Hexstatic dance

Ecstatic dance events are differentiated by being a talk free space. 
 

JUNE IN A4

 
Dear visitors and friends, welcome to the last month of this season in A4! This school year ended in the blink of an eye, which in A4 applies also to those who no longer go to school. This month’s  program will set you off for summer in a great mood and make sure that you will be right back in September. Come to start the party on our terrace, our cinema or the concert hall or any other cool corner of the June - vibed A4. 

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Music lecture Futurit: #Berlin

Music lecture Futurit: #Berlin
Germans found their expression in electronic music after war. Electro seemed to be what corresponded with the thinking and mentality of that particular time and space the best. In the seventies it was Krautrock, nineties brought Techno to Berlin and was there to stay. In eighties Industrial was played alongside the naughty Neue Deutsche Welle and the Berlin of today produces music impossible to be separated into genre boxes. Today it seems like the whole world lives in Berlin and its inhabitants are more active and more woke than people from other places. And everything is political: even sex and the right to party. 

We start our peek into Berlin scene in the half of the seventies. Germany is a divided country that is still facing the aftermath of the war. The capital is cut through by the wall and controlled heavily. Both sides of the wall are ruled by disillusion and sense of destruction. These circumstances though are tempting for unconventional people to explore - for those who somehow can’t settle to become a part of the system - queer people, artists, or those who refuse to recruit. They are welcomed by destroyed leftovers of buildings, smokey Trabant car and socialist architecture on the East side and bars full of Berliners drinking their past away on the West side. 
Depression has its weird charm. In this chaos, where the traditions were destroyed, new yet unheard sounds are emerging. This is where experimental Krautrock came to life perhaps the most typical of the electronic music genres for Germans. That’s what Kraftwerk was playing on their first three albums. The atmosphere of the eighties Berlin is best to be heart through the industrial sound of the west part - Einstürzende Neubauten. In their music there’s nihilism, destruction and revolt and radicalization to be heard. 
The decay of the place and time and the local electronic music lured David Bowie into escaping his drug addiction to Berlin. He remade and recorded three of his albums here - they became to be known as the Berlin trilogy and are considered to be his most important creations - Low, Heroes and Lodger. There were more musicians to come to go through the Bowie Berlin experience. 
The occupation troops in the west brought louder British radio signal and so welcomed punk and new wave in Germany. It began to form a new genre in the German conditions called Neue Deutsche Welle - the music of the gray walls. After the fall of the Berlin Wall many of the NDW musicians became the leaders of the new movement that pasted both Berlin sides together again through occupying the destroyed buildings and forming a freshly united city culture. 
In these famous days people spontaneously celebrated the newly gained freedom and unity directly on the streets or in the abandoned buildings. The soundtrack of the time was techno. Techno came to life in american Detroit but found its home right in Berlin. They simple called the number they found on the record of Jeff Mills and invited him to play in Berlin. That’s how simply the link Detroit - Berlin happened and the advantages of this connection were often used by other cities in Europe -  like our Bratislava for example, too. 
In the past thirty years techno went through different waves, peaks and falls. In Berlin techno has a rich infrastructure built already amongst labels, clubs and ravers who live it. Techno is autonomous, puristic and taken seriously. Berlin Techno is almost something of a trademark that tempts many tourists to come here and party like in the nineties. 
Today Berlin is the home to various scenes, opinion movements and progressive labels such as PAN. Activism and civil society work well here and it’s fertile ground for many new unconventional projects and ideas - and it to this day produces lots of original and innovative music. Music lecture Futurit: #Berlin
Germans found their expression in electronic music after war. Electro seemed to be what corresponded with the thinking and mentality of that particular time and space the best. In the seventies it was Krautrock, nineties brought Techno to Berlin and was there to stay. In eighties Industrial was played alongside the naughty Neue Deutsche Welle and the Berlin of today produces music impossible to be separated into genre boxes. 

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Multi-culti evening of contemporary electro in A4

 
A French guy, Hungarian guy and a Brit meet in Bratislava’s A4. Sounds like an exposition of a joke  but it’s a line-up of a slightly unusual Sunday’s evening soirée. The contemporary experimental electronics connect the audiophile visions and virtual reality. Get ready for defragmentation of your memory discs in the spirit of the post-club aesthetics- on the Sunday of 20th May in A4! 
 

