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

Terry Riley & Gyan Riley

September 27th, 2016
Zionskirche, Zionskirchplatz, 10119 Berlin
Facebook Event

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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Mark Fell and CM von Hausswolff

Thursday, 19 November 2015
Doors: 7pm, Concert: 8pm

FEED at KW, Institute for Contemporary Art
Auguststraße 69, 10117 Berlin
Facebook Event

Artists and composers Mark Fell and Carl Michael von Hausswolff present their first collaborative project featuring 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.

In cooperation with STUK Arts Centre, Leuven, Image and Sound, FEED and KW, Institute for Contemporary Art. Instruments designed by Derek Holzer/macumbista.net.

Since the end of the 1970s, CM von Hausswolff has worked as a composer using the tape recorder as his main instrument, further aids are the sine-wave generators, oscillators and radar transmitters. His audio compositions are pure, intuitive studies of electricity, frequency functions and tonal autism within the framework of a conceptual stringent cryption. Lately he has also developed a more conceptual form of audio art overlooking subjects such as architecture and urbanism, rats and maggots.

Hausswolff is also active as concept artist in the fields of performance art, light and sound installations and photography. Collaborators include Graham Lewis, Jean-Louis Huhta, Pan sonic, Russell Haswell, Zbigniew Karkowski, Erik Pauser, The Hafler Trio and John Duncan. His music and sound art can be found on labels such as Touch, Ash International, Laton, Oral, RasterNoton, Firework Edition, SubRosa and Die Stadt. His work has been featured at numerous exhibitions including the Documenta X in Kassel, the Johannesburg Biennial, the Venice Biennale, and the Portikus in Frankfurt.

Mark Fell is an electronic musician based in the UK, and one half of the experimental music duo SND. His work is created from variations on algorithmic and pattern-generating systems, producing non-repetitive structures that are equally influenced by house and techno music of the late 80s and early 90s. Fell received an honorary mention in the digital music category at Prix ARS Electronica, and was shortlisted for the Quartz award for his contributions to research in digital music.

Editions Mego 20th Anniversary

In May 1995 the first releases from a new label from Vienna came out. The label was called Mego. Over the years, Mego has become a synonymous with the finest experimental electronics, noise, post-industrial and improvisation. To celebrate 20 successful years of label history, there will be a number of showcases around the world. In Berlin on 14 October at Kantine am Berghain featuring Markus Schmickler, EVOL, and a rare live show by Thomas Brinkmann.

Marcus Schmickler
Cologne, Germany

Piethopraxis is Marcus Schmickler’s sound production facility operating from Cologne.

Marcus Schmickler has written numerous pieces for electronic music, chamber ensemble, choir and orchestra, which have been premiered by renowned ensembles and musicicans. Next to his musical work, he has also worked on installations and radioplays as well as collaborating vastly in the field of theatre and film. Lately, he has been interested in the epistemic dimensions of music/sound.

Thoman Brinkmann
Cologne, Germany

Max ErnstDiscogs

German artist Thomas Brinkmann (b.1959) is an innovator and iconic producer of experimental minimal techno music. After leaving the Art Academy of Düsseldorf in the eighties he began experimenting with vinyl records. Through the mid-90’s Brinkmann became known for his unique techniques utilizing customized dual-tone-arm turntables and generating live beats and patterns by cutting directly into prepared vinyl with razors. He gained a wide reputation with his re-workings of material by fellow artists Mike Ink and Richie Hawtin, released in the second half of the 90s.

Brinkmann later founded the Ernst record label and introduced his own productions on a series of 12″ records taking their titles from female names. He has since expanded his extensive production catalog on his own Max Ernst label, as well as other highly respected labels such as Traum Schallplatten, Raster-Noton, Mute Records (under the Soul Center alias) and Editions Mego.

EVOL
Barcelona, Spain

Official WebsiteDiscogs + RWM

Roc Jimenez de Cisneros and Stephen Sharp make computer music for hooligans and deconstructed rave objects. Their music has been published on record labels like Editions Mego, Diagonal, Entr’acte, Presto!?, or their very own Alku, and showcased at festivals, clubs, galleries and museums throughout the world. EVOL recordings, installations and performances have a unique approach to sound matter, full of upward spirals, trance inducing patterns and challenging temporal structures.

Damaged Particulates

With Damaged Particulates the experimental musician and composer Ben Vida delves into the enveloping world of “direct bass”. Utilising a four-channel, twin-sub sound system and 25 individual SubPacs, a tactile audio system placed on each audience members seatback, which directly transfers low frequencies to the body, this highly detailed and immersive piece for electronics examines the dimensional and spatial qualities of analog and digital synthesis.

Damaged Particulates is a work that oscillates between performance, installation and sculpture, and is experienced as much by touch as by hearing. Originally commissioned for Unsound Festival NYC, this new version explores further the possibilities of multi sensory sonic reception.

