https://www.youtube.com/channel/UCSS2wXcm9JuGcEufDGqkTAw

Meet Molotof, Egypt's visionary music producer and the pioneer behind the revolutionary "Molowave" sound. As one of the most influential figures in the Middle East's music scene, Molotof has crafted hits that resonate deeply across the region and beyond. Rooted in Egypt's rich musical heritage, Molotof's artistry blends tradition with innovation, creating a genre that challenges conventions and inspires a new wave of creativity.

Molowave is more than a sound—it’s a movement that celebrates originality and encourages everyone to find their unique voice. Born from the heart of Egypt, Molowave reflects the raw, authentic spirit of its roots while pushing the boundaries of modern music.

Now entering a transformative era, Molowave takes center stage, evolving with Molotof's commitment to exploring new sonic landscapes and fostering cultural exchange. With an increasing number of artists embracing this unique genre, Molotof continues to lead a cultural and sonic movement, shaping the sound of this generation and beyond.

For ages nighttime was said to be the time of ghosts and spirits. Creatures of the night were believed to gain special powers between 
midnight and dawn. In latin this shrouded in mystery lapse of time was called "intempesta" - time without time. 
Detlef Weinrich, alias Toulouse Low Trax, too, seems to have lingered in the irrational universe of frozen continuity quite frequently within the 
last two years. Everyone who drifts to the sound of his first solo album "Mask Talk" will soon sense the musical intensity boding a different 
dancefloor. 
Cool, atmospheric new-wave-sharpness, and a cushioned beat rate between 107 and 116 bpm call out a mechanical functionality that 
doesn't bow to any contemporary doctrine. "Mask Talk": urban music, club album. Big city lights in Africa. Chilly neon-sounds made in 
Dusseldorf. 
As a member of Kreidler, Weinrich just recently participated in the trio's newly found cosmic vibes, as well as in their album "Mosaik 
2014". Now, with his solo project, he is demonstrating that a MPC and a small synthesizer-ensemble are enough to bring alive futuristic 
dance music in the here and now. 
Bedroom-recorded under tense creative circumstances, the ten tracks invoke, mostly instrumentally, an eerie atmosphere that would fit in 
perfectly with an early John Carpenter movie. The tracks' volume sounds as if a whole band had been at work in Weinrichs own four walls. 
With plenty delay on the bass figures, compact analogue effects, percussive dabs and a rough blend of layers, Weinrich has, without any 
digital support, created quivering drum machine music, whose dancability he was able to test regularly as a resident DJ and co-owner of 
the Dusseldof-based club/ bar "Salon Des Amateurs". His new tracks breathe the hypnotic power of his DJ sets, where he arranges 
diverse rhythms between krautrock, cosmic, electronic and acid. They also remind of analogue-electronical pioneers such as Cluster or 
Peter Baumann. Also 1980s avant-gardists Cabaret Voltaire or Zazou Bikaye have left their mark, without Toulouse Low Trax explicitely 
referring to them. 
All tracks are committed to experiment. They leave room for every sound without neglecting rhythmical clarity. A dark, urban solanum, full of 
reverb, whose melodies are never prankish, but whose minimal nonchalance is sure to help not only the dark creatures through the night. 
"Form is essence brought to the surface" Victor Hugo wrote 150 years ago. "Mask Talk" is reasserting this theory as a destillate of an 
operating procedure seeking to subvert ingrained listening habits and to resharpen the contours of the audible. Electronic music beyond 
any categorisation, whose sounds and rhythmics grow to an emotional atmosphere that far exceeds the immediately hearable. 


Booking contact:
Booking Contaxct: meri@futura-artists.com

EDITIONS GRAVATS 2026.
CONTACT: editions.gravats(at)pm.me

Astrophysical, hyperbodily and alchemical, Eazuka Khazrik’s live musical practice is deeply devoted to communal solace, collective transcendence and trans-generational healing. With genre-defying mercurial treatments of voice, drums and space, her sonic scapes intimately investigate the ecological and techno-political premises of continua we inhabit, co-create or forget. Concocting scores from trans-millennial compendia of healing, space and biosensing technologies and on-site/online detritus, her live and hybrid sets are deeply informed by ancestral chanting traditions – like Armenian sharakan, Levantine mawwal and Iraqi radh – skewed with a quaint techno and incomputable entrancing rhythms.

Performing internationally in a wide range of spaces from clubs to museums, theatres and quarries, she ceremonially uses spaces of congregation to search for locally entrenched universalisms that could collectively respond to the dystopias of our times. Her indisciplinary practice as artist, composer, producer, technologist, educatress and DJ also ranges from composition to collaboration, machine learning, visual art, ecotoxicology and history of science and music. In parallel to performing live, teaching speech synthesis and voice-based electronic music production, and producing multi-channel sound installations, Khazrik also composes scores for film, video games and performances and writes about science, cosmology and music. She holds BAs in Linguistics and in Theatre from the Lebanese University(LB) and a MS in Art, Culture and Technology from MIT(US) where she was awarded the Ada Lovelace prize.

She has performed her solo music at ALL(CN, 2018), Ballroom Blitz(LB,2019), CTM Festival(DE,2020), Haus der Kulturen der Welt(DE, 2018), ICA Boston(US, 2015), Les Urbaines(CH,2018),Rewire Festival(NL,2021), SONICA Festival(SI, 2021), Supersonic Festival(UK, 2022), Takseer Festival(DE, 2022) and Theater Der Welt(DE, 2014), among others. Her multi-channel sound installations have been commissioned by and exhibited at ar/ge kunst(IT,2020), Kunsthalle Wien(AT,2020) LACE(US,2017), LUMA Foundation(CH,2017), Muzeum Sztuki w Łodzi(PL,2022) and Para Site(HK, 2021) among others. Her essays and short stories have been published in edited anthologies and multiple publications like Bidayat Journal(LB), Zweikommasieben(CH), MadaMasr(EG), Kohl Journal(LB), The Funambulist(FR) and Ibraaz(US) to name a few. Her indisciplinary research-based work has been presented at the Stanford Research Institute(US), the Arab Image Foundation(LB), Birbeck’s School of Law at UCL(UK), Center for Documentary Arts and Research at UCSC(US) and Amnesty International(UK & DE), among others.

Khazrik has been an artist fellow at Home Workspace Programme(2012-13), Digital Earth(2018-19), HfK Bremen(2020) and SHAPE Platform(2021-22) and is at present a fellow at If I Can’t Dance(2022-23) and Helmholtz Center (2022-23). As visiting faculty, she has taught voice-based electronic music, performance and techno-politics at HfK Bremen(DE, 2020), the FHNW Academy of Art and Design Basel(CH, 2021-22), the Academy of Fine Arts Nuremberg(DE, 2022-23) and guest lectured internationally. As independent technologist, she has worked on AI policy and digital rights internationally and is the founder of the techno-study group ‘READING COMPUTERS’, the peer-to-peer web platform and study;strategy;solidarity group ‘POST-CORONIALISM’ and the online transclusive research platform ‘خريطة الظلام Cartography of Darkness'. Having grown up around a quarry contaminated with military waste, she has been active in anti-militarist struggles for environmental justice since early adolescence.

For bookings: jessika@posteo.net

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