May in A4

 
May is the time for love but certainly also time for A4! Just look at all these colorful things we’ve prepared for the last month of the spring  and you’ll agree that there’s no other way than to spend a lot of time with us. The program is simply irresistible - fun(ny), informative and diverse. You can even join us for a chess match, if you will!
 

Many things can’t be expressed with words - that’s when the silence says it all

 
Kateřina Zochová is an artist and a musician based in Prague who will lead the two part workshop for children devoted to silence, music and curiosity in A4 called And then the silence smiled. She will also perform as a supporting act for Space Lady on Saturday (28th April) and introduce some of the songs she had composed when on a residency in A4 last year. We talked to her about music, sounds, concentration and appreciation of a moment. 
 

The synth pop queen Space Lady comes to A4!

Synth pop queen Space Lady comes to A4! 
 
You can meet them on the streets of big cities surrounded by tourists - buskers, street artists and musicians or circus performers. Space Lady is one of those who brought busking to another level wearing her famous silver viking helmet with wings and a flickering light and her shining personality. She’s no public transport weirdo - she’s THE Space Lady. This unforgettable seventy-three year old lady will play a collection of rock hits covers in A4 already on 28th of April with just her synthesizer. Come to enjoy a bizarre evening with us! 
 
The story of Susan Dietrich Schneider’s life is a proof that nothing really has to end when you turn seventy. The determined busker and a street musician had been playing on the streets of Boston and San Francisco for more than twenty years. In 2000 she quit music, leaving one CD behind. With a little help of luck and coincidence, the album got to the right hands and eventually one of the songs had appeared on a collection album of outsider music. The enthusiasm and interest in Space Lady was resurrected unexpectedly. Susan turned on her synthesizer again and released the album The Space Lady's Greatest Hits and shortly after took herself on a world tour. 
 
Exactly as the beatniks were traveling the world with just a guitar, the Space Lady brings along her battery charged synthesizer branded Casiotone MT-40 (and the helmet) only. Its sound will remind you of old synth-pop bands like Sucide or Bruce Haack. Synthesizer enthusiast can look forward to a sound feast and the others to something anti-trendy, anti-style but very honest, happy and sincere.
 
Space Lady and her cosmic, psychedelic pop can be categorized as outsider music. Outsider music is a genre of naive music played by amateur musicians who have no official music education - similar to naive art forms of different mediums. It exists outside the waters of any other music movements and genres. For musical theorists and intellectuals Space Lady is a remarkable artist and she had already performed in London’s Cafe OTO and other reputable venues.   
 
For those who are not keen on outsider music Space Lady will be a joy to watch and listen to anyway. She is so far away from anything you have heard before you won’t be able to help but find it heartwarming and real. You’ll hear futuristic covers of Beatles, Johnny Cash and some of the truest guilty pleasures of the last centuries that are hard to put a name on but still so nostalgic. We promise you a little spooky, entertaining and full of joy performance. Aluminum foil helmets are allowed (those you have hidden in your closet since the last chemtrail attack). 
 
The Saturday night in A4 will also be the night of the EVS meeting of interns and young people who came to Slovakia to take part in the program for volunteers. You can meet them all at the concert of Space Lady. 
 
The supporting act of this night will be taken care of by Czech artist and musician Kateřina Zochová. Prague based visual and sound artist makes her own musical instruments, plays the harp, samples and sings. On Saturday she will also lead a children’ sound and music workshop and in the evening she will introduce her songs that came to life during her last year’s residency in A4. Synth pop queen Space Lady comes to A4! 
 
You can meet them on the streets of big cities surrounded by tourists - buskers, street artists and musicians or circus performers. Space Lady is one of those who brought busking to another level wearing her famous silver viking helmet with wings and a flickering light and her shining personality. She’s no public transport weirdo - she’s THE Space Lady. This unforgettable seventy-three year old lady will play a collection of rock hits covers in A4 already on 28th of April with just her synthesizer. Come to enjoy a bizarre evening with us! 
 

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Cities of music: London

Cities of music: London 
A4 is introducing new series of music talks called Futurit
 
London is the place where the world meets. Babylon of cultures that is tempting for musicians and has for decades been a fruitful place for both music makers and music industry. It's a place where music is taken seriously. 

