Fri, Decem­ber 2 2022, 20:15 ///
for­mer Wirtshaus zur Schießhalle, Waldeg­gstraße 116, Linz ///

qujOchÖ restarts its con­cert machine after mov­ing from Untere Donaulände to the for­mer Wirtshaus zur Schießhalle in Waldeg­gstraße (close to the train sta­tion, only about 12 min­utes by tram line 3 or 4 from Haupt­platz to Unter­gaum­berg stop). In the still raw atmos­phere of the ren­o­va­tion, the first act to per­form will be indus­tri­al gab­ber and new school hard­core by ASTRID GNOSIS (ES/GB), who has been seen in recent years at Hyper­re­al­i­ty 2019 at the Sophien­alpe in Vien­na, at Club Trans­me­di­ale Fes­ti­val 2020 in Berlin or at the Unsafe+Sounds 2022 at Werk in Vien­na. After­wards, the glob­al local sup­port act LYNNMAYYA (SY/AT), whose fine min­i­mal deep tech­no sets have been haunt­ing the clubs in Linz for some time now, will perform.

Astrid Gno­sis is one of those rare, one-of-a-kind artists whose work leaves a last­ing impres­sion on your mind. She throws you into a deeply unset­tling uni­verse, both uncom­fort­ably per­turb­ing yet weird­ly engross­ing. Colom­bian/S­pan­ish-born and Lon­don-based, Gno­sis is a mul­ti-media artist who weaves dystopi­an sound­scapes, blunt lyri­cism and bru­tal imagery to chal­lenge human per­cep­tion. When it comes to Gno­sis’ hybrid hard­core sound, there’s no sug­ar-coat­ing and no pre­ten­tious non­sense, only pro­gres­sive and uncom­pro­mis­ing elec­tron­i­ca with a socio-polit­i­cal tinge, designed to rip out humanity’s obliv­i­ous­ness to the world one beat at a time.” (Sil­vi­ja Dani­u­naite, subbacultcha.be)

Lyn­n­Mayya is a Syr­i­an exper­i­men­tal visu­al­ist and sound artist who kicked start­ed her career as a bassist in a rock band called Kar­ma and they per­formed in Syr­ia as the first female rock band in the coun­try. Now she is based in Aus­tria where she per­forms as a Tech­no DJ & Elec­tron­ic Pro­duc­er. In her DJ and live sets she plays lots of tracks, com­bin­ing groovy min­i­mal with dark-psy twist. As pro­duc­er she is dis­tin­guished by using raw and play­ful synths and oth­er dig­i­tal and ana­log instruments.”