Kevin Richard Martin & KMRU (UK/KE) / HOLY SCUM (UK/USA) / Rashad Becker (DE/SYR) / Lumpeks (FR/PL) / Michał Żak & Synnøve Plassen (PL/NOR)
Neo-folk stage:
19 00 Michał Żak & Synnøve Plassen (PL/NOR)
20 00 Lumpeks (FR/PL)
Main stage:
20 40 Rashad Becker (DE/SYR)
21 00 HOLY SCUM (UK/USA)
22 00 Kevin Richard Martin & KMRU (UK/KE)
Kevin Martin first became aware of Kenyan ambient musician KMRU “watching the short 2020 documentary Under The Bridge,” he tells us. “Which, aside from immediately finding Joseph’s approach to sound and music so instantly impressive, I also found his spoken voice possessed a captivating, lilting, tonal quality, with his soft-spoken accent.” Following this, Martin dug into Kamaru’s records and found not only a kindred spirit in skilful exploration of sonic space, but also a fan of The Bug. So began a mutually respectful relationship, initially held in Instagram DMs and reciprocal admiration for each other’s work and eventually blossoming into an invitation sent by Kevin to Joseph to collaborate on a new album.
https://phantomlimblabel.bandcamp.com/album/disconnect
Holy Scum. The name itself is a visceral snarl, perfectly capturing the raw, feedback-laden
sludge and improvisational rock that the band unleashes. Since their debut, Holy Scum has
made waves at major festivals like Le Guess Who? and Roadburn, cementing their place in the
music scene.
Originally hailing from Manchester, Holy Scum features guitarist Peter J Taylor (formerly of
Action Beat), GNOD co-founder Chris Haslam on bass, Jon Perry (also of GNOD and Shuck) on
drums, and Mike Mare, one half of the legendary hip-hop duo Dälek, on vocals, synth, and
soundscapes. The band has recently welcomed a new guitarist, Al Wilson (GNOD, Ghold,
Shuck), adding fresh energy to their lineup. Together, they create a thunderous cacophony of
synapse-mangling noise that cuts through the chaos.
Looking ahead, Holy Scum is gearing up to release their eagerly awaited second album, All We
Have Is Never, on Rocket Recordings in 2025. This album, recorded over seven days in the
remote wilderness of Scotland, promises to build on the raw power and collaborative spirit of
their debut, delivering a monumental noise rock experience.
Holy Scum embodies the power of collaboration, a primal scream in response to a world in
disarray. They confront chaos head-on, meeting fire with fire in their live shows.
The sounds of German-Syrian producer and renowned mastering engineer Rashad Becker open an imaginary space. Interested in the sonic creation of a fictional species, including its traditional dances and songs, Becker uses his modular synthesiser to create sounding entities that enter into communication with each other. They talk, they sing, they fight, they interact and let us enter a sphere where every creature, no matter which space it inhabits, has equal rights to exist. It’s sonic fiction par excellence.
https://www.instagram.com/rashad__becker/
https://rashadbecker.bandcamp.com/album/the-incident
Lumpeks is a French-Polish quartet founded in 2018 by double bassist Sébastien Beliah. The group draws inspiration from Polish musical traditions, particularly those of the Radom region. With a strong background as a free improviser, Beliah formed the ensemble together with multi-talented singer and percussionist Olga Kozieł, and renowned European experimental musicians Louis Laurain (trumpet) and Pierre Borel (saxophone). Their music is a dynamic fusion of groove, mazurkas, polkas, and obereks, transformed into ecstatic improvisations. Lumpeks has released two critically acclaimed albums, featured in The Wire, The Quietus, and Ruch Muzyczny. The quartet has performed at notable festivals including Jazzfest Berlin, Jazzoffensive (Potsdam), Festival Meteo (Mulhouse), and Avant Art Festival (Wrocław).
https://umlautrecords.bandcamp.com/album/lumpeks
Synnøve Brøndbo Plassen and Michał Żak draw from the musical legacies of their ancestors—a Norwegian fiddler and a pre-war Polish cimbalom player. Deeply rooted in tradition yet open to improvisation, their music bridges ancient melodies with contemporary expression. Years of learning from village musicians have shaped their artistic language, while personal exploration adds depth and originality. Voice, flute, reeds, and cimbalom engage in a fluid, intuitive dialogue that reflects a living, evolving tradition—carried across generations, geographies, and instruments.
https://www.synnoveplassen.com/s-projects-basic
