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Now going into its fourth edition, Unsound Festival New York is an extension of Unsound in Krakow, Poland, with a focus on exploratory music from an international network of cities and scenes. These diverse sounds, all interconnected, draw from many milieus: experimental, classical, post-classical, techno, improv, dub. What unites them is a shared sense of aesthetic investigation and appreciation for curious ears. As always, we’re interested in imaginative ideas and a willingness to take risks, musical and otherwise. With a mix of emerging artists and musical pioneers, the program favors projects and pairings commissioned by Unsound in Poland and in New York, with some projects being presented for the first time. All of Unsound’s iterations—in Krakow, New York, London, Adelaide, and Minsk—celebrate an international mix of sounds and movements, making the festival a unique cross-border artistic experiment.
Dissolution of The Sovereign: A Time Slide Into The Future—a special live performance and tour around her sophomore album, Elysia Crampton presents: Demon City (with Chino Amobi, Why Be, Rabit, & Lexxi), out July 22 via Break World.
Elysia Crampton is a Bolivian-American sound artist who performs and speaks around the world. Her debut album, American Drift, was released in August 2015 to critical acclaim.
Her upcoming sophomore release, Elysia Crampton presents: Demon City (with Chino Amobi, Why Be, Rabit, & Lexxi), is a concept album that works as an epic poem, existing as an official document of the Severo style. Release date: July 22, 2016 via Break World.
Her new live show, Dissolution of The Sovereign: A Time Slide Into The Future, is a play that unfolds as a DJ production and performance that works alongsideDemon City. The narrative follows Aymara Revolutionary Bartolina Sisa’s limbs after they were severed, continuing from the perspective of the entrails as they turn into stone, petrified on a time slide into a distant future where the sun has gone out and trans humanoid arachnids have inherited a world free of the prison industrial complex. The work is Elysia’s attempt to bridge the Aymara oral history tradition/theater legacy with her own trans femme abolitionist grasp of futurity, always amidst the cataclysmic, irreducible horizon of coloniality.
Seating is available on a first-come, first-served basis.