Duo Mignon


DUO MIGON  Nähe des Geliebten

Das Duo Mignon vertont die besten Gedichte von Goethe neu. Diese reiben und schmiegen sich an Lyrikerinnen von heute.

Die Musik schwebt und groovt zwischen Kunstlied und Neuer Musik. Rein akustisch. Ganz nah. Ö1 sagt dazu: “Achtung, hoher Gänsehautfaktor!”

Verena Brückner: Stimme, Quetsche
Florian Kmet: Gitarre, Stimme, Klarinette

Ich sehe dich,
wenn auf dem fernen Wege Staub sich hebt;
In tiefer Nacht,
wenn auf dem schmalen Stege
Der Wandrer bebt. 

Wir haben live Videos mitgeschnitten, in der famosen Walzengravuranstalt:
Die schöne Nacht
Frau Semmel

Und hier gibts Hörproben von 2 anderen Stücken:
Mignon IV

Konzerte mit Duo Mignon sind hier nachzulesen

Duo Mignon has set out to put new music to J.W.von Goethe poems. Combined with contemporary music those lyrics could have been written today. They seem very universal and present. Its is a really exiting challenge for us combine this  with works of living female poets. Or to write lyrics ourselves that bring the past and the present time together. We adopted lyrics from “Elfriede” and Sarah Kirsch. Our instruments span from guitar to accordion, from Clarinet to two voices.

National Radiobroadcast Ö1 announced a piece with: “Vorsicht, hoher Gänsehautfaktor!” which goes along the lines of “Beware, high goose pimple factor!” :-)

There is a couple of concerts coming up:
concert dates

We cut two live Videos mitgeschnitten, at the very special Walzengravuranstalt:
Die schöne Nacht
Frau Semmel

And eher is Audio links to two other songs:
Mignon IV

live shows with the Duo Mignon can be found here


lokai – transition

lokai – transition (2009)


We took all the time we needed to develop our sound for this record.

We recorded most of the stuff in my studio, using different acoustic and electric guitars but also different instruments that where around. Prepared Fender Rhodes, violins, my heat radiator served as a drum…

After a recording session Stefan would go home and work on synthesizers or experiment with the recorded material and return for the next steps. Live we played a lot of times with Bernhard Breuer (Electro Guzzi) as a trio. We linked our website to the site of stefan – sonotope.

The record was released Thrill Jockey on Vinyl and as CD/DL.

Here you can check out different tracks or read up some more: www.lokai.at

Buy the cd

Thrill Jockey  Sonotope  iTunes


Press Reviews

The Wire

Transition´s austere minimalism belies the agreeable conditions of its creation: Kmet and Németh recording in a home studio in Vienna´s old town, drinking Schnapps and coffee in breaks between layering Rhodes piano, guitar, electronics and percussive strikes on the flat´s ancient heating system.


Transition" meanwhile, manages to sound equally familiar and exciting. With its integrative tendencies, it has turned into an album all friends of experimental music may be able to agree on this year. It is certainly not just the summer which makes it feel this warm

Igloo Mag

a taste of deliciously ordered chaos wrapped in a warm, acoustic package. Multi-dimensional flavors pull out the organic fears, whimsical idealism and stark logic that reside in every human brain.

Cyclic Defrost

the Vienna-based duo Florian Kmet and Stefan Nemeth have sharpened their sound into a tight, taut fusion of electroacoustic instrumentation and dub – in the loosest sense – atmospherics. It is this use of the recording space as an instrument that lifts ‘Transition’ into the category of masterpiece.

The Milk Factory

The result (...) appears overall smoother and more delicate than the duo’s previous output, yet it retains the same granularity and subtle layering. Each track is composed of multitudes of sonic particles which continuously form, disperse and reform into various musical phrases, or progressively converge toward a central point.


I’ve been turning the notion over and over in my head for days, rolled the phrase around on my tongue, and can say that with each subsequent listen to Transition it feels right to declare the album Austrian duo Florian Kmet and Stefan Nemeth’s masterwork.

