The Speaker, Ellen Fullman, Beatriz Ferreyra, Charlemagne Palestine…

Curator and producer Manuela Benetton announces the continuation of her event series in the unusual and encompassing setting of various Berlin churches, which explore the power of experimental electronic music to generate a sense of connectivity between listeners and performers.

With past events hosting the rare appearance of Japanese improv collective Marginal Consort, American minimalist Terry Riley, avant-garde legends Nurse With Wound, and the debut of Merzbow, Keiji Haino and Balász Pándi in Berlin, now she presents three more concerts, the final in the series.

Pan Daijing‘s new collaborative project with Valerio Tricoli and Werner Dafeldecker, Beatriz Ferreyra, Ellen Fullman‘s solo show and with Konrad Sprenger; Stine Janvin‘s and a rare appearance of Charlemagne Palestine on the organ.

The Speaker + Beatriz Ferreyra

On September 16th Pan Daijing, Valerio Tricoli and Werner Dafeldecker will premiere their first collaborative project The Speaker at Elisabethkirche.

An innovative composition for spoken language, six onstage loudspeakers and live electronics, The Speaker can be seen as a form of “aural theatre” or preformative piece of “musique concrète” exploring the interlocking themes of solipsism, paranoia and identity. The growing tension between the immediacy of vocal sounds and their human carrier (Pan Daijing) is questioned in relation to the artificial system of electronics: the performer and the loudspeakers act at times as separated, incompatible subjects, at times in dialogue. Eventually a transformation of metamorphosis of one into the other is achieved in a relationship of meanings forever in escape.

Opening the night is Argentinian acousmatic composer Beatriz Ferreyra. The singular artist with a passion for unusual sounds and esoteric approaches to attaining knowledge is given carte blanche for the evening to play a selection of her works.

For all Beatriz Ferreyra’s use of technology, something vivid and wild about her music gives the suggestion of the organic, even as the music is composed and controlled with extreme precision… Ferreyra manages to occupy an idiosyncratic position where she almost stands alone. Her pieces are possessed by an almost phantasmagoric intensity.
— Richard Thomas, The WIRE

This event is presented in collaboration with The Wire, Crack Magazine, and Berlin Community Radio. Supported by: Initiative Neue Musik e.V., Deutschlandradio Kultur, Hauptstadt München Kulturreferat.

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Ellen Fullman (solo) + Ellen Fullman / Konrad Sprenger

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Following, on October 7th in the majestic setting of Villa Elisabeth, American artist Ellen Fullman will spend four days in the villa to prepare her unique Long String Instrument to preform to a wider audience in Berlin. Self-designed, and tuned in just- intonation, the strings range in length from about thirteen to thirty meters, and are usually organized in multiple groupings. There is a footpath between the pairs of strings that Fullman walks up and down with the poise of a dancer, her rosined fingers gliding along the stainless-steel wires like a bow on an enormous violin.

Fullman’s Long String Instrument creates a sense of majestic vastness, its lines stretching off towards an implied infinity. – Biba Kopf, The Wire

On the same night, Ellen Fullman will play her duo with Berlin-based long-time- collaborator Jörg Hiller (aka Konrad Sprenger, PAN) on computer-controlled multichannel electric guitar. Ellen Fullman and Konrad Sprenger have collaborated since 2001 and released their internationally acclaimed album Ort on Choose in 2004.

Charlemagne Palestine + Stine Janvin

Closing the series is a special appearance by American self-described “maximalist composer” Charlemagne Palestine on the massive organ of the Sophienkirche. A contemporary of Terry Riley, Phill Niblock, and Steve Reich, Palestine plays intense, ritualistic music intended to unsettle audiences’ expectations of what is beautiful and meaningful in music. A composer-performer originally trained to be a cantor, in this concert Palestine will construct overtone clusters sounding like a waterfall and absorbing the listeners in the surrounding architecture of the church.

In a similar way, composer and performer Stine Janvin shifts the focus towards the acoustic and psychoacoustic effects of repetitive, though deconstructed patterns and rave rhythms. Stine employs her voice to imitate multi-layered synthesizer sequences, light and darkness to disorient our perception, and create unnatural aural soundscapes of almost mystical beauty.

The two final shows are presented in collaboration with The Wire, Crack Magazine, and Berlin Community Radio. Supported by Musicboard.

