Since 2015, Nina Garcia has been researching and creating around the electric guitar, halfway between improvised music and noise. Her set-up is reduced to a minimum: a guitar, a pedal, and an amp with which she sculpts sound and delves into chaos to bring out the unheard-of. Her concerts draw audiences into an immersive sonic space where power and fragility intersect with communicative intensity. In just a few years, she has attracted the attention of numerous international stages.

Nina Garcia presents a new work with a magnifying glass where the guitar is amplified by 1-inch zones. A fist linked to a micro-microphone, « ultra-territorial » music and total dependence of the sound on the slightest movement. What emerges from this new research is a tenfold increase in tension, forced silences, aborted feedback, and manufactured loops that are always trying to move forward. Her music is increasingly handmade, but always with a high intensity. In this new set we find her classical Mariachi folklore: threaded rods, saturated wedding and funeral noises, assertive rhythms and breaks, and a privileged link with the amp as a playing partner.

A duo rather than a solo, it stuns with its blend of technical mastery and total freedom. Nina converges between wildness and tenderness with her instrument, a tense corps à corps between two vibrant souls, music and choreography of raw poetry.

After a decade of performing concerts under the Mariachi guise, Nina Garcia has finally unveiled her unique approach in ‘Bye Bye Bird‘, her first album under her name, released by Ideologic Organ. With no pretence or demonstration, the album is a captivating blend of chiaroscuro, melodies, and raw emotion.

Arnaud Rivière

Using a rudimentary electroacoustic device built around a repaired turntable (pick- up), a prepared-mixer and other primitive equipement that need manipulation – to make it brief -, Arnaud Rivière practises free improvisation, playing solo, in groups and through collaborations, since the late 90’s. He has performed with musicians such as Roger Turner, Matin Tétreault, Erik M, John Boyle & Aya Onishi (Bayal and Nihilist Spasm Band), Alexandre Bellenger, Jean-Philippe Gross, Pascal Battus, Miho, Sophie Agnel, Thomas Bonvalet (L’Ocelle Mare), Julien Desprez, Anla Courtis (Reynols), Adam Bohman, Mario De Vega, Joke Lanz, Aaron Moore & Daniel Padden & Lawrence Coleman (Volcano The Bear), Gert-Jan Prins, Ignaz Schick, Mario Gabola, Clayton Thomas, Olivier DiPlacido, DJ Sniff, Mat Pogo, Jérôme Noetinger or Erik D’Orion.

Since 2011, he participates to Onceim, an orchestra of 30 musicians based in Paris working between large free improvisation and interpretation of pieces especially written for the orchestra by inner-members or composers as Eliane Radigue, Stephen O’Maley, Peter Ablinger, John Tilbury, etc)

In addition to these instrumental works, he conceived sound installations as LA TURBOTHEQUE (an absurd kind of juke-box that basically reads music vertically instead of the horizontally) or AUDIOMATON (a video made noises made exclusively with mouthes by people in the streets of Valparaiso, Chile). He has engaged a wrok on video about sound in situations with Jerome Fino and Yann Leguay with projects as E-drumming is not a crime or Direct Out.

Speculum Bunny

Having written music since she was a kitten, Speculum Bunny enjoys blending words and sound to provoke, enthral and mystify her audience. Inspired by the depraved nature of love in all of its majestic forms, her childhood,  masochism and devotion. Challenging mainstream narratives on motherhood and women’s expression she blends noise, synths, voices and field recordings. She pushes her her edges.