The Here Be Monsters festival is set to return to Radio/East this weekend, showcasing Austin’s vibrant indie classical scene. With over two dozen vocal and instrumental groups on the lineup, the festival serves as a unique platform for musicians who often defy conventional categorization.
Christopher Demetriou, a percussionist and co-founder of Kraken Quartet, highlights the festival’s eclectic nature. Initially formed as a traditional percussion ensemble, Kraken Quartet has transformed into a dynamic fusion of modern classical music, prog rock, and electronic sounds. Demetriou, who also teaches percussion at a local high school, utilizes an electric vibraphone combined with guitar pedals and looping effects to create rich auditory textures alongside traditional percussion instruments.
Festival organizers aim to make adventurous music accessible rather than intimidating, encouraging attendees to explore a diverse range of sounds. Co-organizer Michael Zapruder notes that the event features composers and performers who blend classical music traditions with elements from rock, electronic, and avant-garde genres. Some acts will perform from written scores, while others will embrace technology and unconventional instrumentation.
The festival is structured to allow audience members to discover new favorites, with each act presenting 15-minute sets. “You can come and hear a good cross-section of what’s happening in Austin and maybe find a couple of groups you love,” said Zapruder. “And if something doesn’t resonate with you, it’s easy to move on.”
Chris Prosser, co-director of Tetractys New Music and a festival founder, emphasizes the intentional diversity of performances. This year’s festival will showcase 27 local groups, several of which will debut works specifically created for the occasion. Prosser aims to provide a comprehensive view of Austin’s avant-garde music scene, promoting a deeper appreciation for indie classical genres.
The inception of Here Be Monsters stemmed from the recognition of Austin’s extensive network of innovative musicians, many of whom seldom share the stage. Tetractys New Music, which began in 2015, initially focused on hosting contemporary classical performances in various venues, including private homes and breweries. The festival seeks to unify smaller scenes into a more cohesive community gathering.
With the support of the city’s Elevate cultural arts grant program, this year’s festival has expanded its reach while alleviating some financial pressures associated with independent arts programming. Demetriou describes the festival as a “big party” celebrating the creativity of local composers, contrasting it with the more formal showcases he anticipated during the inaugural event.
Demetriou also mentions that many of the performances stem from deeply personal themes. For instance, Kraken Quartet plans to premiere a piece that addresses the complexities of reconnecting with people after a period of separation. “Reconnecting is a very difficult thing to do, but it’s also incredibly powerful,” he explained.
Zapruder appreciates Austin’s audience, noting that the city is filled with individuals who embrace discovery and enjoy rich experiences. “Austin’s a place where people are skilled at having fun,” he remarked. “They know how to engage with new experiences and enjoy themselves.”
Ultimately, the festival creators are dedicated to fostering an environment conducive to exploration and shared experiences. “Those who create this music understand its intrinsic value,” Zapruder concluded. “We’re passionate about music, and we know it matters.”
The Here Be Monsters festival will take place over two days, on Saturday, May 23, and Sunday, May 24, at Radio/East. Tickets are available for the weekend, single-day, and students.
