Borderline Festival 2019 | 5th Day

"Murmur" installation: Maia Urstad (NO)

Onassis Stegi | Foyer +4
Admission free

Workshop on revox and the live use of tapes by Jérôme Noetinger (FR)

Onassis Stegi | The Galaxy Corner
Admission free | Reservation is required. For reservations, please contact infotickets@sgt.gr (providing name, surname and mobile phone number)

Stefan Fraunberger (AT)

Onassis Stegi | The Galaxy Space
Admission is free, on a first come first served basis | Entrance tickets will be available 1 hour before the event

Sam Kidel (UK)

Onassis Stegi | The Galaxy Studio
Admission is free, on a first come first served basis | Entrance tickets will be available 1 hour before the event

Trigger Happy (GR)
Nadah El Shazly (EG)

Onassis Stegi | Upper Stage | 5 — 7 €

"Murmur" installation: Maia Urstad (NO)

Radio FM 88.1-107: Recording the FM waves, Tuesday 19.02.2019, Bergen, Norway.

In Maia Urstad’s new installation “Murmur,” portable FM radios are suspended from strings in front of the windows in the exhibition space of the Onassis Stegi. Visually, the radios shape the continuous oscillation wave of the Sine wave. A composition of soft, white noise – often associated with radio interference – is broadcast via multiple FM transmitters: a sonic wave moving from radio to radio throughout the installation.

Sound artist Maia Urstad has used the radio as a sound source and aesthetic medium in many of her installations. Her work often questions how we communicate, what we use and what we dismiss from the sounds we hear every day. “Murmur” examines soundscapes in our history that are on their way to obsolescence. In 2017, Norwegian Broadcasting and other radio stations left the FM broadcast band in favour of DAB+. The diversity of program-makers is reduced to just a few local stations, and the FM band appears as a ghost medium with only remnants of broadcast, interference and blank spots.

As new technical inventions enter the market, our soundscapes change character. Typical radiophonic sounds disappear, often without us being aware, as new ones enter the stage. “Murmur” invites us to retain a curiosity to what is left behind, to what we might otherwise forget or let slip from our consciousness. The installation is an ode to the sounds found at the border between highly present and forever outdated.

Workshop on revox and the live use of tapes by Jérôme Noetinger (FR)

Jérôme Noetinger has been using the classic tape recorder Revox B77 as his main musical instrument for over 20 years. In this workshop, he will present different techniques and approaches to the use of tape in live music. Consequently, the participants will have the opportunity to play with Revox devices and tape in a specially configured space with quadrophonic sound system.

Stefan Fraunberger (AT)

An intimate concert featuring Austrian artist Stefan Fraunberger on santouri and electronics.

Sam Kidel (UK)

In Sam Kidel’s LP “Disruptive Muzak,” we witness the reaction of people working in call centers, when they pick up calls where there is nothing but relaxing ambient music at the other end of the line. The record was highly regarded as one of the best albums of 2016. In his live shows, Sam Kidel transforms the prosaic and mundane into the remarkable.

Trigger Happy (GR)

In the context of this Festival’s collaboration with Itijal Festival in Beirut, Greek band Trigger Happy will travel in the Lebanese capital one week before Borderline’s dates. Trigger Happy represent the new generation of the experimental music scene. Their intense and fresh sound brings together free improvisations with electronic music.

Nadah El Shazly (EG)

In Nadah El Shazly’s first release, musicians from Cairo, Montreal, and Stockholm recorded one of the most special records of 2017, titled “Ahwar.” Microtonic Arabian melodies, together with jazz improvisations and concrete electracoustic sounds, always revolving around Nadah El Shazly’s unique voice, will comprise this year’s Festival ideal closing night.