counterpoint to this glides the ever-present spirit of the dance floor, which haunts the record from the moment it is invoked in its first few seconds. Opening onto a sea wall of bright synthesis, the stuttering vocals and bass tone chops of ‘Nervous Energy’ dump us directly into post-rave ecstasy, the echoing cry of a voice amplified by loudspeakers carrying the loose energy and surge of crowds moving in darkness. The incessant, dead phone line beep of ‘Pigeon Flesh’ builds to a pulse that suddenly swells into an anxious technoid surge, shapeshifting at lysergic speed into head shrinking audio hallucinations, a descent into the void of the present via machine music hypnosis. Even ‘Its Hard To Get To Know You’ summons the ego death drive of hardcore techno within its scorched textures, flickering indiscernibly between attritional noise and frazzled hardware stomp. Paying homage to both the parties of his youth and a countless succession of Sundays spent offering himself up within Berghain’s hallowed architecture, Culver’s experiments in addressing his formative relationship with rave provide an energetic glimpse at where he might take his sound next.

Between spikes of propulsive energy and grim mood pieces Culver returns to suspended passages of aching, glacial drift, the cold swell of the North Sea, accompanied by some of his heaviest testimonials. The gauzy ebb of ‘Daytime TV,’ its tumbling loops reminiscent of boats bobbing off a distant shore, sees the artist at his most checked out, slumped in front of his television, seven days a week. ‘I used to dream of doing something,’ he admits, ‘anything to get out of this town.’ ‘Love Like An Abscess’ pairs swirling currents of ambient shimmer with violent images of baseball bats lying next to beds and blood-stained mattresses, next to which Culver pleads in a desperate mumble, ‘let our love grow, like a broken abscess’.    
                                                                                                                   
Yet it’s with the album’s final word and title track that Culver reveals a glimmer of cautious optimism, a parting gesture of exposition and closure. ‘I knew I had to get away,’ he asserts, ‘so I did and I never looked back.’ What follows builds from a low throb, the flutter of a tiny heartbeat, to a resonant glow, embellished with unfurling synthetic burbles, oil rigs sparkling in the distance, golden light spilling across the sea. In reckoning with the place he had to escape, Richie Culver is now free to look towards the promise of something new, something hopeful.  



RICHIE CULVER

(Credit Nessim Stevenson)

Richie Culver first realised he understood art at an afterparty. Growing up by the North Sea, on the outskirts of Hull, the artist spent his formative years reckoning with the gravitational pull of his hometown, wracked with anxiety, aimlessness and low self-esteem. After leaving school to work in a caravan factory to facilitate a growing rave habit, Culver started to pull focus on himself in the abandoned warehouses and knackered bedsits of Hull’s party scene. It was on staggering to one of many post-rave afters that he was exposed to a book of Nan Goldin’s photographs. Through dense skunk smoke, over the chaos magic incantations of Genesis Breyer P-Orridge emanating from punctured speakers, Culver recognised something in the world viewed through Goldin’s lens. “I would look at the pages and understand these images,” says Culver. “This was where I was from. I realised that people were capturing this for a living.” It wasn’t long after this that he would learn that Throbbing Gristle had formed in the same city he had always felt so trapped by, an epiphany that would spell a sea change for the artist at his most embryonic.