Musos Guide

Lokai conjoin sounds to silence, therefore there is a sense of exposure, the listener is stranded, unsure what is coming around the corner, what is lurking in the darkness


The result is an album that floats you through a delicate and haunting dreamlike world, alternately soothing and unnerving. A sort of soundtrack for the inside of your head, Lokai’s Transition is an experimental instrumental excursion that manages to be much more than a philosophical point. Rather, it’s great music that actually takes you somewhere emotionally.


Superlooper – construct me (2008)


Superlooper was found around 2000. The band evolved out of different improvising circles with the likes Jorge Sanches-Chiong, Gerhard Hermann, Christian Weber and others. We set out to do concerts with different concepts. Wireless head-phone concerts, or for the Garage Festival in Strahlsund we explored the theses of “lost and found”. We flew to Japan and played at the EXPO, on the wooden sledge hill in front of hundreds of more or less disturbed Japanese music lovers who expected to be confronted with something more “classical”.

Our long collaboration had a summit with the release of our double CD “construct me”, which was presented in cooperation with Wien Modern Festival at the MAK in 2008.

Live video cd presentation MAK
Garage Festival Strahlsund w. superlooper
Superlooper at EXPO 2005

If you are interested in buying a Superlooper double CD, just write me a note via the contact site.

lokai – 7 Million

lokai – 7 Million (2005)


In 2004 I wanted to do a new solo project using guitars, voice and electronics. Stefan Németh showed interest, and joined in. Out of this a ten year long collaboration evolved.

“7 million” was recorded in a little tower in Drosendorf, in our rehearsal Studio in Vienna, and my studio as well.

Stefan is the co founder of mosz records. And we were happy to release our record on this fine plattform. More infos about lokai on sonotope, Stefan Németh´s current plattform.

Listen and buy



Press Reviews

Chris Sharp, The Wire magazine (GB)
Lokai’s debut album continues a brilliant run of form for the Megoallied Mosz label. This Austrian duo, comprising Florian Kmet and Stefan Németh, centre their spare, measured explorations on the many sounds of the electric guitar: leaving openended arpeggios hanging in elegantly distressed space and garlands of feedback intertwined with fiendishly processed electronic noise. The juxtaposition of unhinged sonics with professional attention to detail is invigorating throughout – check out the molten, wayward electricity smeared wantonly across the stark, monochrome spaces of “Taora Atoll”, or the interplay between the swelling skeins of guitar and the measured subbass modulations on “Hellen”. The album’s centrepiece is the sprawling, multidimensional “Chuuk”, a rolling, gathering cloud of amorphous sound, which thickens gradually from almost nothing to a piercing climax before subsiding like slo-mo skyscraper demolition into fraught, tense silence. Not easy listening but enthralling all the same.

RM2, Vital Weekly #490 (NL)
Lokai is a new duo of Florian Kmet and Stefan Németh, both Austrians. Kmet was unknown to me but Németh is mostly known from playing in Radian, and he also co-runs the Mosz label on which this album is released. Kmet plays guitar, and Németh adds all the electronics on ‘7 Million’, a short album with 6 explorations of combining the two. There is sometimes a heightened awareness of each other at play here, as the plucking of the guitar sometimes breaks through the electronic frame in delicate ways, but also other moments where it seems that Németh went out by himself, almost forgetting his partner. It could be considered improv in the sense of a lot of Erstwhile releases with their duo recordings, but it holds too many little melodic or at least song-structured elements to fall into that scene. Actually, although I know it’s not the most original comparison, it’s much closer to Fennesz, when the guitar sounds are looped and the electronics float all around it, like on the last part of ‘Mikrostekon’. Best tracks are those where the guitars are not recognizable as such, as on ‘Chuuk’, a 13-minute almost-noise epic. Looking forward to hearing more from them.

Bleed *****  De:Bug (D), 2005
Manchmal wäre man froh, wenn man nicht so eine Schlampe wäre, die Promozettel lieber dazu benutzt, dass Tische nicht wackeln oder so, denn ich hab keine Ahnung wer Lokai sein mag. Die Musik aber ist durchaus bezauberndes Slomogitarren und sonstige Instrumente. Zeug, das perfekt klingt, wenn man selber am liebsten vor Hitze zerfließen möchte, dabei aber wirklich keinen Kitsch gebrauchen kann, sondern ab und an auch schon mal die pure Elektronik brummen hören will. Intensiv und gewaltig, zart und zerzauselt. Gut gemacht Mosz.

