I have dedicated my whole artistic life developing music robots for nearly 10 years now, and I sometimes also talk about it. A few weeks ago, Julian Adenauer and Jasmin Grimm invited me for a talk at the arts lab / hub.berlin, and here is a recording of my talk. In this 1 hour session, I give an overview of my working process, my favorite other music robots projects, technical details and I also show some videos!
Dear Humans and Robots!
I am super excited to be on tour again this april and may. As a lot requested I will play some single shows, and I am so much looking forward to have a chat and a beer with you all (and maybe some vodaka, who knows?)
26. April, Salzburg, Roter Salon /w joasihno
27. April, Wien, Rhiz Vienna
06-08 Mai, Berlin, re:publica sShow and talk)
09. Mai, Prag, LiveEurope Festival Palác Akropolis
10. Mai, Köln, Stadtgarten
29-30. Mai, Nürnberg, It Isn’t Happening, w/ Emptyset, Demdike Stare
First stop of our robot-workshop-rock is in Salzburg, where I play with Joshaino, at ARGEkultur Salzburg Facebook Event
Also, the wonderful people from Drahthaus saved no energy to make this special event happening. If you are in Vienna, please come around!
I will post more about the other shows.
A few weeks ago, we attended the South by South West festival in Austin, Texas and I want to share some thoughts on that.
In the beginning I was pretty unsure, as the costs, the general effort and the CO footprint seemed immense for the prospect of playing one show, in a small country bar in Texas in front of some music-business human. But I was pretty wrong!
Fun at the Festival
The South by Southwest is one of the worlds biggest music, tech and film showcase festivals with 2019 numbers boiling down to 2.739 artists attending, and about 160.000 music festival visitors. Yay! I experienced the SXSW to be a blend of: Business Conference / Oktoberfest / Trade show from big companies – and really really really good and engaged artists.
Most showcases take place in small venues, pubs, churches, bars and saloons (Texas!) and not so much on big stages.
There is the official SXSW Festivals, but side-events happen everywhere. Basically the full city is transformed for this festival and every living room suddenlybecomes a small stage. I´ve heard a lot that Austin is not “Texas” and I assume its true, as everyone was super kind and people on the street did not carry many guns (seriously).
Finally I decided to go there
What changed my mind from “not-interested” to “lets try!” was the newsletter from Initiative Musik mid 2018, where they offered help with the application and funding. The so called ‘Kurztourförderung’ (funding for touring artists) helps german artists with about 3k-4k, and considering flights, transport, housing etc. attending the festival became a little bit more affordable. (more…)
Variety: “The Best Music We Saw at SXSW 2019”
17. 03. 2019, Jeff Miller and Charlie Amter
“Dresden and Berlin-based beatmaker Moritz Simon Geist is a step ahead of his peers when it comes to a live show, as he proved during SXSW over multiple engagements to anyone lucky enough to have caught his set. Watching the tall German perform electronic music live is akin to viewing a mad scientist in a lab… and in his mobile lab are small analog hand-built motors that click, 3D-printed robo-kalimbas that vibrate, salvaged parts from old hard drives that whir — all set up in a triangle tower of techno. ” MORE
Rolling Stone: “From Sao Paolo’s Bixiga 70 to the see-it-to-believe-it EDM of Moritz Simon Geist” David Fricke
“The soundtrack, though, was a long way from Vangelis’ creamy futurism, more like the terse, clattering schematic of Kraftwerk’s “Pocket Calculator” set to the insistent propulsion of Neu. Geist has made an album with his family of enablers, Robotic Electronic Music, but this is that rare electronic dance music that needs to be seen to be believed, as close as possible. ” MORE
Ars Technica: “You call that EDM? Moritz Simon Geist’s (..) “
Nathan Mattise – 4/6/2019