18:30Doors open
19:00 Jon Collin (UK)
20:00 Marie Eline Hansen (DK)
21:00 Pavel Milyakov ()
DJ FoEG DJ's until 22:00


17:30Doors open
18:00 Gesh (DK)
19:15 Judith Hamann (AU)
20:30 Chamgeliani SistersChamgeliani Sisters feat. Levan Bitarovi (GE)
21:45 Mark Harwood (AU)
22:45 Erection House (DK)
23:45 Daniel Löwenbrück (DE)
00:00 Container (US)
DJ FoEG DJ's until 02:00


17:00Doors open
17:30 Sewer Election (SE)
19:30 Nein Rodere (DE)
20:45 Félicia Atkinson (FR)
22:00 Amateur Hour (SE)
23:15 Afrorack (UG)
00:30 Sons of Set (PL/MA)
DJ FoEG DJ's until 03:00

Afrorack (UG)

Afrorack is the moniker of Ugandan producer and DIY synth builder Brian Bamanya. Bamanya got interested in electronic music and wanted to make his own music based on local musical genres. As music gear from Europe and America was very expensive, and since it was also created to support genres from this part of the world, Bamanya decided to make his own synthesizer based on instructions he found on the internet. This resulted in the creation of ‘The Afrorack’ - the first ever African DIY modular synthesizer, which also allows creating music with the different scales and polyrhythms used in East African music.

The result is more or less stunning with Bamanya playfully taking on genres like acid and techno with a distinct flavor of East African harmonies and rhythms while there are also nods to history and the early pioneers of electronic music, like the German Krautrock scene of the early 70’s.

The Afrorack is also the name of Bamanya’s debut album released earlier this year on the Hakuna Kulala label - a sub label of Nyege Nyege Tapes - and the album is, hands down, one of the most interesting electronic releases this year showcasing Bamanya’s mastery of the machine he built. Not to be missed!

Amateur Hour (SE)

Gothenburg is easily one of the most interesting 'scenes' on the current Scandi underground circuit where the confluence between record store Discreet Music and label Förlag För Fri Musik and associates seems to be an endless nexus spawning one highly interesting act after another.

Last year, FoEG presented Arv & Miljö, Blod, Loopsel, and Leda from the Gothenburg scene. This year, we are thrilled to present Amateur Hour. A three-piece with Dan Johansson, Hugo Randulv (both Enhet För Fri Musik) and Julia Bjernelind, who have all played (together) in a slew of Gothenburg acts.

Amateur Hour pivots around an experimental, lo-fi DIY approach with excursions into the abstract and industrial, but – unlike many of their co-citizens – they never stray too far off a more traditional core with Bjernelind’s voice as a melodic stronghold. Pitchfork even labeled their recent LP "an hour-long dream pop epic". While we can see why, this is not the layer-upon-layer straight beauty-seeking shoegaze of e.g., My Bloody Valentine. Amateur Hour is much more meandering in comparison. The trio has just released their third LP, Krökta Tankar och Brända Vanor, and though they have been in existence since at least 2016, this will only be their third live show and their first outside Sweden.

Chamgeliani SistersChamgeliani Sisters feat. Levan Bitarovi (GE)

Georgian Sisters Ana and Madona Chamgeliani come from a long lineage of singers from the mountainous and isolated province of Svaneti, where they grew up. The sisters sing their ancester’s songs, many of which are more than thousands of years old and can’t be heard anywhere else. The village they come from (Lakhushdi) calls itself ‘The Singing Village’, and here the villagers continue to perform these ancient songs, so rich in the local tales and legends steeped in the surrounding enthralling landscape.

The Chamgeliani Sisters are not only incredible singers, but also possess deep knowledge of the contexts and traditions that surround the songs they perform. Ana, who is also a member of ensemble Sathanao, is a virtuoso on the chuniri, a 3-string bowed viol. Madona is an ethnomusicologist and expert in Svan folklore, and her research includes finding and recording ancient songs about the forest queen Dali (who many people in Svaneti believe in). As such they’re both at the helm of the effort to preserve and continue the singing traditions of Svaneti.