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Only show in Germany

31.05.17 – Doors 19:00 Concert 20:00
St. Elisabethkirche, Invalidenstr. 3 10115 Berlin

On May 31st, in the immersive setting of St. Elisabeth-Kirche, electronic noise maestro Merzbow joins forces with free improvisation pioneer Keiji Haino and long-time collaborator, the drummer Balázs Pándi, for their first ever concert in Germany. The fearsome threesome, who recently released the album An Untroublesome Defencelessness (Rare Noise Records), promise a bizarre, humorous, and disorienting live show. Merzbow’s electronic swirls, scrapes, flickers, and vacuum-like chunks of sound enhance and open up dialogues between Pandi and Haino, who lock into an experimental and excessive duel.

A special collaboration between Heith (Haunter Records) and Jesse Osborne Lanthier (Raster Noton) will open the evening.

The show is presented in collaboration with the Milanese Macao collective as a preview of Saturnalia Festival, which will take place in Milan on June 17th–18th, and in association with The Wire, celebrating 400 issues of the magazine.`

Only show in Italy

17.04.17 – Doors 19:00 Concert 20:00
Macao, Viale Molise 68, Milan, Italy

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SATURNALIA festival announces avant-garde masters Marginal Consort’s first ever Italian performance, in Milan’s self-organized center for the arts, MACAO on April 17th. The event, presented by MACAO’s Sound Collective in collaboration with Manuela Benetton, is the inaugural preview of this year’s edition of the festival.

A Marginal Consort live performance is as rare as it is mesmerizing. Founded in 1997 by four students of the artist Takehisa Kosugi (Kazuo Imai, Tomonao Koshikawa, Kei Shii, and Masami Tada), the Japanese improvisational group has, over twenty years of existence, kept firmly to its original mission: to generate happenings in which participation means immersion.

Channeling lessons of the mid-twentieth century avant-garde into a timeless, spiritual non-form, the Marginal Consort’s approach facilitates a dissonant harmonization between space, time and emotion; between matter and intuition. In their hands, anything can become an instrument, processed through a constant exchange of energy. Over the past two decades, the four members of the collective have continued their solo work in different artistic disciplines, while keeping the promise to regroup every year in Tokyo to perform together.

The Milan performance will be followed by one at Borderline Festival in Athens.

Only show in Germany

28.04.17 – Doors 19:00 Concert 20:00
Sophienkirche – Große Hamburgerstr. 29 10115 Berlin

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On April 28th, avant-garde music legends Nurse With Wound – Steven Stapleton, Colin Potter, and Andrew Liles, with James Hill as special guest – will play their first Berlin show since a decade in the magnificent Sophienkirche.

Nurse With Wound have worked at the cutting-edge of meditative drone and ambient music for forty years. Their unique vision, in fluenced as much by Dada and Surrealism as by krautrock, cabaret and pop, has been fervently carried through a vast catalogue of releases, and they continue to break visual and sonic horizons. Nurse with Wound’s live performances consolidate all aspects of their practice into an ever-evolving experience, which is kept in flux by featuring an array of different guest musicians. Each live performance acts as a rehearsal for the next: no two shows are ever the same.

Nurse with Wound is presented in collaboration with Thirty Three Thirty Three. In association with Spex, The Wire and Groove.

Splitter Orchester – MärzMusik 2014

17h March 2014
19h00, Museum für Naturkunde
22h00 Langenbeck-Virchow-Haus

What is nature, what is culture and what is the difference between the two?

Composer Øyvind Torvund, a guest of the DAAD Artists-in-Berlin Program in 2013, focuses on one of the most primal sound categories, exploring phrases and melodies of animal voices. During his stay in Berlin, Torvund worked with the 24 composer/performers of Berlin-based Splitter Orchester for his new work, “Constructing Jungle Books”. The work emerging from this close collaboration will have its world premiere at the Museum für Naturkunde as part of the MaerzMusik festival. For his composition, Torvund uses recordings from the comprehensive animal sounds archive at the Museum für Naturkunde as well as recordings from the everyday world surrounding us. Together with musicians from the Splitter Orchester, he explores the principle of imitation. On a trail through the Museum’s exhibition rooms, the concert visitors encounter sounds that play with the fascinating and bemusing dialectic of nature and culture.

