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Friday, 16 Oct 2026 • Doors 23:00

Gewölbe

Hans-Böckler-Platz 2

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

Protomaps © OpenStreetMap

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.

How does a rave sound when everything has become unstable? KAVARI takes the raw materials of jungle, drum & bass, dubstep, hardcore and industrial electronics and pushes them towards overload. Bass pressure splinters percussion into fragments with a life of their own. Digital sounds glitch, buckle and mutate – circling back into familiar patterns here and there. Glasgow-based KAVARI has developed a sound that is strangely aggressive and excessively playful. Her music can shift from claustrophobia to euphoria in a second – like a club system pushed beyond its intended limits. Her 2026 album PLAGUE MUSIC intensifies this approach by combining bruising electronic production with field recordings and more intimate, bodily sounds. The rhythm remains physical even as the structures carrying it begin to fall apart.

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

Information

Tickets

The following passes and tickets are available for online purchase:
Festival Pass
Day Pass Thursday 15 Oct
Day Pass Friday 16 Oct
Clubnight@Gewölbe 16 Oct
Day Pass Saturday 17 Oct
Supporter Pass

Box office tickets for individual events are available at the venues.

Venues

Gewölbe, Hans-Böckler-Platz 2 – website
JAKI, Venloer Straße 40 – website
Klosterkirche Heilig Kreuz, Lindenstraße 45
Stadtgarten, Venloer Straße 40 – website
Stoff-Pavillon Möller, Hahnenstraße 8
Theater im Bauturm, Aachener Str. 24-26 – website

Volunteers

Three Skies is looking for volunteer staff members. Interested in helping us during the festival? Join the team!
Register now!

Contact

Three Skies – Unexpected Music and Sound
Zentrum für Aktuelle Musik e.V.
c/o Kutschker
Kurfürstenstraße 6
50678 Köln
info@threeskies.de

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Funded by

Musikfonds

Supported by

TheWire