RICHIE CULVER – CREATE A LIFESTYLE AROUND YOUR PROBLEMS

VIA FACT MAGAZINE

OUT 11/22

STREAM/BUY - IWBBTS
PRE-ORDER DIGITAL LP

Vinyl / CD / Digital / Streaming

The resonant barrage of concrète clatter and MRI machine churn of ‘Create A Lifestyle Around Your Problems’ swells at the beating heart of I Was Born By The Sea, the devastating debut album from iconoclast, outsider artist Richie Culver. Unfurling as relentless friction, a Sisyphean surge and retreat that evokes trying and failing, again and again, to break out of an itching cycle of frustration, the track’s DIY sonics sandpaper a malleable surface upon which Culver inscribes his observations from the fringes that take on cavernous emotional potency with each repetition of his dissociated delivery. Here, the artist looks back at the “hardest working man in the job centre,” this “habitual bastard,” the “most underrated person in your family,” pinned under the crushing weight of his home town, obsessing over the need to escape while battling the apparent absurdity of such ambition: “you and god on a rollercoaster.” For the accompanying visual Culver, alongside close collaborator and Participant Records co-founder William Markarian-Martin, fittingly makes a return to his mother’s house in Withernsea, the titular seaside town of his birth. “The video was shot in my Mothers home near Hull. Where I was brought up also,” explains Culver. “You can hear the Sea from inside the house in Winter. Sometimes you can’t walk on the promenade because it’s so wet & wild.” Captured with an unflinching and poignant fusion of grey nostalgia and tender catharsis, Create A Lifestyle Around Your Problems evokes a past battered by the rain, shaken by personal struggle and ransacked by Tory austerity. Footage of foam-flecked waves crashing across sodden concrete is obscured by the phrase “picture yourself succeeding,” as cold rain smudges a blurry lens.



Director: William Markarian-Martin
Additional Camera: Takeru Brady
Music: Richie Culver









RICHIE CULVER - DAYTIME TV





OUT 11/22

STREAM/BUY - IWBBTS
PRE-ORDER DIGITAL LP

Vinyl / CD / Digital / Streaming


With I was born by the sea, Richie Culver brings to a close a period of intense introspection and emotional reckoning with a debut album that serves as both an optimistic statement of intent and a final glance back at the painful places it explores. Following recent work with Blackhaine and Pavel Milyakov, I was born by the sea picks up where Culver’s EP for Italian label Superpang, Post Traumatic Fantasy, leaves off, painting an unabashed portrait of contemporary malaise, detailing a life lived behind closed doors, pinned under the crushing weight of austerity, sapped of the strength to do anything other than gaze out to sea and all the grey possibilities it represents. Where Post Traumatic Fantasy saw Culver returning to his hometown of Hull after a period spent entangled in London’s relentless sprawl, his first full length project reaches further back to his formative years working in a caravan factory and going to raves in and among Hull’s outskirts. Unspooling like a fever dream, I was born by the sea is the anxious clutter of a racing mind spoken clearly, a stark reflection on how it feels to have too many ideas and too much time to act on them.

Though unquestionably a snapshot of a time of significant difficulty, Culver reflects on this period with tender empathy and pitch-black humour, stitching together unflinching observations from England’s neglected corners, ‘there’s more mobility scooter repair shops and bookies than there are bookshops,’ and devastating vignettes of everyday struggle, ‘tears on the tin foil’, with surreal depictions of industrial grit, ‘skimming stones in a small pond by the slaughterhouse’. His DIY approach to production stretches the rough sinew that connects these fragments of memory, a process he describes as using a paired back collection of synths and drum machines to the best of his ability, ‘but to the least of their capabilities,’ wringing out visceral sound with self-taught urgency. During the album’s most impressionistic passages it’s as though Culver has transposed past internal turmoil into powerfully resonant noise, the Sisyphean sonics of ‘Create A Lifestyle Around Your Problems’, which evokes in its concrète clatter and MRI machine barrage the sound of making the same mistake again and again, or the stuttered jumble of ‘Its Hard To Get To Know You,’ its garbled vocal modulation and frayed edges of distortion channeling the paranoia of somebody listening to muffled voices through thin plaster, climbing the walls of their bedroom with the curtains closed, a nervous breakdown in stereo.

In counterpoint to this glides the ever-present spirit of the dance floor, which haunts the record from the moment it is invoked in its first few seconds. Opening onto a sea wall of bright synthesis, the stuttering vocals and bass tone chops of ‘Nervous Energy’ dump us directly into post-rave ecstasy, the echoing cry of a voice amplified by loudspeakers carrying the loose energy and surge of crowds moving in darkness. The incessant, dead phone line beep of ‘Pigeon Flesh’ builds to a pulse that suddenly swells into an anxious technoid surge, shapeshifting at lysergic speed into head shrinking audio hallucinations, a descent into the void of the present via machine music hypnosis. Even ‘Its Hard To Get To Know You’ summons the ego death drive of hardcore techno within its scorched textures, flickering indiscernibly between attritional noise and frazzled hardware stomp. Paying homage to both the parties of his youth and a countless succession of Sundays spent offering himself up within Berghain’s hallowed architecture, Culver’s experiments in addressing his formative relationship with rave provide an energetic glimpse at where he might take his sound next.