In the second part of the evening’s programme the Splitter Orchester presents a collective original composition with free improvisation at its base. Specifically developed during rehearsals, Splitter Orchester’s compositions are structured improvisations with compositional elements. In addition to modifications that evolve organically, surprising musical turns always take place that are collectively captured and further developed. The title of the “Splitters and Lumpers” composition is borrowed from classification schemes in the natural sciences and refers symbolically to the categorization, examination and (re)production of sounds and sound objects. The musical structure of “Splitters and Lumpers” allows the audience to hear how a large ensemble without a conductor seems effortlessly to succeed in bundling 23 different artistic positions into a complete organic sound, which, in turn, represents a sonic category that is difficult to define. The diversity of sounds to be heard would delight any musical taxonomist and keep him/her busy for a long time.

Splitter Orchester is:  Liz Allbee, Boris Baltschun, Burkhard Beins, Anthea Caddy, Anat Cohavi, Werner Dafeldecker, Mario de Vega, Axel Dörner, Kai Fagaschinski, Robin Hayward, Steve Heather, Chris Heenan, Hilary Jeffery, Matthias Müller, Andrea Neuman, Morten J. Olsen, Simon James Phillips, Ignaz Schick, Michael Thieke, Clayton Thomas, Sabine Vogel, Biliana Voutchkova, Marta Zapparoli.

A production of ausland / projekt archiv e.V., Berliner Künstlerprogramm des DAAD, Berliner Festspiele / MaerzMusik and Borealis Festival Bergen. In collaboration with Museum für Naturkunde Berlin. Funded by means of the Capital Cultural Fund. With the support of Technical University Berlin – Audio Communication Group – Electronic Studio

Splitter Orchester

Official Website + Soundcloud

The Splitter Orchester, founded in 2010, is a Berlin-based collection of internationally respected Composer-Performers which draws inspiration from many genres, most noticibly contemporary/improvised music. Splitter Orchester originates from the “Echtzeitmusik” scene, which emerged in Berlin in the mid-1990s – a locally based and globally networked experimental music scene and long-term platform for the exchange of artistic ideas.

All members of the orchestra are simultaneously composers, interpreters and improvisers that collectively elude clear classification – an ensemble most comfortable in the creative borderland between composed and improvised music. They utilize a broad variety of extended techniques on traditional, electronic, and especially constructed/tailored instruments. The main focus in their artistic practice is the production of sound (as opposed to musical material) and on how to diffuse it in space. The collaborative nature of musical creation within a Composer-Performer context is integral – from the first sketch to the performance.

Photo: Kai Beinert

A night of sound sculpture and electronic composition

12.12.16 – Doors 20:00 Concerts 21
Kantine am Berghain – Am Wriezener Bahnhof 70, 10243 Berlin

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Three of the most uncompromising artists and tireless experimenters present their new solo shows on Dec. 12th at Kantine am Berghain.

Valerio Tricoli‘s complex compositions invoke the unknown and a haunting sense of narrative which is all too often elusive, and disturbingly visceral. His virtuosic skills helped him earn “a formidable reputation beyond the experimental circles and into the inquisitive ears looking for unpredictable new sensations and ideas”.

Recently nominated in The FADER among the 15 UK artists worth listening to in 2017, Beatrice Dillon whose “nebulous ambiguity constantly teeters on the edge of definition” will present a malleable live set using solo material, mostly unreleased forthcoming new music that does not stick to any sound, timing structures or shape in particular.

Continuing the work begun in 2011 with his Summer Mix album, one of the uncanniest computer music releases of this decade (Entr’acte / Death of Rave), Theo Burt presents new sound and video material from his Automatics Group’s dance-pop deconstruction Remixes project.

 

Presented in collaboration with Thirty Three Thirty Three. Supported by Initiative Neue Musik

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Valerio Tricoli

Discogs + Soundcloud

Valerio Tricoli is an Italian composer and performer of electroacoustic music, currently residing in Munich. His main instruments for live presentations are the Revox B77 reel-to-reel tape recorder, used as a completely analogue, ergonomic device for live sampling and real-time transformation, editing and mixing of pre-recorded and made-on-the-spot sound sources. On a formal level his sets focus on the impromptu creation of narrative, taking into account the multiple relations intervening between reality, virtuality and memory during the acoustic event: sounds are always hovering between the “here and now” of the concert situation and the shady domain of memory— distant but at the same time present like in a deja-vu experience.

