2012 was the year that a new, outstanding formation - Tatvamasi - emerged on the musical map of Lublin. And it was a strong entrance - their EP with kind of surreal title - The Peloton of Unsettled Cyclists was a real blast.

Since then, it was just like in a Hitchcock movie - the tension has been constantly building up. Their debut album -Parts of the Entirety (2013)- caused quite a mess, and not only on the Polish music scene. Once noted and appreciated, they were given the opportunity to record their debut album at the American Cuneiform Records. Cuneiform is an iconic record company, widely known among prog-rock and avant-garde rock enthusiasts, it is -let's say- a custodian for Canterbury Scene achievements.

Tatvamasi's European tour was widely and positively received and reviewed at press. Their uniqueness consists of many features, including the Slavic sensitivity of the leader (who also formed the Santa Claus Orchestra and Ann of the Green Gables) filtered through progressive, jazz-rock narrative, enriched with elements of avant-garde, free jazz and free improvisation. Joggling with conventions and improvising, they create their own puzzle. Among their inspirations we've got the already mentioned Canterbury Scene (Soft Machine, Gong), krautrock (Amon Düll II, Can) and New York Downtown Scene.

They share the ease, the sense of humour and absurd and a total lack of pomposity with the Englishmen from Canterbury; the raw, underground energy and pulsations with krautrock and the avant-garde (minimalism, sonorism) mixed with ethnic inspirations (Slavic and Jewish folklore, and Arabic scales) with the Downtown Scene. Tatvamasi is eclectic - jazz freedom of improvisation, rock sensibility upbeat with black blues and psychedelia, funky freedom and joy for music plus some serious folklore romanticism. This mishmash, seemingly insane and chaotic, is simultaneously precise, deliberate and pleasantly melodic.

Anna Witkowska – violin
Małgorzata Pietroń – cello
Michał Ostrowski – violin
Grzegorz Lesiak - guitar, compositions
Tomasz Piątek – tenor sax
Łukasz Downar – bass guitar
Krzysztof Redas - drums

Tatvamasi is yet another iconoclasticm genre-hopping outfit. The group ploughs new musical furrows on Parts of the Entirety, framing its compositions around Slavic folk rhythms and melodic ornamends delivered with a rock attitude… Tom Greenland, The New York City Jazz Record

Tatvamasi deals out all of moders jazz’s best traits-playful performances, major/minor key ambivalence, asymmetric song shapes and the occasional art of the unlikely melody. It’s the sound of things coming together. Better than The A-Team. John Garrat, Popmatters

Admirers of fellow Cuneiform Records artists, Gutbucket and Led Bib or other groups embracing the jazz-rock and progressive rock genres may find a lot to get revved up about with the Polish quartet Tatvamasi … Glenn Astarita, All About Jazzi

Tatvamasi have made a new thing and it’s a good new thing. The textures are mostly in rhythmsection-plus-lead territory and much of Parts of the Entirety’s emotional power comes from the committed playing and engaged interactions of the musicians, but there’s a sense of adventure that departs completely from the procedural conservatism of most modern jazz. Yet another fabulously inventive and beautifully performed release from Cuneiform… Olivier Arditi


Flat Earth Society (BE)

If you claim past or present membership in the Flat Earth Society, you could have been part of a youthful psychedelic pop band in Boston during the '60s, or perhaps you feel that gravity and orbiting satellites are part of a vast conspiracy to conceal the truth of humankind's true place at the center of creation. Then again, maybe you're part of an adventurous avant-garde big band from Belgium, particularly that part of Belgium that has historically been known as Flanders. The topography of the Flemish land is truly flat earth of the most literal kind, but some particularly unruly music, with many jagged peaks and deep valleys, has sprouted from this part of the world. With a bit of support from the Flemish arts council, Flat Earth Society have emerged as one of the most exciting big bands to launch from European terra firma during the late '90s and extending into the 2010s.

Before founding FES, bandleader and principal composer Peter Vermeersch was probably best known as the leader of X-Legged Sally, an avant-garde jazz-rock band with a taste for tight horn arrangements, driving rhythms, memorable hooks, hot improvisations, and Zappa-influenced compositional complexity. Vermeersch also took XLS in some rather arty directions during the '90s, and his own personal projects have tended to skew in a decidedly avant-garde direction. With FES, it appears that Vermeersch wishes to strike a balance, not abandoning experimentalism, but rather incorporating his exploratory tendencies into a big-band jazz framework that anybody can enjoy. This is reflected by the band's choice of cover material by everyone from Louis Armstrong to Godley & Creme to the Residents, not to mention Vermeersch's own composition of the soundtrack to a children's film about a woman who sips a mystery potion and changes into a cat.

It would be easy to conclude that the band's name is meant to reflect the flat terrain of Flanders, but in fact Flat Earth Society do take their moniker from British "flat earthers" who have devised -- and allegedly continue to promote -- theories supporting the notion that our world isn't a tiny sphere in a vast universe, but instead a horizontal plane at the center of it all. Residents of small British communities who maintain this interesting belief system apparently served as inspiration for naming the first incarnation of FES, a trio formed by Vermeersch and a pair of musicians from Leeds, England -- bassist Louis Colan and drummer John Boulton (aka Gene Velocette) -- following the dissolution of XLS. In 1997 the group performed at a children's music festival presented by the Vooruit Arts Center in Ghent, Belgium, with the trio expanded to an eight-person lineup. Vermeersch sensed new creative possibilities in a larger ensemble, and began inviting additional musicians to join the ranks.


