Einlass: 20.00 Uhr
Beginn: 21.00 Uhr
Tickets im Vorverkauf
(Berlin-Friedrichshain, RAW-Gelände, Revaler Str. 99, S-/U-Bhf. Warschauer Straße, Tram M10)
(ex-A Place To Bury Strangers, NYC) with his powerful in your face solo project.
Born in Auckland, New Zealand and now residing in New York, DION LUNADON played with several bands during the 90’s and 2000’s. Most notably The D4, who released two albums to world wide acclaim on legendary NZ label Flying Nun Records and A Place To Bury Strangers, appearing and writing on their studio albums Worship (2012) Transfixiation (2015) and Pinned (2018) as well as numerous singles and EPs.
While taking a break from touring with A Place To Bury Strangers, Lunadon recorded a self-titled solo album encompassing all that he loves about rock n roll. Previewed by the single „Com/Broke,“ Lunadon’s LP arrived in 2017 on Agitated Records.
Just as the pandemic hit early 2020, Lunadon decided to leave A Place To Bury Strangers and focus on his own music. In June 2020, he released the song “When Will I Hold You Again” and September 2020 saw the release of the “Schreien” EP. In 2021 he has put a band together to give his songs life and is putting the final touches on his sophomore album.
ERRORR are releasing their debut album SELF DESTRUCT on the 3rd of March via Anomic Records.
ERRORR was founded by Leonard Kaage; the Swedish multi-instrumentalist also known as the producer and guitar player of „The Underground Youth“ has also worked with numerous other bands like Kristof Hahn (SWANS), Tess Parks, The Blue Angel Lounge and many more. In 2019 after touring and producing for and with other bands Leonard took the opportunity to start a new
on a blank canvas with his own instrumentation, production and arrangements. The first demos were developed in his studio, whenever he found time between recording jobs and tours in Europe, Asia and the US.
After a few months the characteristic sound of the four-piece found its shape or rather the lack thereof: Loud guitars and punchy fuzz bass supported by catchy drum beats. All those elements converge into a wall of sound that Leonards’s vocal delivery cuts through to make screaming ‘noise’ a pop record.