Underdogs Ballroom, Prague, 20th May, 2016. Photo: Guillaume Dulliand
Underdogs Ballroom, Prague, 20th May, 2016. Photo: Jakub Ra

QUEERCORE: How to Punk a Revolution by Yony Leyser

HYENAZ had the honor of composing original music for QUEERCORE: How to Punk a Revolution by Yony Leyser.

Queercore: How To Punk A Revolution (2017)
Poster by Stefan Fähler!
Teaser: http://vimeo.com/221229029
World Premiere (June 12 Sheffield Doc/Fest): http://sheffdocfest.com/films/6306
US Premiere (Frameline SF Jun 17) http://www.frameline.org/festival/film-guide/queercore-how-to-punk-a-revolution
LA Premiere (Outfest July 15 Redcat): https://www.facebook.com/events/645169192344933/
and many more to come
World Sales / Festival Booking CAT&Docs: http://www.catndocs.com/index.php/categories/cinema/890-queercore-how-to-punk-a-revolution #Frameline41

“Binaries” wins “Most Bizarre” category at Berlin Music Video Awards

DP Robert Mleczko accepts the award.

Binaries 두가지들 (from Critical Magic 비평적 마술) is an exercise in hyperbole: seemingly oppositional concepts and beats released in tandem, allowing for transformative, transgressive concepts which are both and neither. The song is performed as the platform for ecstatic hyperventilation, paralleled between text and the music itself. As we engage with this exercise of shouting out binary forms, we reach a musical and physical exhaustion that is light enough to send us upwards, floating in air, allowing for transformation­ of an idea, of ourselves, of a community.

Binaries 두가지들 is the first single from the the album “Critical Magic 비평적 마술 ” out 21.10 on SPRINGSTOFF.

Concept, music and editing by HYENAZ
Styling by Yeorg Kronnagel with assistance from Thea Adora
Filming by Robert Mleczko with assistance from Linus Ignatius
Mixing by HYENAZ and Bartłomiej Kuźniak at Studio333
High Definition Mastering by Bartłomiej Kuźniak at Studio333
Filmed at Künstlerhaus Bethanien
Inspired by Tasman Richardson’s Jawa Technique

The music for Critical Magic emerged from the site specific performance “Spectral Rite” at Museum of Modern and Contemporary Art, Seoul; in collaboration with the artists Sylbee Kim and Nico Pelzer .

Thanks to Quecke Autonomous Feminist Community for providing the space to conceive the Spectral Rite performance and record the Critical Magic album.

Critical Magic is our attempt to engage critically with ritual in order to set intentions about changing both our selves in the world and the worldly structures of which we are a part.

Springstoff: http://sikk.de/nDeod
Amazon: http://sikk.de/E1iBM

Springstoff: http://sikk.de/7hwyJ
iTunes: http://sikk.de/Rokmw
Amazon: http://sikk.de/WiQhs










Antwerp, Belgium, STRANGELOVE Festival

2 June 2017

Interlocuters: Manon la
Décadence and Lu

This was one of my favorite moments of the ritual at STRANGELOVE. So many people joined us in laying down and taking a moment just to make contact with the ground and to listen to the sounds. For me personally this is also a moment i love, when I let my full back come into contact with the concrete and imagine myself is part of the architecture, as part of foundation, of stone, of earth.

There were other moments in this night as well where the audience was really inside the group experience, for example when we put on our blindfolds and danced together. I felt myself touching so many different bodies, indistinguishable but different. Sensing various energies both distinct and yet combined into one. This was a moment of imagining our collective body!

And again, in the end, when suddenly there was a collective heaving from the group on the stage, helping Adrienne to carry the log and strike it into the … barrier ? the border? into what does she strike? It is powerful to see what develops spontaneously amongst us as a group.

On the level of constructive criticism of our performance, I felt that we could have been more concise in the moment when we spoke to the group. I will suggest to Adrienne that we rethink through what are the main points we want to make sure to address and also how to connect this to “clean and unclean” since we do not go directly into “binaries”. i also would like to continue to improve our harmonies so that we can do them without thinking ! And personally for the Octomantic Ritual I still feel that I need to work in gathering the collective energy behind dancing together, or building a consistent choreography.