01.09.2018, 21:00

MS Stubnitz - Katharsis ~ MS Stubnitz Premiere

Flyer für: MS Stubnitz - Katharsis ~ MS Stubnitz Premiere
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KATHARSIS ~ 1. September 2018

Live Music:
KIEW (Out of Line): Experimental Electro-Industrial
META MEAT (Ant-Zen/Audiotrauma): Tribal Electro-Industrial
S.K.E.T. (Hands): Political Rhythm Industrial
ZAN LYONS: Live A/V and strings
NOIRE ANTIDOTE (Audiotrauma): Post-Industrial/Witch House
ECSTASPHERE (Audiotrauma): Special Ambient Set

Performance Art:
MAD KATE THE TIDE: sexWORKperformanceART Post-Punk
ANTOINE PANACHÉ (Barreuh Records): Avant-Garde Experimental Outsider Drag Darkness

Art Installation by:
EPISTROPHE - Art Kollektiv

THEDI (Kiew)
A/ONA (Drone Berlin)
SUPERSIMMETRIA (Hands/Monolith Rec.)
AKOASMA (Mondmaler)
LUNAXINE (Katharsis)

MS Stubnitz, Kirchenpauerkai 29, 20457 Hamburg (U4 HafenCity/Universität)

Presale: 13€
At the doors: 15€


Extensive vocal performanecs and avant-garde noise are just as much part of a KiEw concert as delicately placed and accurately composed sound structures, combined with excessive and trangressive instrumental parts. The project does not restrict itself to its Rhythmic Noise background - it breaks through the boundaries towards Techno, Breakcore, Noise and Punk.



Both electronic musicians and composers, Somekilos (half of 2kilos &More) and Phil Von (co-leader of Von Magnet) also share a passion for percussions and rhythms.
Their common project entitled META MEAT associates the source of flesh (MEAT) with its passage beyond (META).
META MEAT is a very physical live act bound to propel our bodies and souls into another state, a state of release and trance, incarnating a wish to elevate our animality towards a higher conscience of being.
The duo fights together a vibrant duel. Their joined skills and energies combine real drumming & beating
(Somekilos), real stamping & banging (Phil Von) together battling against twisted virtual synths samples &
machines. The electronic sounds being treated as radically as the acoustic percussions played by the two
musicians, the musical result turns out sounding utterly “tribal”.


S.K.E.T. started in the late nineties and established itself quickly as a Rhythmic Noise / Electro-Industrial hybrid, propelled by high-octane industrial beats and powerful electro and big beat influences.
S.K.E.T.'s sound concept is multi-layered polyrhythms paired with rough pads, distorted lead lines and basses. The thematic orientation, the statements, are largely political in nature and describe the past, reflect on present events and draw a dystopian future for which S.K.E.T. creates the soundtrack. Harsh, fast, beat driven and loud.


One of the most distinctive audio/visual performers to date, violinist, producer and film-maker Zan Lyons’ stunning shows have received critical acclaim across the globe. Explosive beats collide with melancholic concertos. Using his laptop and custom foot pedals, Zan loops his violin, voice and sounds - while manipulating his haunting visuals to incredible effect.
Zan’s film making process retains the organic approach established by his music. A one man army, Zan directs, shoots, edits, and lights all of his films himself as well as doing all of the complex animation and visual effects work.
The result is hypnotic and otherworldly, bringing a truly cinematic vision to the audio/visual world.


Noire Antidote is a Post-Industrial project which is highly influenced by Witch House. Dark distorted bass lines combined with neoclassical melodies and agonistic choirs echoing through melancholic soundscape. A sound that leaves many captivated during his live-shows. The sound definitely didn’t stay unnoticed as Noire Antidote got signed to the French label Audiotrauma where he released his debut-album "I Know Where the Wolf Sleeps". Since then the project has been rapidly growing and played shows all over Europe, Russia and even The United States.