Between spikes of propulsive energy and grim mood pieces Culver returns to suspended passages of aching, glacial drift, the cold swell of the North Sea, accompanied by some of his heaviest testimonials. The gauzy ebb of ‘Daytime TV,’ its tumbling loops reminiscent of boats bobbing off a distant shore, sees the artist at his most checked out, slumped in front of his television, seven days a week. ‘I used to dream of doing something,’ he admits, ‘anything to get out of this town.’ ‘Love Like An Abscess’ pairs swirling currents of ambient shimmer with violent images of baseball bats lying next to beds and blood-stained mattresses, next to which Culver pleads in a desperate mumble, ‘let our love grow, like a broken abscess’.                                                                                                                        
Yet it’s with the album’s final word and title track that Culver reveals a glimmer of cautious optimism, a parting gesture of exposition and closure. ‘I knew I had to get away,’ he asserts, ‘so I did and I never looked back.’ What follows builds from a low throb, the flutter of a tiny heartbeat, to a resonant glow, embellished with unfurling synthetic burbles, oil rigs sparkling in the distance, golden light spilling across the sea. In reckoning with the place he had to escape, Richie Culver is now free to look towards the promise of something new, something hopeful.  









DEVA is Steev Lemercier’s 7th album, this time released via REIF.

The new electronic LP is a sort of multicultural & musical journey mosaic towards spirituality & awareness accompanied by S. Lemercier’s abstract texts & eerie meditative vocals in all its Ying & Yang aspects.

In numerology, the number seven represents “a quest for knowledge”. It can also represents the seven wonders of the world or the seven basic chakras...

“Deva” means: A member of a class of divine beings. The title is related after the rich Indian religious culture & Mythologies from the “Vedic age” (heroic age 600 BCE) which always fascinated S. Lemercier to the core.

That is most likely the reason why you are going to meet with the Goddess of death, time and change “Kāli” along the journey for example.

You might also fight with the contemporary smartphone Zombies, get a drastic Tarot reading, a challenging Barefoot walk or have an insight of a weird dream that S. Lemercier had on a heat wave night in which he was a sceptical Angel in the gate of Heaven that wasn’t so sure to let people’s in before they offer a valid redemption! 

DEVA was entirely written & composed by Steev Lemercier in 2021-2022 during his artistic residency at “Nepitella” beautiful farm-house located in the countryside of Caltagirone in Sicily, where he was additionally facilitating some Osho Meditations techniques such as; Kundalini or DEVAvani.


TRACKLIST:

Reset
DEVA
Zombie
Insane
Delicate
The Hike
Tarot
Kāli
Barefoot
Bitter!
White Horse
NoGate



Written, Composed and Mixed by Steev Lemercier
Mastering: Jammin Masters (Berlin)






STEEV LEMERCIER – DEVA

Directed by JD Schneider
Sound Composition: Steev Lemercier


"Our western society finds it so difficult to accept duality in a single being…
As children, we are taught that there’s good & evil separated from each other instead of witnessing that we are duality and that both extremes inhabit each and every single being on this planet.

Kali is the Goddess of destruction & rebirth.
Kali means time.
Time creates everything but also destroys it all. We cannot escape from time! … It’s running after us so sharply that we continuously fail to take a single deep breath! DEVA means a member of a divine class. In Deva, Steev Lemercier impersonates a derivative of Kali. A male version of her dark majesty.

Flying on his broom, seeking for a new world (dis)order, Steev/Deva is dancing to destroy & destabilise the universe exactly where Kali left it centuries ago. Fire will raise, water will spill and there will be absolutely no mercy to be shown! This world needs a reboot but for coming to that point, all must be destroyed again at 1st… Beware & Bewitched! A new Kali era is just around the corner and you won’t be spared unless you accept & embrace your dark side too..."

DEVA was written & composed by Steev Lemercier in 2021-2022.









STEEV LEMERCIER – RESET




RESET is Steev Lemercier’s intro spell from his new album DEVA.


