오래된 미래 | Ancient Future
since 2014

Resident DJs:
Djilogue @djilogue
SUNA @sunabass
Inger @inger-yung
Oyymmit @ooymmit
Suzan @ltpjzrtd1qhi
SJK @sijin-kim
Ansol @solbangul-842749337

YUNIS (b. 1994 - Kafr El-Dauwar) is an Egyptian experimental composer, performer, and synth player, he is based between the western Delta province of Kafr El-Dauwar and Paris. He believes deeply in the sacredness of the traditional musical forms—not as stagnant, historical artifacts needing to be revived, but rather as living, evolving, artistic endeavors that can be endlessly disassembled and reconstructed. With this genre-bending at the root of his artistic method, YUNIS draws inspiration from various musical genres such as Shaa’bi music, Zār, Mouled, and Takhmir.

As a co-founder of Kafr El-Dauwar Records (described by Scene Noise as “A truly eclectic group… who can rightly claim to be the first source of a truly authentic and original sound since the emergence of mahraganat”), YUNIS produced a collaborative record with Ibrahim X, Ya Khal. In collaboration with Suliman; the label’s art director, Ya Khal brought Egyptian-style wedding emceeing to the studio for the first time. Later on, he brought his vision to life in his debut solo album The Blue Djinn Dance under the same label. In his latest, Mulid El-Magnoun, Yunis worked on distilling the “mulid” and its varied manifestations in Egyptian folklore. He closely examined the space between local mulid and its Sufi form, with its rhythmic patterns and instrumentation, and as a genre with gritty aesthetics originating from folk weddings.

YUNIS has toured extensively across Europe and has been artist-in-residence at the Kampala, Uganda-based Nyege Nyege label and worked alongside producers such as Chrisman, Dogo, and Jay Mitta. At Cité Internationale des Arts, in Paris, France, he’s been developing a musical and dance creation in collaboration with four French dancers, titled Orouj; Its themes intersect between spiritual rituals, religious myths, love, and desire (release tour scheduled for the first half of next year).

PRAED: Psychedelic Shaabi from Beirut
BOOKING: 
paedconca@lorraine.ch

“PRAED” is a band whose musical oeuvre can be described as a mixture
of Arabic popular music, space jazz, and electronics

http://www.paed.ch/praed
https://www.facebook.com/praedband
https://www.residentadvisor.net/dj/praed

rumbling and tumbling

Instagram @sophiologin

Rooftop, culture & club
Toit panoramique de la Sucrière
50 quai Rambaud - Lyon 2 (France)


Viande Records is an italian label founded by A Spirale (M.Argenziano, M.Gabola, M.Spezzaferro) during 2008 in Naples. 
It's focalized on improvising and experimental music.


The production of this material is not driven only by a desire for expressions of aesthetics and relations, is located in a constellation of practices linked to other realities such as Toxo Records, Joy De Vivre, SuoniGrezzi, Arraggia, Perditempo, L'Altrolibro, Altera!, TPA, etc. Radiolina, with the attempt to circulate material that often fails to overcome the wall of the large-scale distribution and aesthetic of power.
Does not exceed the limit of the goods but at least this way begin to reduce it to the use value (it would be desirable, paradoxically, an incalculable exchange value and zero use value) the "cultural product", almost to the value of support through the exchange and the creation of a small distribution punctuated in a field of close relationships but at the same time very careful and in continuous relation with the outside;
also by establishing relationships by sharing spaces and the same means of production tries to make less and less work, professional and specialized experimentation with the "contemporary" and its languages ​​even in contexts in which the economic potentials remain very low.

www.viande.it

contact: a_spirale@yahoo.it


"...I thought to proceed in the selection of this playlist working toward systems and constellations of relations and affection.
Obviously, not relationship or parentage, but just an attempt at mapping during the continuous geopolitical loss of bearings.
We’re talking about escape, friction, and collision, “feelings conquered because they’re sons of no one” and not things bought, moved by the possibility of liberation from the spectacular mercantile economy that as of now organize even the small niches/bitches that are the products of underground cultural consumption for the bourgeois bohemian mish mash middle European youth.
We have shared techniques, ideas, discussions, spaces for concerts, houses, full tables and empty tables, bottles, bars, shitty pubs, streets, books, listening and writing…
And above the author aesthetic as a revelation of a practice that passes through improvisation to break the walls, the separation of languages, the genre, the consumption of music as a product tied only to the enjoyment of a form or a narration or a composition, all around a world that moves as a result of everyday battles and movements of liberation.
A discussion around the practice and the means/tools, years of forgotten history of radical improvisation only to restart this mood in new fragile fields, where grindcore/hardcore/punk, hip hop, technorave, funky, rock ‘n ‘roll, blues, fall apart and give space to the lived and human movements more than to the genres and authors.
Again against the new post–museum logic, to the artist collectives and their re-qualification of abandoned areas, against every form of mediation between the individual experience and the outside world.…"


Oh! What a beautiful city!
Oh! What a beautiful city!
Oh! What a beautiful city!
Twelve gates to the city
Hallelu!

PRAED is following