INNODE (AT) // PLF feat. MARIAM REZAEI (AT/UK) ⎨in collaboration with VENTIL records⎬

“Grain“ is the third long-player of Innode (Bernhard Breuer, Steven Hess, Stefan Németh) and could be seen as a careful shift away from the stylistic approach outlined on the precursor titled “Syn“. On one hand, this is reflected in the methods used to create a track, ultimately resulting in a spontaneous creative process; on the other hand, the album was given a warm and slightly distorted overall sound instead of a clean rendering. Possibly the central theme of the seven compositions on “Grain“ is a certain attraction to imperfections: Irregular rhythms contrasted by metric elements, parallel and conflicting layers, unexpected movements and free forms can be found frequently in this work. Still, the stringent organization of rhythm and noise, in a sense the DNA of Innode, has been incorporated here, too. As a consequence, “Grain“ is a larger movement of interrelated sequences on the time-axis. With a subtle story as a backbone.

📷 Klaus Pichler

A unique trio consisting of drummer Lukas König, instrument maker and sonic experimentalist Peter Kutin, and vocalist Elvin Brandhi. The band emerged from their collaborative efforts, with origins dating back several years. PLF debuted with the album “EPDEMO” released by the UK label Opal Tapes, followed by their next album “ParziFoooooooooooL” under the Vienna-based avant-garde platform Ventil-records. PLF’s music blends post-punk, noise-pop, and experimental improvisations. Their sound is shaped by a distinctive approach to instrumentation, with Kutin using self-designed light-feedback machines and synthesizers, while König enriches percussion with electronics. Elvin Brandhi’s vocals add a wild, primal dimension to their music.

Mariam Rezaei is a multi-award-winning composer, turntablist and performer. Working at the nexus of experimental new music, free improvisation, mutant club musics and hip-hop, Rezaei uses a digital vinyl system, allowing her to manipulate an expansive range of samples in real time. She has been described by The Wire as “one of the most technically adept and creatively daring artists to use the turntable as a musical instrument”.