THE LODGE presents:
RAISON D’ÊTRE (swe) + ATOMINE ELEKTRINE (swe) + STROTTER INST. (ch)
02/10/2010 @ Bazillus Club, Zurich
Raison d'être is a Swedish industrial ambient music project formed by Peter Andersson in 1991 as a tool of expression with the goal of self-realization. The name of the band was taken from a sentence in a book by Carl Gustav Jung: "the individuation is the raison d’être of the self". Dark ambient atmospheres, drone elements, industrial sounds, ecclesiastical hymns are all blended together to constitute the music of Raison d'être. Deeply influenced by the writings of C.G.Jung, Raison d'être explores the depths of human psyche providing soundtracks for inner voyages towards the Tragic.
Raison d'être is probably the most known of Peter Andersson's projects. For one and a half decades now, and with a vast number of CD releases on the Cold Meat Industry label, it has been supplying listeners with overwhelming dark ambient industrial landscapes of beauty and sorrow while keeping a remarkably steady inspirational flow.
Atomine Elektrine is one of Peter Andersson's other projects with thematical interest in the vast space and small atoms and is named after a nuclear power plant and is in part inspired by the electronic space music of the 70's. Peter Andersson, let out his version of this musical direction in the beginning of 1992, and since then expressed on a number of CD releases.
Atomine Elektrine has done live-vj-performances a few times earlier but this performance in Zurich will be the first real live concert!
Live, STROTTER INST. is generating dense sound- and rhythm structures by using up to five modified and manipulated Lenco-turntables and various cut- or taped-up records. The music ranges from a low-fi rumble changing into concrete clicks and scrapes, followed by epic drones and multilayered broken beats to fall back into tricky bass-meditations.
Strotter Inst. prefers to play in the middle of the audience. The set is carefully adapted to the spacial and acoustic conditions at the venue and depends upon the uncertain behaviour of the machines. Hence, each live appearence becomes an acoustic original.