“Sometimes we get no other choices,
then to reset,
Start all over for the best!
The witching hour has come,
to cast a Spell on all humans
& turn them to Animals!”


Music/Lyrics by Steev Lemercier
Filming: Enzo Mauro
Editing: Steev Lemercier














Shedding your narrow shoes, spreading your toes and go barefoot is good for your body, mind, soul & last but not least; for the earth.


BAREFOOT is the first single of Steev Lemercier’s upcoming LP release DEVA - out via REIF on 24/09

.

“ And Barefoot we came,
Testing the thickness of our soles/souls,
Loving the pain of each sharp stones,
Harden skin, stronger within! ”







STEEV LEMERCIER


Steev Lemercier is a Swiss-French-Sicilian multimedia artist moving between performance art, music productions and deejay-ing. 
His subjects deal with the human conditions; the most basic emotions, sexuality, gender identity, addressing sensibilities, rage & fantasies in the contemporary political landscapes.


‘BAREFOOT’  IS AVAILABLE ON
BANDCAMPJUNO  ⁄  BEATPORT / ITUNES
TRAXSOURCE / HARDWAX  / APPLE MUSIC










EVENTIDE

Fa’ Pawaka, Labour
with Sainkho Namtchylak




Julia Stoschek Collection

SEP 15, 16 - 8PM, 10PM



Within the framework of the group exhibition at dawn, JULIA STOSCHEK FOUNDATION and REIF are excited to premiere a new, site-specific collaboration between the multidisciplinary artist Fa’ Pawaka and the sonic duo LABOUR, uniting Pawaka’s practice of “sacred tunings” with LABOUR’s “sonic activations.” Titled Eventide, the evening will consist of a sonic parcours led by the artists and will culminate in a sound bath in the upstairs cinema.

The program is assembled by Berlin-based collective REIF, and explores notions of recalibration and expansion, proposing a deliberate undoing of preconceived ideas and limitations within and around us. It centers the experience of the audience and represents a continuation of REIF’s past explorations, often manifested as gatherings, LPs, and videos, which have been developed through its record label and events. REIF was founded around ideas of collective, community-based engagement through which they
seek to enable various forms of togetherness and release.

According to a quote by Alice Coltrane, from which at dawn, the exhibition’s title, is borrowed, every morning–at dawn–we should “sit at the feet of action.” This saying encourages us to recalibrate and set an intention and goes on to suggest that, at eventide (or evening), we should become so big that “sky will learn sky.” Eventide can refer to the space of a
day but also of a lifetime, and conjures a state in which we are open to the universe, becoming conduits for what the cosmos has to offer. In their activation Fa’ Pawaka and LABOUR work toward this recalibration and sonic catharsis, inviting us to listen and feel our bodies in relation to each other and everything around us.


Curated by Marcelo Alcaide, Lisa Long.

Composition: Fa’ Pawaka, LABOUR
Gong: Elisa Lindenberg
Throat Singing: Sainkho Namtchylak
Scenography: Roberta Jurcic, Marcelo Alcaide with Zakaria Rugs
Light: GRAU
Choir, Percussion: Show Choir
Custom Sound System by H.A.N.D. HiFi

Thanks to Callie’s for the studio space.


Supported by Nike ISPA

ISPA is a philosophy. A set of design principles that represents a pinnacle, experimental expression of Nike design across all categories, including the latest innovations and established creations. It is product-agnostic, driven by experimentation and targeted toward solving problems for unique athletes and artists. ISPA is a belief that, with a little inspiration, any problem can be solved with the materials at hand.




FA’ PAWAKA



Fa‘ Pawaka, a.k.a. Fahrani Empel, a.k.a. favelamunk, is a multidisciplinary Indonesian artist that lives in Berlin. In the last four years, she has worked with alchemy crystal bowls, fascinated by their healing qualities and the body’s immediate calm in response to them. Sacred Tuning is an immersive experience that releases psychological blockages, lowers emotions, and activates our pineal gland. It was created with Olle Holmberg and Elisa Lindenberg. “Our cells are made out of crystalline structures; therefore, the crystal bowl’s frequencies are received by humans directly at the cellular level in the process,” Fa’ says. “It is a powerful activation.”
LABOUR



LABOUR is the collaborative project