Privileging fracture over continuity and by the use of a dynamic range that could jump suddenly from near-silence to extreme blasts of sounds, an almost tactile feeling of brooding tension is often attained. His electroacoustic studio compositions, documented on few records, are aligned to the tradition of Musique Concrète and explore themes of the internal— represented both by the psychological and the physical— and of the occult, which together, with the use of spoken text, make them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.

Beatrice Dillon

Website + Discogs + Soundcloud

London’s Beatrice Dillon is a producer, composer and NTS DJ with releases on Where To Now? (nominated in FACT, The Quietus’ Best of 2015), two LPs with Rupert Clervaux, collaborations with Kassem Mosse, plus acclaimed mixes for The Trilogy Tapes, Wichelroede (with Ben UFO) and Blowing Up The Workshop to her credit.

Her particular approach to production has resulted in commissions and international collaborations with filmmakers and visual artists producing sound and music for film, installation and performance at Southbank Centre, ICA, Tate, Barbican, Lisson, MONA and Nasher Dallas amongst others. Her productions are an esoteric antidote to orthodoxy, tracing the fringes and the vaults for sounds lesser heard, from wayward techno to vintage folkways. Dillon’s remix of Helm’s ‘Olympic Mess’ was released in June on PAN. Her release “Face A” was recently synced with the Bang & Olufsen Play campaign.

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Theo Burt

Website + Discogs + Soundcloud

Theo Burt is a UK-based artist working with sound, video and light. Recent projects have focused on the use of highly consistent relationships between sound and video to create a partial predictability, and the effects of this on perceptions of time.

Among his most compelling works include Bastard Structures 2, the system emerged as a result of this collaboration with Tim Wright (Germ, Tubejerk). This media provides a platform for exploration of optical and sonic effects, cognitive processes and limits of perception, where temporary structures, visual and sound interact with the geometry of the room and lead to disorienting exploration of the materiality of sound and of light.

Theo has worked primarily in galleries and spaces in the UK, but also in the international level has led projects in major European capitals and EEEUU. He also has worked previously in Barcelona for some exhibitions: Audiopantalla MACBA Colour Monochromes and Colour Projections produced for Sonar Cinema and supersymmetry.

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Karkhana, Rashad Becker and Eli Keszler

Event in collaboration with Rabih Beaini´s Morphine Records

Karkhana – Current line-up:
Mazen Kerbaj: trumpet, mezmar
Umut Çağlar: reeds, flutes
Sam Shalabi: oud, electric guitar
Sharif Sehnaoui: electric guitar
Maurice Louca: organ
Tony Elieh: electric bass
Michael Zerang: drums, percussion

Combining some of the most innovative players from each of three cities (Beirut – Cairo – Istanbul), Karkhana met in Beirut for the first time in February 2014. They had the very ambitious aim to bring together elements from the three major experimental music scenes of the area. The band’s music strives to create a unique musical blend combining free jazz and psychedelic with various shades of ethnic and traditional music, traces of shaabi, tarab. Building on the multi-instrumental capacities of its members, the group tries to develop what could possibly be called a “Free Middle-Eastern Music”.

“This Middle Eastern supergroup first got together to celebrate the music of Egyptian surf guitarist Omar Khorshid – who was also a key figure in Oum Kalthoum’s orchestra – but their remit has expanded somewhat and now they’re fully committed to outer-perimeter explorations in Krautrock-leaning, cosmic free jazz” – The Guardian

Photo: Klara Andersson

Eli Keszler is a New York-based artist, composer and percussionist. His compositions and visual works examine the limits of instrumentation, notation, and space in its institutional, musical and public form. Keszler’s sound installations, music and visual work have appeared at Lincoln Center, MIT List Center, Victoria & Albert Museum, Sculpture Center, The Kitchen, South London Gallery, Carpenter Center for The Visual Arts (Harvard), Luma-Foundation, Tectonics Festival (Harpa Hall) Reykjavik, Centraal Museum in Utrecht, Boston Center for the Arts, Barbican-St. Lukes, 3S Arts and Greater New York at MoMA PS1. His writing and work has appeared in Bomb Magazine, The New York Times, Wire Magazine, Frieze and Modern Painters.

