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.

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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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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Wave Field Synthesis Special Program

Monday. 10.11 – 19h30

In addition to the German premiere of Filarium at Villa Elisabeth on Nov. 11th 2014, Michel Chion, Lionel Marchetti and Jérôme Noetinger play a selection of their works through the largest wave field synthesis/WFS system: Installed around the entire hall, over 2000 speakers, controlled by a computer cluster with 832 audio channels, allowing creation of sound sources anywhere in the space and providing a near-complete degree of immersion for the listener.

In collaboration with the Electronic Studio of TU, Faculty of Audio Communication, Berlin.

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Jerome Noetinger and Lionel Marchetti
Jerome Noetinger and Lionel Marchetti

Selected pieces:

Michel Chion, Gloria (1994)
Lionel Marchetti, Natura morta (2007)
Jérôme Noetinger, L’epaisseur de la nuit (2014)
Lionel Marchetti, L’incandescence de l’etoile (1991)
Michel Chion, Blanche (1971)

A musique concrète composition by Michel Chion, Lionel Marchetti and Jérôme Noetinger

German première

In 1998, the Cultural Centre André Malraux of Vandoeuvre-lès-Nancy commissioned Michel Chion, Lionel Marchetti and Jérôme Noetinger to collaborate on a work of musique concrete. “Les 120 jours” was the result — a fresco for which the composers exchanged a mass of sounds from multiple origins, that each had worked, transformed and recomposed in their own style.

For this new commission, the work was realised in two stages. Firstly, during several recording sessions at the CFMI of Lyon (Université Lumière Lyon 2), the three musicians improvised to create some raw materials and sequences. From this large reservoir of sounds, they composed six pieces of musique concrète : one each independently, and three organised according to set rules of chance as chosen by the trio to create a series of sonic events.

The overall structure of “Filarium” is to be appreciated as a vivarium where just as many sound beings of different species cohabit — originating from varying lineages and junctions at porous borders, real, or imagined — as material and open poetics, antagonists, dissidents even, nevertheless connected here by a deliberate strangeness.”

Supported by Initiative Neue Musik Berlin. In partnership with Deutschlandradio Kultur and Elektronisches Studio, TU Berlin.

Listen on Deutschlandradio Kultur

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.

Ghédalia Tazartès, Ben Vida, Rabih Beaini

Ghédalia Tazartès, Ben Vida, Rabih Beaini
Artwork by Philip Marshall
Artwork by Philip Marshall
Ghédalia Tazartès
Paris, France

Official WebsiteDiscogs + Soundcloud

Born in 1947 in Paris, Tazartès has spent over thirty years within musical practice and experimentation, letting his musical work wander from chant to rhythm, from one voice to another. Utilising magnetic tape recorders, he paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian an hydride collide into polyphonic ceremonies. He recorded alone a dozen of albums, calling his way of working “Impromuz” for lack of a better term. Before the years 2000s, his public appearances remained exceptional events. In 2004, Ghédalia finally decided to do live performances again. He first worked with other musicians (Les Reines d’Angleterre, David Fenech & Jac Berrocal, Norscq & Black Sifichi, Nicolas Lelièvre) and is now a solo performing artist (although his very young son sometimes joins him on stage!).

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Ben Vida
Lives and works in New York, US.

Official Website + Ubu WebSoundcloud

Ben Vida is a New York–based artist and composer. He has been an active member of the international experimental music community for two decades with a long list of collaborators, bands, and releases to his credit. In the mid 90ʼs he cofounded the group Town and Country and has since worked as a solo artist with releases on such labels as PAN, Alku, Shelter Press, and Kranky.

He has presented works in a range of museums, galleries, and music venues including MoMA, The Kitchen, MCA Chicago, ICA London, Audio Visual Arts, Lisa Cooley Gallery, Leap Gallery Berlin, The Artistʼs Institute, and the Sydney Opera House.

Rabih Beaini
lives and works in Berlin

Official WebsiteSoundcloud + Discogs

Lebanese-born producer and DJ Rabih Beaini (formerly known as Morphosis) specializes in grainy, imaginative analogue techno. In the past year however, his Morphine label has telescoped in on key (often overlooked) voices in avant-garde electronic and outernational music.

As Morphosis, Beaini has been crafting away in the nether-regions of the techno underworld since the 90s. Having cut his teeth as a DJ, a move to Italy in 1996 proved the catalyst to start experimenting in the studio.

Beaini’s genuine musical ability and a range of influences—from krautrock to new wave—seep into his inventive, dark, and emotional productions and immersive DJ sets. These influences also find their way into Beani’s productions with the Upperground Orchestra, a multi-headed improvisational ensemble that explores the terrain between electronica, techno, and improvisational jazz.