20:00 Circuit Des Yeux
21:30 .Anna von Hausswolff
after show: Gray Chalk (DJ Set)
Anna von Hausswolff returns to Bern with her band, five years after her first visit to the Dampfzentrale Bern and four months after performing at the Montreux Jazz Festival as a supporting act for Nick Cave & The Bad Seeds. With her crystal-clear voice and sound somewhere between sacral pop, drone rock, experimental monumental rock rooted in the 1970s, and doom metal, the Swede has occupied her very own niche. She is highly appreciated by bands like Swans and at the same time praised as the new Kate Bush. Her current album “Dead Magic” is released under City Slang Records, putting her in the best company of bands who know how to create unconventional pop, alongside Timber Timbre, Son Lux, and Tindersticks. Thanks to the production work by Randall Dunn, who is otherwise mainly responsible for the ear-splitting productions of Sunn O))), she is, however, the most radical, atmospherically dense artist on the label.
Haley Fohr, alias Circuit Des Yeux, from Chicago is undisputedly one of the most idiosyncratic voices in the musical underground of recent years. Her baritone carries the dark-tinged songs from dramatic singer/songwriter folk to psychedelic art blues to melancholic electronica. Circuit Des Yeux is folk music from an inhospitable parallel world and an intoxicating celebration of reduction. She is playing a solo concert at the Saint Ghetto Festival after touring with a band at the beginning of the year.
Lolina is Inga Copeland, former partner of Dean Blunt in their joint project Hype Williams. Just like Dean Blunt (who performed at Saint Ghetto in 2014), Inga Copeland has set out to do the opposite of what would normally get you ahead in the music business: she does not commit herself to one name, there is hardly any information about her, her releases are mostly not even labelled, and only an absurdly small number of copies are available, which sell out immediately. The online radio station “Byte FM” called her “one of the greatest mysteries of Art Pop”. Musically, she is just as hard to pin down as she is as a person: electronic, experimental pop that would not be out of place on the dancefloor, but in which everything, even her singing, seems hostile. Perfection is anathema to her, but this gives her music a great deal of warmth, despite its high degree of abstraction. And at times it even has an irresistible groove…