Fotos by Teresa Espadafor


"Okkre’s (formerly of LCC) performance was one of the high points at the Nave venue as she managed to use the large capacity of the space and overwhelmed it with her epic and majestic soundscapes somewhere between dreamy multi-layererd drones and sharp yet free-roaming industrial beats. It retains the same cinematic quality that early LCC music was full of. It was a flashy burst of sound, grand and elegant at the same time. And this was one of her first performances."

“Uge Pañeda (Spain), under the moniker OKKRE, was the following act, toning down the euphoria with walls of ambiance, plus some occasional flashes of obsessive techno, making sure the audience didn’t forget that they were there to dance” . 

“Okkre’s live performances are also a powerful experiences - she certainly took over the hangar of the Engineering Institute in this year’s LEV Festival with her gargantuan and majestic heavy rhythmics that border on the edge between industrial and techno".

“Bastet is austere and gloomy throughout, but especially on "Ka," with its ritual drumming, gong loops and digitised crashes that sound like glass being smashed. "Ib" is destructive and mystical, too: fireworks or flares crackle and explode behind a warm layer of liturgical chanting, suggesting an end-of-times tableau. "Ba" offers light relief in a freeform brass melody. It squiggles up and down the scales as drums thud and snares tick, like a clock counting down to something. Time appears to be running out”.

Okkre has provided a startling soundtrack. This soundtrack complements the performance of the dancers beautifully but also deserves to be listened on its own. It is both powerful and dramatic, fitting the title. The music is alive! While the other side gently mixes a melodic bassline that moves like the wind with intertwined chorus and voices, which appeal to the spirit of the artistic work, evoking space for feeling and touching. At the same time, insistent beats offer a club feeling. Scary yet empowering strings create a hypnotic atmosphere alongside falling keys and vocal impressions. The final few minutes provides a strong climax to the record. This features hammering beats, a circling bass and powerful keys. A mighty performance! ÉPICA is indeed epic”. 


   Foto by Teresa Espadafor

"Berlin/Tokyo based Kyoka reworks Resist All Dogma into a futuristic punk workout that leaves the listener behind with sweaty palms. We can definitely recognize the signature chopped layering, delays, and vocal echoes, which later blend into something siren-like, fading into deafening silence. Okkre on the other hand, similar to LAIR, goes full-on shaman ritual with the percussions, creating an inescapable environment. Uge Paneda teleports us to another world, where bodies shake incontrollably to her will. Much recommended for all the “deconstructed club” workers".



"With the frantic original ‘Transmutation, Redemption, Forgiveness’, Errorsmith extracts and tightens up the groove with teetering, stilettoed kicks while emphasising the vowels of the vocal in wildly daft style. It’s one of the big highlights along with Renick Bell’s hyper-angular algorithmic decimation of ‘Lower Your Gaze’, Okkre’s gnashing hardcore techno ‘rush RISE’ remix, and Eomac’s own, pendulous VIP of ‘Being, Not Object’ . 


“Better was Room C, where Editions Mego’s LCC bashed through a gruesome set of industrial gloom and grinding 4/4 made even more impressive by the fact that it was handled by only one of the duo’s members – Uge Pañeda”. 


However by dint of their filigree timbral sensitivity and sense of feminine pressure, LCC open their own sort of void inside, most in/tangibly with the inland Empire-esque eeriness of Ib and the ancient bullroarer-like tones that arc over pointillist, latinate drum patterns in Ba, and roll deep into the airborne swagger of Ka.  Impressive.