Gewölbe

Hans-Böckler-Platz 2

23:301LDK
00:30Crystallmess
02:30~~KAVARI~~ Animistic Beliefs
04:00Deena Abdelwahed

Protomaps © OpenStreetMap

Freitag, 16. Okt 2026Fr, 16. Okt • 23:30 • Gewölbe
1LDK 1LDK
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Freitag, 16. Okt 2026Fr, 16. Okt • 00:30 • Gewölbe
Crystallmess Crystallmess
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Freitag, 16. Okt 2026Fr, 16. Okt • 02:30 • Gewölbe
Animistic Beliefs Leider kann KAVARI wegen Visa-Problemen nicht kommen. Animistic Beliefs
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Freitag, 16. Okt 2026Fr, 16. Okt • 04:00 • Gewölbe
Deena Abdelwahed Deena Abdelwahed
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1LDK is Yiqing (b. Beijing) & Goos (b. Amsterdam). After meeting in 2019 outside a club in Amsterdam, they stayed in touch and continued their parallel lives. Yiqing had been DJing in Tokyo, promoting events, and writing for different publications but always feeling the need to work on something more personal and creatively fulfilling. Goos had been living in Amsterdam, making music and producing for his solo project Yoong, and booking events.

One day, Goos moved to Tokyo and texted his friend Yiqing about starting a band. Eventually they bought a microphone and wrote what would become their first single “Spring Dream” and didn’t show it to anyone for six months. Upon releasing “Spring Dream” in 2025, they made their live debut and 1LDK was born. “That’s when it became a serious project” says Goos. Named after a 1 bedroom apartment with Living, Dining, and Kitchen areas, “1LDK” is a distinctly Japanese term and a reflection of their daily lives or “maybe a more glamorous version” Yiqing clarifies.

Inspired by their different lived experiences and “outsider” backgrounds living in Tokyo and the stylings of Faye Wong, Jay Chou, Kahimi Karie, and Pizzicato Five, 1LDK’s music speaks to a new lost generation raised on cinema and Y2K pop music who can relate to their “big city” sound and pastiche of the cosmopolitan and 2000s indie era.

Club music carries memory. It creates a space of sonic histories in which nothing is allowed to remain fixed. For Crystallmess – the Paris-based artist, producer and visual artist Christelle Oyiri – those memories include diasporic histories and the legacies of Black Popular Culture. Her sets move freely between techno, trap, hardcore, footwork, R&B and experimental electronics. Sounds are cut apart, displaced and recombined until their cultural histories become audible. Oyiri’s artistic work is not limited to music – but moves between film, sculpture and performance as well and has been presented at many institutions including the Centre Pompidou. On the dancefloor, however, the theory becomes physical and ecstatic: bass, rhythm and fragments of voices in an unstable, ever moving collage.

Animistic Beliefs are one of the most distinctive projects to emerge from Rotterdam’s electronic underground. Formed by Mara Lalihatu and Linh Luu, the queer Southeast Asian duo move through DJing, punk-charged hardware live sets and audiovisual and theatrical work with a sound shaped by club music, diasporic memory and a taste for the unexpected.

As DJs, Animistic Beliefs resist easy categorisation without ever losing their identity. Moving freely across genres, eras and scenes, they bring together underground club music and bass to breaks, harder dance forms, y2k r&b mutations and experimental electronics. Their sets are playful, queer, sensual, high-energy and strange, guided less by genre purity than by a desire to move through the full range of human experience.

Across their wider practice, Southeast Asian tonalities and their Dutch-Moluccan and Vietnamese-Chinese diasporic backgrounds feed into an artistic language spanning music, performance and visual storytelling. Few acts move as comfortably between clubs, festivals, galleries and theatre stages, with appearances at Rewire, Berlin Atonal, Nyege Nyege, CTM, Dekmantel, MUTEK and Nuits Sonores.

As bodily as cerebral, Deena Abdelwahed’s club music is built for movement – and questions what that movement can be. It works from the edges of the European map – and then proposes to redraw this map entirely. Familiar rhythms become strange, regional sounds become radically contemporary. Born and raised in Tunisia, now based between France and Tunisia, Abdelwahed’s sound melts bass music and techno, experimental electronics and current rhythms and musical traditions from the Arab world. She works with rhythms and timbres as raw material, synthesising and abstracting them into dense, constantly shifting structures. Sometimes, her tracks are almost brutally physical: bass pressure, fractured percussion and distorted voices colliding in propulsive layers that refuse to settle. Her landmark album Khonnar challenged the idea that electronic music has a single geographical centre. Jbal Rrsas pushed the language further, exploring the topographies of Arabic dance music from Moroccan Chaabi to Khaliji and transforming them into intricate, polyrhythmic structures. Tempi, harmonies and languages overlap, creating music that is at once deeply rooted and radically futuristic.

Boiler Room / Bandcamp