Ecstasphere is a solo project by multidirectional musician Ophelia The Suffering. Deep, warm Rhythmic Noise surfaces meet powerful beat structures and complex melodic architectures. Combined with elements of various genres such as Industrial and Dubstep, Metal, Breakbeats, Classical Music and the occasional use of Ophelia’s (usually polyphonic) vocals, a unique sound emerges, characterized by sharp contrasts and a dense, haunting atmosphere. In December 2017 the third full album "Transgressions: Documenting Decay”, which focusses on political motives and the stylistic merging with Metal elements, was released on French underground label Audiotrauma.
For this exclusive Katharsis performance, Ophelia will prepare some never before heard new versions of Ecstasphere classics and showcase some new compositions when she performs her very first so-called "special Ambient set".



Chaotalion is perhaps the most eccentric spawn and the actual main project of musician and sound artist Alexander Marco who has been in the spotlight for quite a while with the more danceable sound of his Industrial Fusion project SaturmZlide. He has played at numerous big festival such as Maschinenfest, Forms of Hands or Wave Gotik Treffen.
Chaotalion on the other hand, a project that was born in 1997, transgresses conventional structures of electronic music; rhythm and melody are only a minor issue on Marco's electroacoustic playground. With experimental dark drones and ritual scapes he creates hypnotic, surreal atmospheres that transfer the inclined listener to completely different realities. The collage-like soundscapes of Chaotalion are always arranged with great detail; with an enormous archive of field recordings, his typical analogue sound and unique references to the occult, Marco gives his works a distinctive and personal character.
Chaotalion's first album "Tannenholzrauch" was released on German Experimental-Label attenuation circuit.


Mad Kate The Tide is a heart cunt gut post punk performance art project, drawing on multiple styles and musical influences, ranging from punk to folk to psychedelic to performative text. Together, The Tide (on guitar, loops, electronics) and Mad Kate (singing, speaking, screaming and moving) grace the stage and touch their audience as they practice ALIVEness: queering identity in a global context and radically imagining new ways of relating.
To what extent are we alive in each other's lives — physically, emotionally, electronically, living or dead — taking into account our contemporary context of virtual interaction, shape-shifting and polyphysical interpretations of our own identities? What does it mean to be present when the terms of our own existence are relative to how we interact physically and virtually with those most close to us? These are just a few of the questions we hope to engage with in our performance with you.


Antoine Panaché was born in the year 1886 and claims to be a time traveller. How he gained this status exactly, he keeps hidden from the outside world. All we know is that after numerous wanderings and meetings, he made a miscalculation in the '90's of the 20th century, which accidentally landed him in the early 21st century. Since then he is struggling to find his place and to come to terms with the horrors of our time. Being a gentleman in the digital age, he is unintentionally an outsider.
Panaché's instrumentarium consists of a fully analogue setup, containing a musical saw, home-built electric metal chello, typewriter, and electric metronome among others. His music also contains various field recordings. Avant-garde, experimental and sound-art are very broad understandings for his music, which might be for the best. He seeks comfort and inspiration in silent era film and the darker spectrum of music containing metal, ritualistic music and dark jazz and ambient.
He expresses his hopes, but mostly his fears on the albums "Desperate Attempts At Finger-Licking Beauty", released in 2014, and "J'Ai Un Âme Solitaire", released in 2015 on Barreuh Records.
He is currently working on his third album "Endling", which is set to release in the autumn of 2018.
There is no hope for the human race!



In Aristotelian poetics, "catharsis" describes the highest form of spiritual purification through art appreciation. Contemporary psychology also uses the term to describe the phenomenon when the soul frees itself of negative emotion by acting out suppressed inner conflicts. For us, catharsis is an encounter with ourselves, a look at our own substance which we can achieve only when the music clasps us in its arms, when we taste the precious freedom of devoting ourselves to the sounds unconditionally.

From KATHARSIS you can expect a mixture of all different styles of the industrial sound aesthetics, but also a lot beyond that. The focus lies on rhythmics and hypnotizing soundscapes. There will be music to dance to and music to dream to. In the proper sense of catharsis, we want to cleanse ourselves of conventional musical dogmas and the boundaries in sound aesthetics which we are being induced with every day.

We want to break tonal taboos, explore unusual frequency ranges and open up our mind to the unheard.You are invited to worship the music and worship yourself in this collective night of catharsis.

Purge yourself, free yourself, celebrate yourself.