Tanta Tofu (DE)

Tante Tofu MitNichten
(Avangarde-Rock aus Hamburg und Norddeutschland)


--> Information is not knowledge. <--

Christiane Seebach - Gesang, Wind Controller
Andreas Steinhardt - Gitarre, Gesang
Boris Schegene - Bass
Oliver Specht - Schlagzeug
The information about die Besetzung des Begleitchors "MitNichten" ist not knowledge.


--> Knowledge is not wisdom. <--

Ist Tante Tofu die Frau von Uncle Meat? Die Verwandtschaft zeigt sich nicht nur darin, dass Tante Tofu die Musik von Onkel Frank spielt. Auch die eigenen, deutschsprachigen Stücke machen weder vor dem Klischee noch vor der Grenzüberschreitung halt.
Mal klingt es nach Hardrock, mal nach Jazz, mal nach Pop, mal wird frei improvisiert.
Auf der Zappanale wird das aktuelle Programm "Sauerkraut" zur Hälfte aus Zappa-Musik und zur Hälfte aus eigenem Material bestehen.


--> Wisdom is not truth. <--

Tante Tofu gründete sich am 16. August 2009 auf der Zappanale #20 mit dem Ziel, sich auch in diesen Kreis illustrer Bands einreihen zu dürfen. Der Plan ging auf: Mit dem Oratorium "Carl-Heinz" begeisterte Tante Tofu bereits auf der Zappanale #22.


--> Truth is not beauty. <--

Die Genrevielfalt von Tante Tofu spiegelt sich auch in der Zusammenarbeit mit anderen Bands wider. Tante Tofu spielte unter anderem schon mit Doctor Nerve (Avangarde-Rock aus New York), Vogelfrey (Mittelalter-Rock), [soon] (Dark-Rock), Nico Brettschneider (Liedermacher) und The Ricky Kings (Rock).


--> Beauty is not love. <--

Seit ihrem Auftritt auf der Zappanale #22 hat sich viel getan. Zur Kernbesetzung, bestehend aus Christiane und Stoni, stieß Ende 2016 der Schlagzeuger Oli, welcher vorher jahrzehntelang in erfolgreichen Sessionbands und unter anderem in der Rockband "Die spitzen Päpste" spielte und Mitte 2017 der im Ska- und Jazzbereich etablierte und bekannte Bassist Boris dazu. Vervollständigt wird das Line-Up in diesem Jahr durch den Begleitchor "MitNichten", welcher noch für die eine oder andere Überraschung sorgen wird.


--> Love is not music. <--

"Das Plakat von Tante Tofu zierten die wunderschönen, nackten Rückseiten von zwei Bandmitgliedern (vermutlich), es ist jedenfalls ein Hingucker und vielleicht das meistfotografierte Motiv (neben Zappas Bart) der Zappanale #22." (Ingo Saager auf

"Spaß machte auch die originelle Show von TANTE TOFU, die sich mit ihrer Revue auf ganz eigene Art und Weise dem Thema ZAPPA widmeten." (Burkhard Schempp in "We Are The Other People")

"Die mit reichlich Showelementen und Sozialkritik gespickte Carl Heinz - Show mit deutschen Texten kam beim Publikum gut an und die Band ging auch sehr gut auf das Publikum ein. Wir sind jedenfalls neugierig auf diese Band geworden..." (Ingo Saager auf


--> Music is the best. <--

"The modern day composer refuses to die!" (Onkel Frank)

"Ich will Sonne!" (Tante Tofu)


Coogans Bluff (DE)

Über die Jahre hat sich das Quintett in der Szene nach oben gespielt und gehört zweifelsfrei zu den Fixpunkten im „Retro-Rock-Bereich“. Die Spielfreude der Band ist in jeder Sekunde hörbar. Ausschweifende Songs bieten Platz für jeden Musiker. Gut zu hören auf ihrem aktuellen Album „Bluff Live“: Kraftvoller, wilder und verspielter als im Studio sind sie auf der Bühne. Diesen Spaß an der Performance, die Power, die coolen Breaks, die knackigen Bläsersätze bringen sie nun wieder an die Rennbahn.

Wieder? Ja, denn sie waren schon mal hier. Fünf Jahre ist es schon her, dass sie die Mainstage rockten. Höchste Zeit, dass die fünf Jungs wieder Bad Doberan beschallen. Müsste eigentlich klappen, denn sogar das altehrwürdige Wembley Stadion rockten sie vor ausverkauftem „Haus“ in Grund und Boden. Und vor zwei Jahren begeisterten sie auf dem Woodstock-Forever-Festival.

Wer es gar nicht erwarten kann, besucht schon mal eines ihrer Konzerte in diesem Frühjahr:
01.02.2018 Fulda, Kulturkeller (DE)
02.02.2018 München, Feierwerk (DE)
03.02.2018 Luzern, Treibhaus (CH)
10.02.2018 Warsaw, Warsaw Prog Days (PL)
16.02.2018 Stuttgart, Goldmarks (DE)
17.02.2018 Garching, Altes Sudhaus (DE)
01.03.2018 Dresden, Groovestation (DE)
03.03.2018 Hannover, Lux (DE)
15.03.2018 Köln, Sonic Ballroom (DE)
16.03.2018 Bremen, Magazinkeller (DE)
17.03.2018 Leuven, Sojo (BE)

Bass - Clemens Marasus
Gesang - Clemens Marasus, Charlie Paschen, Max Thum, Stefan Meinkin
Gitarre - Willi Paschen
Keys - Max Thum, Stefan Meinkin
Schlagzeug - Charlie Paschen
Sonstige - Max Thum (saxophone), Stefan Meinking (trombone)


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Zappanale #28

14. - 16.07.2017
The Torture stops in -220 days!
20. - 22.07.2018
The Torture stops in 151 days!