WACKELKONTAKT is a three-headed A/V psychotrap project that currently spearheads the Jerusalem experimental scene. From R&B to hip hop to industrial to power electronics and back to local influences, Wackelkontakt have already made a global mark with the sensory overload of their live multimedia performances and the scintillating presence of frontwoman Tomer Damsky AKA MC Slice, backed by Eyal Lally Bitton (electronics, visuals, scenography) and Marco Milevski Tomasin (drums and electronics).

Since 2018 the three have been developing an aesthetics manifested in their performances, sound installations and site-specific events, which challenge the relationship with the audience through social dissonance and emotional conditioning. Besides creating an ever-changing multisensual spectacle, they produce gallery peroformances and sound design for theater and dance.

WACKELKONTAKT’s visual and sonic language is a result of the boiling life on the border between East and West Jerusalem, present in their work with a sense of an absurd vitality, paranoia and isolation.

“The record is an accomplished and bold debut from a group at the forefront of Jerusalem’s defiant art scene […] Wackelkontakt are staring, screaming and spitting into the void, but forever will the void be too afraid to spit back”. (The Quietus)

Jerusalem’s foremost “psychotrap” outfit transform the writing of Michel Foucault, the philosophy of Deleuze & Guattari and the poetry of Antonin Artaud into cacophonous experimental hip-hop. (Factmag)

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Qa’a is the last of a small secret genealogy of unclassifiable bands that use music for magic and quasi religious purposes. Using a wide variety of instruments – some self made – and configurations, their range moves from aural assaults to zen pastoral moments. Psychedelic in all its wide spectrum, repetition, dissonance, prehistoric rites, oriental folk, electronics, ritual noise, chamber music, and avant-garde leanings give birth to a music that feels alive, mysterious and yet full of emotion. Music that has left many reviewers agreeing that they are devoid of tags with which to pigeonhole it and that are unable to feel indifferent after hearing it.

Between 2006 and 2011 Qa’a toured Spain and Europe extensively visiting a total of 7 countries and participating in festivals such as Sónar, Primavera Sound, Saint Ghetto Festival or Klangbad festival curated by Hans Joachim Irmler (Faust), sharing the stage and opening for pioneers of advanced music such as The Residents, Steven Stapleton (NWW), Cluster, Dieter Moebius, Jaki Liebezeit (Can) and FM Einheit (Einstürzende Neubauten).
Hans Joachim Irmler (Faust) is a firm benefactor of the band and executive producer of their second album Chi’en which he qualified as “an incredible album which probably won’t receive the recognition it deserves until after 10, 15 or maybe even 20 years have passed”.

“Make sure you grab your own copy of this Final Drudion’s Vinyl of the Month, for SANG by Spain’s expert ensemble Qa’a is one essential to own in the real world. Released in triple white vinyl on the Magia Roja label, this supposedly final release showcases Qa’a at their Can-esque finest. […] SANG is six sides of pure sonic invention whose feet dance within the bossanova rhythms and Jaki Love-time drum-o-thons. Imagine Dr. John’s ‘Mama Roux’ Night Tripper-period meets Miles’ AGARTHA No Wave meets Parson Sound, and yooz halfway to understanding these gents’ pleasure centres.” (Julian Cope Final Drudion’s Vinyl of the Month)

“Qa’a turn in a well thought out and sophisticated krautrock classic, which high fives a long line of stimulating and galvanised influences. […]Somewhere between the moody dark rock of latter day bands such as Dead Meadows and Black Mountain mixed with the modular tinkering of groups like Holy Fuck and Leafcutter John, our plucky duo manage to throw up enough surprises to make sure that this is not merely a homage” (Monolith Cocktail)


Ordre Etern

Following in the tradition of the dark and stark imaginary of artists such as Lorka and with distinct Mediterranean fire, the sound of Ordre Etern is bleak and vile as the void the spirit of their city represents. Ordre Etern is not the defeat but the struggle, the endless struggle, and the celebration of the endless crises-not just economic, but moral-of present times. With lyrics dark as the period that brought them to light, they speak of fighting and resisting in a cruel present, against adversity, urban and moral desolation and the divide between the two natures of man.
With feedbacking drums that ressemble guitars and guitars that ressemble shards of metal-without a single note-together with electronic and modified drums, synths and tímpani, Ordre Etern have created a dystopic postindustrial nightmare.

“There is noise everywhere – pressurized spews of static, mangled metallic percussion, manipulated shards of guitar – yet it feels choked off. It comes in bursts, it promptly stops. Pockets of silence hang where the anger should be, as Ordre Etern fight for the oxygen necessary to continue. […] Despite the omnipresence of waste and immobilising noise, Revolució Soterrada still glimmers with the potential for change.” (ATTN Magazine)

“Mixing electronics with buzz saws, soldering equipment and a cannonade percussion of metallic reverb the new but atavistic preoccupied Order sound like a pissed off The Normal, or a stripped backed and hostile Einstürzende Neubauten jamming with Sunn O)))” (Monolith Cocktail)



This primitivistic music is created with a varied instrumentation that goes from electric viola, piano and snake-charmer’s flute to cymbals, modular synths and self-made instruments, with almost all other possibilities in between but with virtually no guitar.

Moving from animalistic sexual pulsations, the reptile brain, noise-zen, surrealism, free savagery and minimalism, Huan uses space in an unusual way, orchestrating it with sounds that are almost visual and palpable. Far from cold and empty experimentalism, this is visceral and alive music that’s almost like a living organism, an organism that is at times sick, dying or excited.

Huan has toured several countries with highlighted shows such as at the CCCB Barcelona, Sónar Chicago, Terminal in Oakland or at the Ethnological Museum of Barcelona. With Huan he’s also worked on several collaborations such as touring the US in collaboration with Les Aus and as a sporadic collaborator of Nurse With Wound with whom he played live as a guest member at Primavera Sound Festival in 2013.

Huan is on loan from his mother-band Qa’a. ‘Bells’ is further out and crazed, sounding like something dredged up from the american counter-culture during the glory days of esp (think Cromagnon) and the furthest reaches of the most recent ‘free folk’ scene. The emphasis is on organic instruments, sound-art, voice, samples of disembodied sounds and of course bells. The cd throbs with an underlying sense of menace and ancient rituals.” (Rough Trade)