What does hardcore continuum and second summer of love mean? How did the sound-system culture get here? How did the sound system culture happened to be at the peak of the London’s scene and what was the British tradition’s reaction? In the first edition of this new program, musical publicist Peter Dolník will be mapping the club scene of London since the eighties until now and he won’t skip the phenomena of free-parties, gentrification, jungle, acid house or dubstep, grime and Brexit. Come to find out for yourself!
 
The talk will start somewhere at the second half of the eighties. Similarly to punk’s wake-up slap to the old-school rock’s face in the seventies, there was something new and surprising at the beginning of this decade, too. The eighties were influenced by what the tourists coming home from holidays at Balearic Islands experienced. How exciting and refreshing it was to dance all night to electronic music under the influence of ecstasy! The new movement was called acid house and spread all over London and to the whole country and to Europe as the culture of dance music. For the British ravers this was the much needed escape from the chains of the class system - the liberating and people-connecting all-night dancing to electro. It was called the second summer of love and represented the refusal of expensive drinks in clubs, football hooligans’ violence, pub fights and race and class segregation. It lasted for two extraordinary years and changed the British music scene and society forever. If there’s something of the 20th century history that there are many stories told about in London - then it is Blitz and the acid house revolution between the eighties and the nineties. 
 
The new movement quickly became too huge for the small clubs. As a reaction to this the ravers inspired by the travelers’ movement continued their parties outside of the club walls limits - in abandoned factories, halls, storage houses or just outdoors under the stars. The highway around London was every weekend full of cars looking for THE place announced to host the party on the handed-out posters or through a secret anonymous telephone line. 
 
Naturally, the next chapter starts with a new law that prohibited the illegal crowd meetings outside the allowed zones with the aim of listening to music. The authorities banned the raves and pushed them back to clubs where they could be taxed and controlled easier. But something always fades so that something else can grow stronger and so the club scene is still an important part of the musical microcosmos of London. 
 
New age brings new genres. Rave and hardcore continue changing into jungle and soon to drum n’bass, while there’s speed garage approaching from the US. The new music had the soul, second beat accent and a crooked bass line on which the nowadays’ bass music is built. In London’s clubs garage was made into British tradition’s answer: the genre of 2 step. From the musical underground it found its way up to luxurious clubs with expensive clothing and champagne rather quickly and then started dominating the music charts not only in the UK.   
 
The stagnation was again interrupted by the underground. From the backyards of London’s social housing and basketball playgrounds and narrow dark streets grime genre emerged. Literally the street’s dirt was to be heard and felt trough rapping with fast and mechanic music. In 2018 there was its third wave incarnation announced and grime is still not losing its strength as it never really left the London’s scene and made itself popular outside of the UK, too. 
 
Another genre came all mixed up out of the London’s music studios and it was dubstep. From Croydon it was one of the last big new genres that became famous in the whole music world with the little help of the internet and pirate radio stations that had been supporting the music scene in London for decades. London’s dubstep was dark and slow with the crooked bass line and was balanced out with the new lighter version of the bass dance music - UK Funky. If there’s something that dubstep left behind to remember even years after its fame peak, then it is producer Burial. 
 
Brexit, rents getting absurdly expensive and gentrification all have put London to a new position. Is it going to stay an attractive destination for musicians? Will the hardcore continuum close its circle when the export of music to Europe will be made more difficult?
 
There’s not many places like London in the world and that’s why it’s worth getting to know better - possibly through the Futurit talk on Tuesday of 24th April at 19:00 with Peter Dolník in A4. 
 
Organized with the support of public funding through the FPU (Fond for supporting the arts) and Bratislava region (BSK).
 
FACEBOOK EVENTCities of music: London 
 

A4 is introducing new series of music talks called Futurit

 
London is the place where the world meets. Babylon of cultures that is tempting for musicians and has for decades been a fruitful place for both music makers and music industry. It's a place where music is taken seriously. 


 

Norwegian musical trio Miman comes to improvise in A4

 

The A4 is bringing you yet another compelling improvisation set on Tuesday of 17th April. In Cafe A4 you will have a chance to enjoy a very lively and fresh mixture of spontaneous jazz sounds and virtuous tones. The trio of young musicians from Norway specializes in improvisation and will bring an unrepeatable experience!

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