Commissioned for Unsound Festival New York 2014. In partnership with Unsound, Subpac, the Electronic Studio of TU, Faculty of Audio Communication, Berlin. In collaboration with LEAP.

Ben Vida Interview – Unsound at LEAP Gallery Berlin

It’s one of those archetypal expressions that has lost some of its initial weight over time: “Anything and everything can be music.” The kind of saying that nowadays results in a shrug from those who have been subjected to it. Luckily for us, Brooklyn-based composer and experimental producer Ben Vida is lending the expression new significance. His work is quantitative in its uniqueness, its otherworldly weirdness, its experimentalist nature. If his critically acclaimed sound poem Tztztztzt Î Í Í, his 2013 multi-media project Slipping Control, or his performance-based collaborative effort with Sara Magenheimer and Michael Bell Smith, Bloopers #o have anything to say about it, anything and everything really can be music. And where Ben is concerned, we’re so glad that that’s a fact.

It’s with this mindset that we embark upon Damaged Particulates, Ben’s latest venture that balances performance art with immersive music listening. An eleven-movement solo composition for fixed and live electronics presented in four channel expanded stereo, Damaged Particulates explores the space between musical representation and sonic abstraction through speech, music, and body. Presented in collaboration with SubPac, Ben’s audience will not only hear the music, they’ll feel it too,  benefitting from his performance on three levels: mind, body, soul. Ahead of the Damaged Particulates’ show in Berlin this weekend, we caught up with Ben to talk sound poetry, experimentalism, SubPac, and the story behind this project. – Read more

Gordon Monahan’s Speaker Swinging

Gordon Monahan sees this concert performance as a hybrid with sculptural, installative, and performative, athletic aspects ‘due to the corporeality of the swinging boxes and because sweat, heavy labor, and stubbornness are required’.

The close connection to the tradition of the Fluxus performances, which were also based on a simple concept, here the swinging of the loudspeakers, has to do with Monahan’s interest in ‘the live staging of technical situations in which people concentrate their attention on things like the movement of sound in the room and on how physical gestures produce the sounds’.  – Rudolf Frieling

Speaker Swinging, from 1982, is a rite in which three performers swing loudspeakers over their heads. To this primitive ritual is added an electronic dimension, as each of the speakers relays a series of tones generated by nine sinewave or sawtooth oscillators, their rapid motion through the air creating complex overlays of effects, including phasing, vibrato, and tremolo. Speaker Swinging was first performed in Toronto in 1982, and has since been presented in many varied venues at festivals and museums worldwide.

In collaboration with Elektronisches Studio der TU, Berlin. Supported by Initiative Neue Musik, e.V. In cooperation with LUFF and Spazio Aereo.

Mika Vainio
Kuopio, Finland. Lives and works in Oslo, Finland.

Official WebsiteDiscogs

Mika Vainio, based in Oslo/Norway, has published solo recordings under his birth name and under a series of pseudonyms including Ø and Philus and, together with Ilpo Väisänen, as Pan Sonic (formerly Panasonic).

In the beginning of the 80’s Mika Vainio has played electronics and drums as part of the early Finnish industrial and noise scene.

Nowadays, his solo works are known for their analogue warmth and electronic harshness. Be it abstract drone works or minimal avant techno, Vainio is always creating unique, physical sounds.

He has released on labels like Editions Mego, Touch, Wavetrap and Sähkö and has been producing among others with Alan Vega of Suicide, Haino Keji, John Duncan, Stephen O’Malley, Merzbow and Bruce Gilbert.

CM von Hausswolff, The Sons of God

CM von Hausswolff, The Sons of God
The Sons of God

Official WebsiteDiscogs

Leif Elggren and Kent Tankred have worked in the arts for over 20 years. In 1988 they formed the duo, The Sons of God (Guds Söner), a constellation which moves freely between performance, music and the visual arts, and whose productions often reach a point where traditional aesthetic boundaries, limitations and concepts are eliminated. The Sons of God observe and document, experiment and ask questions, build up and tear down. They leave it to the viewer to take what he/she wants or simply leave.

Carl Michael von Hausswolff

Official Website + Discogs

Since the end of the 1970s, Carl Michael von Hausswolff has worked as a composer using the tape recorder as his main instrument, further aids are the sine-wave generators, oscillators and radar transmitters. His audio compositions are pure, intuitive studies of electricity, frequency functions and tonal autism within the framework of a conceptual stringent cryption. Lately he has also developed a more conceptual form of audio art overlooking subjects such as architecture and urbanism, rats and maggots.

Hausswolff is also active as concept artist in the fields of performance art, light and sound installations and photography. Collaborators include Graham Lewis, Jean-Louis Huhta, Pan sonic, Russell Haswell, Zbigniew Karkowski, Erik Pauser, The Hafler Trio and John Duncan. His music and sound art can be found on labels such as Touch, Ash International, Laton, Oral, RasterNoton, Firework Edition, SubRosa and Die Stadt. His work has been featured at numerous exhibitions including the Documenta X in Kassel, the Johannesburg Biennial, the Venice Biennale, and the Portikus in Frankfurt.

