Fred Bigot is a French musician and performer also know as Electronicat. His work is characterized by its constant switch between experimental, noise and pop music.
Since the mid 90´s, he combines electronic music, analogue synths, drum machines, loop machines, vocals and guitars, all kind of ideas coming from his performances and creates a pounding, fuzzy, wah-wah distorted psychedelic electro sound that has become his trademark.
He worked together with other internationally renowned electronic music producers and musicians, such as Gerhard Potuznik, Patrick Pulsinger, Khan, Catriona Shaw and J.G Thirwell...
To date he has released numerous albums and singles on international labels (Holy Mountain, Onitor, Disko b, Optical Sound, Ldrr) and produced tracks for pour Beans, Miss le Bomb, Marina Ribatski (ex- Bondo de Role), remixes for Depeche Mode, Numbers, Bretzel Göring (Stereo Total). 
Fred has performed alongside such cult-acts as Adult. and Stereolab and been joined on stage by revered musicians such as Felix Kubin, Magas, Khan, Max Turner, Timo Kaukolampi to name but a few. His shows “of insane proportion” have gained adulatory praise from audiences and critics alike in the most diverse locations, from Beijing to Bucharest to New York and back to Berlin where he currently lives and works.


Alice Keller ne s'enferme pas dans une mouvance. Elle module le temps, manipule un langage singulier qui nous téléporte loin de la matière originale. Sa musique nous raconte une histoire riche où les mélodies hypnotiques et les rythmes complexes sont comme vivants, autonomes, dans l'espace et le temps. Son univers musical transpose et décompose sa culture noise-indusunderground- hiphop, dub. Son Live-audio/vidéo indentifié Abstract électronics, avec ses basses imposantes et ses beats "down tempo", déroutent, habitent son climat cinématographique. Les nappes atmosphériques s'enchevêtrent pour dialoguer avec un sombre paysage énigmatique de pixels. La bande audio des architectures « no man's land » filmées (bruits de la rue, parasites, sons saturés...) est extraite, modifiée, ré-injectée dans ses compositions qui enrobent, oppressent et torturent l'espace scénique. Des contre-temps, des sons concrets font office d'éléments rythmiques. Des variations modifient les tempi qui fluctuent de 20 à 140 bpm et se confrontent au défilement des images.

Alice Keller does not close herself up into one single mouvemant, she moulds the time, manipulates one singular language that teleports us far from our original mater. Her music tells us rich stories letting her melody hypnotise us with complex and living rythms, free in space and time.Her musical universe transposes and decomposes her noise-indusunderground-hiphop,dub. Her live -audio/video indentifing abstract electronics with its imposing base sounds that beats "down tempo", derooting us into a living climate.Cinemathographique. The atmospheric strips bind into a dark landscape of egnimatic pixels.The audio band of architecture "no mans land" filmed (sounds of the street, parrasites, saturated sounds.....) an extract modified, re-injected in enrobed compositions that opress and torture the space of the scene. Counter-times, concrete sounds replace rythms. Variations modify time that fluctuates from 20 to 140 bpm and are in constant confrontation with the mouvement if the images.