Den Wienern gelingt etwas sehr seltenes, nämlich ihre instrumentellen Texturen aus Gitarre und Elektronik so dicht und gleichsam offen zu halten, dass es einem, wie Ebbe und Flut, ganz natürlich vorkommt.

C.S., Black (D)
“7 Million” bietet genau die Musik, die man sich gut als intelligente Alternative zur sogenannten Fahrstuhlmusik vostellen kann – und das ist alles andere als negativ gemeint. Ob nun als Musik in einer Ausstellung, beim spätnächtlichen Arbeiten oder doch beim bewußten, aber der Entspannung dienenden Zuhören ist das was Florian Kmet(Superlooper) und Stefan Németh(Radian, Synapsis) in (leider nur) 37 Minuten bieten, nahezu eine Punktlandung. Zwischen leicht angekratzten Gitarren und sich imemr wieder selbst umstrukturierter Elektronik schwebt etwas in der Luft, was einerseits fragil wirkt, aber schon mal eine Mauer aus Loops, Soundfetzen un d Gliches ausufern kann. Sehr schön.

Eugenio Maggi, chain D.L.K. (I)
Lokai is an Austrian duo formed by Florian Kmet (guitars) and Stefan Németh (electronics and additional guitars), the former being a classical trained guitarist with several collaborations in his curriculum, the latter better known for being a member of Radian (by the way, what an amazing band… one of the most thrilling live sets I’ve ever seen). “7 Million” is a quite varied work, which doesn’t necessarily add anything new to experimental guitar+electronics-based composition (it’d be honestly hard to do that, anyway), but turns out to be a successful work of synthesis. From the dreamy plucking and loops of “Histoire ds” to the intimidating distortion of Mikrostekon”, “Taora atoll” and “Chuuk” to the droning release of the almost Ambarchi-an ending “Hellen”, the album skillfully alternates suspension and aggression, in a troubled intimism which is well portrayed by the layout pictures: the sea is close at hand, but the sun is not always shining.

Touching Extremes (I)
Florian Kmet and Stefan Németh create oscillating chiaroscuro images of perturbed tranquillity through an interesting use of guitar and electronics. There are involuntary allusions to several recent similar project – see the above reviewed Arden CD – yet the duo distinguishes their broken-dream atmospheres with a larger employment of noise and disturbance: good examples come from the distorted drones of “Chuuk” or the initial mass of radio transmissions opening “Histoire DS”. Florian and Stefan’s sensibilities shift the focus nicely, spanning from clear articulations and circular mind-benders to adventurous investigations of electroacoustic implantations breaking an imperfect calmness. Choosing to reduce the record’s duration at about 37 minutes they also show an appreciable will to avoid overstaying their welcome – a rare commodity these days

Sebastian Fasthuber, Falter(A)
Hinter Lokai versteckt sich Radian-Drittel und Mosz-Hälfte Stefan Németh im Duo mit dem Gitarristen Florian Kmet. “7Million” ist ein Platte, wie sie früher selbstverständlich auf dem mego-Label erschienen wäre – Musik, die sich irgendwo draußen im Soundorbit wohler fühlt  als in der klar abgesteckten Popwelt, Gitarrenklänge und Elektronik  gehen mal harmonische Verbindungen ein, reiben sich an anderen Stellen gehörig aneinander; Strukturen wechseln sich mit improvisiert wirkenden Passagen ab; auf Stille folgt Lärm, auf Dissonanz Wohlklang. Und es tönt alles andere als beliebig, aber auch nicht zu kalkuliert. Ein Highlight des Elektronikjahres.

Rich Allen, parnassusrecords.com
The combination of digitally processed guitar and field recordings is now a popular electronic subgenre. Austrian Stefan Nemeth (Radian) is one of the scene’s most accomplished magicians; his work here with Florian Kmet is consistently engaging, a crackling collection of static whispers and sonic pings that rattles and hums for a few tracks before entering the 13-minute maelstrom of “Chuuk.” This sonic centerpiece is a slow-building drone that crashes into cacophony before descending into a drizzle of motor and creak. An experiment that works.