Svan music, like most Georgian music, is based on 3-part polyphony, bass, middle and top voices. The Chamgelianis often sing as two sisters and an invited male bass voice, and for Festival of Endless Gratitude they have invited Levan Bitarovi, who normally performs with Ensemble Adilei, and with whom they also recently released the album “From the Singing Village”.

Container (US)

Container is the solo project of American-born, London-based musician Ren Schofield, who over the last decade has refined a signature sound combining his background in drumming and lo-fi noise with techno and rhythmic electronics.

Characterized by propulsive beats and a liberal use of distortion, Container forges a playful sonic meld jam-packed with overdriven energy, rock tropes in disguise, screaming synthesizers and grimey basslines. In short, Container is a noisy, groovy beast like no other and has been equally welcomed at club nights, basement shows, electronic festivals, and rock gigs alike - and hence we’ll obviously welcome him at FoEG as well.

Daniel Löwenbrück (DE)

Daniel Löwenbrück is a German performance- and sound-artist, curator and (sometimes) visual artist. He has performed internationally since the late 90's as part of the Schimpfluch-Gruppe (with Rudolf Eb.er, Dave Phillips, Joke Lanz), as a duo with Doreen Kutzke, with Leif Elggren and many others. Solo he’s been in the spotlight as Raionbashi and under his own name.

In 1994 Daniel Löwenbrück founded the label Tochnit Aleph publishing music, conceptual sound-art and editions by (visual) artists, sound-poets and composers. He has published works by artists like Hermann Nitsch, Dorothy Iannone, Christina Kubisch, Jean Dubuffet, Asger Jorn, Henri Chopin, Dieter Roth, and many others. Between 2008 and 2021 he curated Rumpsti Pumsti (Musik) in Berlin, a legendary store specialized in Artist-Records, Sound Poetry, Conceptual Sound Art, Contemporary Classical Music and the Noise Subculture.

Erection House (DK)

There’s something almost disturbingly old school about a band called Erection House in 2022. But make no mistake, this is a fresh new group emerging from the darker corners of the Danish rock scene as we speak, with its members also performing in acts like Gullo Gullo, Urr, Ærekær, Blot & Bot, Broder, Taphos, Lesion, Alucarda and Assegai.

Erection House digs out the early origins of heavy, psychedelic infused rock music and channels it through a relentless and repetitive, hypnotic grind with touches of Brainbombs, Spacemen 3 and Loop. Add a heavy wall of guitars and you’re good for an inner journey to the dark side. Let the light of true black hole rock blind you.

Félicia Atkinson (FR)

For Félicia Atkinson, human voices inhabit an ecology alongside and within many other things that don’t speak, in the conventional sense: landscapes, images, books, memories, ideas. The French electro-acoustic composer and visual artist makes music that animates these other possible voices in conversation with her own, collaging field recording, MIDI instrumentation, and snippets of essayistic language in both French and English. Her own voice, always shifting to make space, might whisper from the corner or assume another character’s tone. Atkinson uses composing as a way to process imaginative and creative life, frequently engaging with the work of visual artists, filmmakers, and novelists. Her layered compositions tell stories that alternately stretch and fold time and place, stories in which she is the narrator but not the protagonist.

Atkinson lives on the wild coast of Normandy and has played music since the early 2000s. She has released many records and a novel on Shelter Press, the label and publisher she co-runs with Bartolomé Sanson. She has collaborated with musicians including Jefre Cantu-Ledesma, Chris Watson, Christina Vantzou, and Stephen O’Malley, and with ensembles including Eklekto (Geneva) and Neon (Oslo). She has performed at venues and festivals including INA GRM/Maison de la Radio and the Philharmonie (Paris), Issue Project Room (NYC), the Barbican Center (London), Le Guess Who (Utrecht), Atonal (Berlin), Henie Onstad (Oslo), Unsound (Krakow), and Skanu Mesz (Riga). Her work has been commissioned by filmmakers (Ben Rivers, Chivas de Vinck) and fashion houses (Prada, Burberry). She has exhibited in museums, galleries, and biennials including RIBOCA Biennale (Riga), Overgaden (Copenhagen), BOZAR (Brussels), Espace Paul Ricard (Paris), and MUCA ROMA (Mexico City).

