Mad Kate | the Tide are a post punk conceptual performance project with the Tide on guitar, loops, electronics and Mad Kate on vocals, poetry, contact mics and performance and Sara Neidorf on drums. Mad Kate | the Tide has just finished an EP This Morning Waking about genderbased violence and is working on an LP sexWORKperformanceART about the relationship between labour, art and the body.

Composed in dialogue with conceptual explorations and texts, Mad Kate | the Tide’s dynamic sonicscapes mix punk, acoustic folk, psychedelic rock and spoken word. They form the backbone for honest, sometimes darkly provocative performance art and movement which provokes and stirs its audiences.

In their multimedia work ALIVE:ness they ask: To what extent are we alive in each other’s lives —physically, emotionally, electronically, living or dead — taking into account our contemporary context of virtual interaction, shape-shifting and polyphysical interpretations of our own identities? What does it mean to be present when the terms of our own existence are relative to how we interact physically and virtually with those most close to us? What does it mean to queer our identity in a global context in order to be more effective activists and global citizens?



HYENAZ are sonic alchemists Kathryn Fischer aka Mad Kate and Adrienne Teicher who create electronic music and performances to confront how bodies are criminalized, managed and controlled. Utilizing interactive dance, somatic exercises and immersive sonic theatre, they investigate how movement shapes our subjectivities and how our subjectivities shape both the way we move and the way we are allowed to move.

Patrick Wildermann of Tagesspiegel described HYENAZ as “a project that dissolves borders, torpedoing the dividing lines between music and performance.”

Since 2015, HYENAZ have been creating a series of audiovisual works, installations and performative interventions entitled Foreign Bodies that explore relationships of bodies in motion and bodies in resistance, interrogating the notion of the “foreign”. They have visited refugee camps, squats, and intentional communities by bus, train, hitch-hiking and bicycle to collect field recordings, conduct interviews and facilitate deep listening workshops. Their latest audiovisual work “Extraction” turns a critical eye on cultures of extraction in art and performance, while fostering accountability practices in field recordings and the creation of sonic works.



Working primarily with field recordings, personal interviews, and poetry, Mad Kate manipulates vocals and found sounds to explore the objective voice as audible subject, exploring themes of sex/uality, gender, labour, audibility, proximity and the digital age.

Her latest work SWEAT Kumasi is an immersive sound installation and performance intervention that features sonic contributions and auditory imprints from laboring bodies at work, as well as recorded conversations about performance and performativity of the sexual/ized body at work—work as labour of survival and labour of a/Art.

The sonic landscape of the work was woven exclusively from field recordings gathered in and around Kumasi, ultilizing perforcraZe International Artist Residency as first site of home and expanding outwards to synchronistic encounters, intuitively following the body at work.

In focus is the auditory and audibility; which bodies can be heard and which bodies are silenced by the audible? What happens in the dark? What is felt or sensed in the quiet space between bodies, placed within and contexualized by the pounding loudness of our sweaty bodies at work?