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Ohio Valley Wrestling featuring Beat Keller


Shimmering drones, vibrating surfaces, free-jazz deconstructions. The duo of experimental saxophonist Florian Walter and virtuoso pianist Rieko Okuda explores tonal and structural boundaries. Not chamber music.

Giving full energy to the whole musicality happens between the fields we individually create. This energy meets in both fields to interact with each other, and it evolves the sounds and layers of tone colors dynamically and/or microscopically. It’s a physical experience music.

Beat Keller
Electric guitarist, guitarist, composer and sound engineer based in Winterthur, Switzerland and Berlin, Germany.
Beat Keller is amongst the important Swiss musicians in the field of experimental and improvised music. Through the exploration of extended playing techniques, guitar tunings and the use of an electric feedback guitar, he has developed a unique musical language.
Beat Keller has played together with many major exponents of the Swiss and international scenes and performs regularly around the world at festivals and renowned concert venues. Concert tours have taken him several times across the whole of Europe, to the USA, Asia and Southern Africa


Samo Kutin & Georg Wissa

Improvising together is like meeting an old friend, even if you don’t know each other that well. Samo Kutin and Georg Wissa dare to take the audience on a journey whose course is never quite clear or certain.
Samo Kutin and Georg Wissa met in the summer of 2021 during the VNM festival in Graz, to which the Slovenian improvisation scene was invited. Inspired by Samo’s soundscapes, Georg asked to play together privately in the oldest church in Graz.
Although they had not spoken much before, improvising together was a great pleasure.
This was the beginning of an inspiring collaboration.

Samo Kutin is known for his use of unconventional instruments, be it instruments that have already disappeared from everyday use or sound-making contraptions that feature strings, wood, pumpkins, stone, glass and waste material. One of the traditional instruments in his repertoire is also the Hungarian medieval string instrument hurdy gurdy, which he can be often seen in playing at the events of experimental and improvised music. In the field of ​​free improvisation he is intensively devoted to finding, discovering and manipulating the various potentialities of the hurdy gurdy. The extreme acoustic dimensions, from gentle noise to noisy drones, from soft blows to unbearable whimpers, he reaches through the preparation and amplification of the musical instrument, using both contact microphones and acoustic resonators.
He performs as a soloist and in a variety of improvised combinations (among others, duo with Jean-Luc Guionnet, Lee Paterson, Boris Baltschun, Daichi Yoshikawo etc.) and ethnic ensembles at international festivals and various stages.


Georg Wissa, works with voice and things that sound. He has dedicated himself to „free“ improvisation with a serious dilettantish attitude so as not to lose touch with the moment, which can cause him to lose himself and stumble; a risk you have to dare.
„Often there is no time for perfectionism because the attempt to express immediately prevails.“
He curates the programme „raumfest“ on Radio Helsinki in Graz, in which – as in the early days of radio broadcasting – he performs as a soloist or with guests (Samo Kutin, Seijiro Murayama, Chris Pitsiokos etc.) directly into the ether.