Gesh (DK)

Gesh is a new project by composers/musicians Jaleh Negari and Maria Bertel, both co-founders of the collective Eget Værelse and sharing duties in the noise rock band Selvhenter. Utilizing drum kit, synthesizers and amplified trombone this powerhouse duo works its way through long swathes of sound standing on pillars of krautrock, drone and noise.

Both are well down the path of their own solo careers. Besides her solo work Bertel has also performed in groups like G.E.K., Jooklo Danish Group, Valby Vokalgruppe and The BIG Yes. Negari holds a master’s degree in composition from RMC and has released two critically acclaimed solo albums while also taking a seat in the performance group Meshes and the art projekt Fungal Network.

Jon Collin (UK)

Jon Collin is a British-born guitarist from Lancashire, who is now living and working in Stockholm. He makes abstract music with acoustic and electric stringed instruments in non-studio locations. The pieces on his most recent LP Bridge Variations (2022) were recorded under some of the many bridges in Stockholm utilizing the amazing reverberations found here in conjunction with his homemade nyckelharpa. For this performance he will use the acoustics of the water tower in a similar approach using a system of body, mind, breath, strings and electricity.

Jon Collin also runs the record label Early Music and his newest album was released on Discreet Music and strengthens his connections to the vibrant Gothenburg scene. His collaborative work includes releases with Demdike Stare, Samara Lubelski and Bill Nace.

Judith Hamann (AU)

Judith Hamann's work encompasses performance, improvisation, electro-acoustic composition, site specific generative work, and micro-tonal systems in a process-driven and embodied practice, that considers the ways sound operates as a subject, object, and actant. As one of Australia’s foremost contemporary-music cellists, Hamann frequently challenges the boundaries of their instruments, whether the cello, voice, or body. In their recent research, Hamann examines the acts of shaking and humming as formal and intimate encounters; interrogates ‘collapse’ as a generative imaginary surface; and considers the ‘de-mastering’ of bodies, both human and non-human, in settler-colonial heritage instrumental practice and pedagogy.

Judith has been working - and thinking - with other artists which has sometimes included people like Marja Ahti, Oren Ambarchi, Joshua Bonnetta, Charles Curtis, Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Alvin Lucier, Éliane Radigue, and La Monte Young. Judith’s work has previously been published by labels including Blank Forms, Black Truffle, Another Timbre, and Longform Editions.

Marie Eline Hansen (DK)

Longtime FoEG favorite Marie Eline Hansen is one of a kind on the Danish music scene. She works alone merging folk and electronic music – except when she lends herself to worthy collaborations, such as Træning, “Mit Nye Band”, The Bleeder Group and lately SVIN and Yahowa. In her own words Marie Eline plays music to inspire people - especially insecure young ladies - to dare to be imperfect and learn to express themselves freely, in the various vaults of emotion.

On 'Agnostic Hymns' from 2017, she interpreted the very concept of "hymn", songs about life, death, light, music and love. Indeed her music often has a hymnlike character and in that regard a huge cathedral designed for water might be the perfect setting to experience the sincere brilliance of Marie Eline’s songs.

Mark Harwood (AU)

Mark Harwood is an Australian artist, musician, performer, writer, event curator and publisher.

