The Geometry of Noise

At Rockhouse, two bands meet whose shared chronology begins in the late 198s. It is the fault line of Salzburg’s cultural history: while the official Mozart city manages high-gloss culture, a counter-movement takes shape in the shadows. On the turntables, post-punk and alternative guitar rock spin — loud, political, raw. The pop-cultural dictate of those days is as pragmatic as it gets: three chords, maximum volume, naked energy. From this impulse comes not only a new musical self-assertion, but ultimately also the founding of Rockhouse as an institutional free space for a scene pushing to break through.

Fault Lines and Family Trees

Among the protagonists of this zero hour was the formation “In The Bend End Band.” Over the years, its personnel family tree spread into both the band Grovers Mill andThe Jekyl & Hyde Park Band.

The latter sees its present less as a museal retrospective than as continuity:

“Even after 35 years, we remain true to our style: catchy melodies amid atmospheric, at times brutal soundscapes. It’s a journey back to the garages of alternative rock, which today long since serves as a frame of reference for younger generations.”

The stylistic range of the “Jekyls” remains deliberately ambivalent. It moves between the dense, almost apocalyptic drone of classic rock mythologies and country-inflected, cinematic ruptures in the style of “Rodeo Riders and Clowns”. What remains is a return to the core cell: the principle of a functioning, analog band.

The Geometry of Noise

At Rockhouse, two bands meet whose shared chronology begins in the late 198s. It is the fault line of Salzburg’s cultural history: while the official Mozart city manages high-gloss culture, a counter-movement takes shape in the shadows. On the turntables, post-punk and alternative guitar rock spin — loud, political, raw. The pop-cultural dictate of those days is as pragmatic as it gets: three chords, maximum volume, naked energy. From this impulse comes not only a new musical self-assertion, but ultimately also the founding of Rockhouse as an institutional free space for a scene pushing to break through.

Fault Lines and Family Trees

Among the protagonists of this zero hour was the formation “In The Bend End Band.” Over the years, its personnel family tree spread into both the band Grovers Mill andThe Jekyl & Hyde Park Band.

The latter sees its present less as a museal retrospective than as continuity:

“Even after 35 years, we remain true to our style: catchy melodies amid atmospheric, at times brutal soundscapes. It’s a journey back to the garages of alternative rock, which today long since serves as a frame of reference for younger generations.”

The stylistic range of the “Jekyls” remains deliberately ambivalent. It moves between the dense, almost apocalyptic drone of classic rock mythologies and country-inflected, cinematic ruptures in the style of “Rodeo Riders and Clowns”. What remains is a return to the core cell: the principle of a functioning, analog band.