Photo: Ruben Gonzalo Escudero

Keith Fullerton Whitman, Nate Young, Dalglish

Keith Fullerton Whitman, Nate Young, Dalglish
Keith Fullerton Whitman

Official WebsiteDiscogs + Soundcloud + Vimeo

Keith Fullerton Whitman is an american experimental electronic musician and composer whose prolific work is bending genres from ambient music, drone, electronic, drill and bass, musique concète to krautrock.

Recording under his name since 2001‚ he is active in the field of electronic music from the early 90s under different monikers.

His adventurous sounds has been documented on labels such as PAN Records, Editions Mego, Kranky, NNA tapes, Planet Mu or No Fun Production to quote a few.

Mastering and pushing his modular gear at the extreme, building up the intensity through complex structures, sharp beats and far deep frequencies, his live shows are recognized to drive the audience into a complete experience, equally physical and mind blowing.

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Nate Young

Official WebsiteDiscogs + Souncloud

One of the most captivating and individual characters on the electronic scene today, Nate Young is best known for his work in the group Wolf Eyes.

As a solo artist, Young has refined his musical approach: bass, synthesizers, organic electronics and raw unfeigned vocals to compose an intense, slow-burning darkness at all the right moments. Deep, percussive brutality and pulsing neurosis mesh with somber burial hymns, held together by Young’s technical prowess and mastery of his chosen gear. Each frequency is given its own unique role and characteristic voice, deeply chilled by the arid space of decay via tape manipulation/disintegration.

Atonal, morphing, and modulating bass lines pulse and plod their way through, like the unseen presence of the undead ascending a creaking stairway, leading upwards toward a nebulous void. This establishes a truly horrific atmosphere while honoring primitive technology, refined with a thick dose of originality.

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Dalglish – Chris Douglas

Discogs + Soundcloud

Chris Douglas known primarily for his work as O.S.T., is an electronic musician from San Francisco, California. He is noted for helping develop the style of music that came to be known as IDM. Douglas was introduced to the all-night rave party scene in 1990. This inspired him to start to DJ and make tracks, and at just sixteen he began throwing the first Techno/Ambient parties in San Francisco. At the age of 17, Douglas left for Detroit to find creative freedom. While there he worked with several of his heroes; Mike Banks of the fabled Underground Resistance and the late James Stinson of Drexciya.

Adopting the pseudonym O.S.T., Douglas recorded his first EP for Detroit-based Switch Records in 1992. This was the beginning of a 20+ year career spent pushing the boundaries of electronic music. He later explained to The Wire magazine “I have been alone since an early age and through my work I learned a lot about expression, humanity, emotions.”

In 2002, Douglas was invited by Autechre to join them as support act on their Confield tour. Following this, they also requested that he perform at the All Tomorrow’s Parties festival they curated in April 2003. Douglas relocated to Berlin following an undisclosed “tragic event” and has remained there ever since.

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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

Stephan Mathieu, Jason Lescalleet, Valerio Tricoli

Stephan Mathieu, Jason Lescalleet, Valerio Tricoli
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Stephan Mathieu

Official WebsiteDiscogs + Schwebung

Stephan Mathieu is a self-taught composer and performer working in the fields of electroacoustics and abstract digitalia. His sound is largely based on early instruments, environmental sound and obsolete media, which are recorded and transformed by means of experimental microphony, re-editing techniques and software processes involving spectral analysis and convolution; it has been compared to the landscape paintings of Caspar David Friedrich, the work of Painters Mark Rothko, Barnett Newman and Ellsworth Kelly.

During the last decade, his music has been released on over 40 vinyl records and CDs, both solo and in collaboration with Akira Rabelais, Taylor Deupree, Robert Hampson, Sylvain Chauveau, David Sylvian and others on electronic music labels worldwide.

Between 2000 and 2005 Mathieu taught Digital Arts and Theory at the HBKSaar University of Art and Design in Saarbrücken and as a guest lecturer at the Royal Academy of Arts in Göteborg, the Bauhaus University Weimar and the Merz-Akademie in Stuttgart.

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Valerio Tricoli
Lives and works in Munich, Germany.

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.

Valerio-Tricoli-photo-Paianos-Takoufakis-
Jason Lescalleet

Official Website + SoundcloudDiscogs

Jason Lescalleet is a celebrated experimental electronic music artist whose influence on the contemporary avant-garde cannot be overstated. His work is distinctive, drawing from a wide variety of sonic sources, and often takes formal cues from modern musique concrete, for example in his utilisation of reel-to-reel tape machines in both live and studio settings.

His discography is striking, both for its scale and collaborative quality. He has released on notable labels such as Kye, RRR, Erstwhile, Chondritic Sound, NNA, and most recently via his own Glistening Examples imprint.

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