He deploys a wide variety of techniques approached with a sense of bypassing the cliches embedded within, in order to coerce a sound world which is simultaneously contemporary, foreign, beautiful, unsettling and engaging. Harwood has released three acclaimed lp's on Kye (USA) and Penultimate Press (UK) and the Astor moniker along with a series of collaborative recordings with Graham Lambkin, Áine O'Dwyer, Timo van Luijk and more. His last two lp’s released under his own name have become more human and personal explorations. The first of which explored the internal psyche whilst the follow up, this years ‘Offering’, is an album of songs about geography and placement and the way people choose to move across the surface of our planet.

His live performances skirt a more performative presentation of his work often incorporating spontaneous moments of anything from comedy, pathos, songs etc The audience is witness to and subject of an exploration of the human psyche. This is by no means a purely sound based affair.

Nein Rodere (DE)

Nein Rodere is the alias of David Roeder, a music maker, artist and mental health worker based in Berlin. His sounds move from almost-songs to abstraction and back, often relying on ad hoc expression and collages. This approach has been the result of playing in various bands over the last 20 years, many of which worked with loose musical structures or being fully improvisational.

His self released cassettes and his recent LP on Horn of Plenty, adeptly named Catch up with What Party +, ranges from ensemble pieces, bedroom pop and field recordings to improvisations and soft spoken words, where disparate elements are unified by a layered, textural and DIY approach to sound. Indeed, here the whole is something besides the parts and always with something undefinable and distinctly Rodere lurking around.

Pavel Milyakov ()

Pavel Milyakov is a Berlin-based artist also known for his more dancefloor-oriented project Buttechno. When using his birth name Pavel is mostly focused on sonic experiments and artistic collaborations exploring problems of life in the dystopian and desolate areas of the modern world, and the sociological and psychological issues that haunt our society. Among others, Pavel Milyakov has collaborated with Bendik Giske, Yana Pavlova, and Alex Zhang Hungtai (Dirty Beaches) and he has performed at venues and festivals such as Berghain, Tresor, CTM, Berlin Atonal, and Terraforma.

Pavel originally emerged as part of Moscow's electronic music scene. However, he has relocated to Germany and uses his position as a prominent experimental musician to speak up against the Russian regime and support Ukrainian artists. He no longer collaborates with labels and streaming platforms in Russia. Instead, his releases are available on his Bandcamp, from which all proceeds go to Ukrainian charities.

Sewer Election (SE)

Sewer Election is the moniker for multi-instrumentalist, Gothenburg-usual, and Enhet För Fri Musik member Dan Johansson's solo noise, industrial, and experimental electronic music vehicle. Dan has a long background in the Swedish experimental music scene with strong ties to labels like Discreet Music, Förlag För Fri Musik and iDEAL, while he is also active in bands like Amateur Hour, Enhet för Fri Musik and Neutral.

Sewer Election brings forth a unique power to transfer hopelessness into sound. On the output of more than 30 releases and a ton of collaborations, EPs and the likes the music ranges from dreamlike and introspective tape loops, musique concrete-esque abstractions and amplified body sounds to full-on nasty harsh noise and challenging sound experiments – usually wrapped in cut-and-paste, black-and-white Xeroxed covers. We do not know what exactly a sewer election is, but, regardless, the name seems to fit the project brilliantly.

Sons of Set (PL/MA)

Sons of Set is a brand new project by FoEG longtimer Raphael Rogiński who tirelessly digs deep into traditional musical cultures from Eastern Europe and the Middle East. He’s previously worked with Jewish culture and music, the Kurpie folklore (with the band Żywizna), the music of Henry Purcell, John Coltrane and much much more, and most recently he’s been on the path of trance music with projects like Hizbut Jámm.

Sons of Set is the next incarnation on this path where Rogiński teams up with Morrocan guitarist and guembri player Mustapha El Boudani. El Boudani, an indigenous Nomad from the village of M'Hamid El Ghizalne, which lies at the gates of the sands of the Sahara, sings in the Hassani language and brings with him the traditions of Gnawa music. Drummer Paweł Szpura (of Polish band Lotto) rounds out the trio. Sons of Set play the music of the desert and refer to traditional songs and melodies, but in welding together their different cultures, they create their very own personal trance-based music.