Blessed with a heightened sensitivity to frequency and a love of bass and subbass, mastering engineer, sound artist and composer. Rashad Becker‘s live sets evolve around the angle of traditional music of notional species, a semi-abstract synthetic narrative that proves appealing to a remarkably wide audience. “I really don’t feel my music is experimental music. I reject that notion because I’m not experimenting.” –  Continue Reading

Seven Oscillations in Space

3 hour Concert / Installation at Inter Arts Center Malmö on 21 October, 2016

Collaborative Project between artists and composers Mark Fell and CM von Hausswolff. Seven Oscillations in Space is a piece for live electronics played through a seven channel surround system. Each speaker transmits a design-specific hardware oscillator, producing complex wave shapes and responding to preset parameters different for each unit. The parameters are then modulated and controlled constantly and in real time, at both distinctive and random intervals during the live performance. The aim is to create a unique, immersive, site specific and unrepeatable sound environment.

Produced in cooperation with STUK Arts Centre. Instruments designed by Derek Holzer/macumbista.net.

Terry Riley & Gyan Riley

September 27th, 2016
Zionskirche, Zionskirchplatz, 10119 Berlin
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Terry Riley piano, synthesizer and voice
Gyan Riley classical and electric guitars

This show is presented and produced in collaboration with Rabih Beaini’s Morphine Records. In partnership with: The Wire, Spex and Groove.

On September 27, acclaimed American minimalist Terry Riley and his son, the guitarist Gyan Riley, perform their first and only concert in Berlin this year. Taking place in the resonant space of Zionskirche, the program samples from both the synthesis of minimalism, jazz, ragtime and North Indian raga that have come to define Terry Riley’s diverse and prolific career, and Gyan Riley’s innovative compositional repertoire.

Terry Riley’s legacy traces back to 1964, when he diverted the course of modern music history with his minimalist masterwork, In C. Cited as influential to everyone from Steve Reich and Philip Glass to The Who, Riley’s polymetric, brightly orchestrated improvisations and compositions set the stage for a new tonality. His works have been performed by numerous artists and ensembles and have received many honors, including a Grammy nomination.

Gyan Riley has been hailed as a virtuosic guitarist working across the spheres of composition, improvisation and contemporary classical music. He has been commissioned by the Kronos Quartet, the Carnegie Hall Corporation and the American Composers Forum, and has performed with the extraordinary tabla player Zakir Hussain, Lou Reed, the San Francisco Symphony and, of course, his father, Terry Riley.

Nothing I have done in this life has given me more satisfaction than improvising on these songs with Gyan. Nothing I have done can match the intuitive synchronicity we have shared many times on the stage. Gyan supplies a brilliant counterpoint to the strands and moods of these pieces always surprising me with a virtuosity that serves and energizes his musical invention. I could not have dreamed up a better marriage of mind and spirit than this collaboration.” – Terry Riley

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Marginal Consort

A rare 3-hour concert by the legendary avant-garde improvisation collective Marginal Consort – their first ever appearance in Germany, in the dramatic setting of Berlin’s St. Elisabeth Kirche.

Marginal Consort is a Japanese avant-garde improvisation collective composed of sound and visual artists who were all students of Takehisa Kosugi at the radical Bigaku School of Aesthetics in Tokyo in the ’70s. Founded in 1997, the collective, which plays just one concert per year, is a reformation of the East Bionic Symphonia, a large improvisation ensemble in the spirit of Kosugi’s Group Ongaku and Taj Mahal Travellers projects.

Marginal Consort’s current line-up includes Kazuo Imai, Tomonao Koshikawa, Kei Shii and Masami Tada. The group also featured previously artists Yasushi Ozawa, bassist in Keiji Haino’s Fushitsusha, and Chie Mukai, from dreamy psychedelic group Che-Shizu. Marginal Consort’s extended set explores forms of sound and ways of playing that never coalesce into music, but create a group dynamic of ebb and flow, exploration and fluidity.

A Marginal Consort show has a fixed start and end time, but otherwise nothing else is predetermined. All is temporary, flexible. Accidental or deliberate unison. The musicians are physically separated in the performance space like individual actors.

The audience is encouraged to move around to experience different aural perspectives of their dense, kaleidoscopic and immersive performance.

This is Marginal Consort’s final performance of 2016 in Europe, following a show at the St. John At Hackney Church, London. Presented in collaboration with PAN. In partnership with Thirty Three Thirty Three. Supported by Initiative Neue Musik e.V.

“Listen with your eyes closed and individual sounds are impossible to place. Like hearing a river flowing nearby.” —Alan Cummings, The Wire

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