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.

regrm015_front

Ellen Fullman (solo) + Ellen Fullman / Konrad Sprenger

Ellen+Fullman

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.

CharlemagnePalestine-organ1
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

Facebook event

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

Facebook event
Tickets

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

Facebook event
Tickets

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

Valerio-Tricoli-MoTA-Web
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.

877628_0_moving-metals-beatrice-dillon-sean-canty-felix-hall_1024
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.

underground
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

Knots by Oren Ambarchi and Will Guthrie, Bill Orcutt, Thomas Ankersmit

1782091_10153639641019519_8602310515776247348_n
Knots by Oren Ambarchi and Will Guthrie, Bill Orcutt, Thomas Ankersmit

Oren Ambarchi presents the live version of KNOTS, the epic centrepiece of his 2012 release on Touch Audience Of One, described by Mojo as the “undoubted standout on the Australian guitarist’s stunning new album – nothing can prepare you for its awesome power“. Since then he has presented the piece around the world in various configurations (documented on the recent acclaimed Live Knots release on PAN). This version will feature a special collaboration with Will Guthrie on drums.

Oren Ambarchi is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, „re-routing the instrument into a zone of alien abstraction where it’s no longer easily identifiable as itself“. Ambarchi was chosen as experimental artist of the year by Pitchfork magazine.

Will Guthrie is an Australian drummer and percussionist. He works in many different settings of music: live performance, improvisation and studio composition using various combinations of drums, percussion, objects, amplification and electronics.

PAN53
Bill Orcutt
Miami, Florida, US

Official Website + Discogs + Soundcloud

Born in Miami in the year of the Cuban missile crisis and educated in Florida’s finest institutions, Bill Orcutt is usually recognised as the co-founder of the band Harry Pussy. Formed in 1991 and featuring Orcutt on 4-string guitar – a practice carried over, developed, and refined from circumstantial adolescent experiements in working around absent strings – and Adris Hoyos on drums and vocals, with a second auxiliary guitarist added in later years, the groups sound centred on its completely unhinged ferociousness. With those furious eruptions, Harry Pussy drafted the blueprint – combining hardcore punk’s brutish speed blended with the art school caterwaul of No Wave – for the next two decades of Noise-rock. In five years, they toured the US and Canada with the likes of Sonic Youth, Dead C, Charalambides and Pelt and produced over twenty different releases on record labels of varying degrees of accessibility, most regularly for the Philadelphia-based experimental music imprint, Slitbreeze.

Twenty years later, Bill Orcutt still only plays four strings, but now they are attached to a vintage acoustic Kay that has withstood enough damage an repair that it requires custom tuning to stay in one piece. Sometimes clanging and ominous, other times mournful and slight, strangely alienating, but simultaneously vunerable and cathartic, his music is compared with equal frequency to avant-garde composers and rural bluesman.

Photo: Körber-Stiftung /
Claudia Höhne
Photo: Körber-Stiftung / Claudia Höhne
Thomas Ankersmit
Lives and works in Berlin

Official WebsiteDiscogs + Soundcloud

Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound have been an important part of Ankersmit’s work since the early 2000’s. His music is also characterized by a deliberate misuse of the equipment, using feedback and disruptions to the signal, and the extremes of frequency and dynamics, to create visceral but finely detailed swarms of sound.

Since 2006 his main instrument, both live and in the studio, has been the Serge analogue modular synthesizer.

Ankersmit collaborated with Valerio Tricoli on Forma II, a series of electroacoustic pieces released on the PAN label, and on music based on the acoustics of abandoned radar domes. Both projects were honoured by Ars Electronica.

Ankersmit´s music is released on the Touch, Ash International and PAN labels. His sound and installation work have been presented at venue, galleries and festivals for experimental and contemporary music all over the world.

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.

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!).

ben_vida
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.

Mark Fell, Giuseppe Ielasi, Rashad Becker

Mark Fell, Giuseppe Ielasi, Rashad Becker
Artwork by Philip Marshall
Artwork by Philip Marshall
Mark Fell
Sheffield, UK

Official WebsiteDiscogs

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.

markfell_Mayumi Hosokura
Giuseppe Ielasi
Milan, Italy

Senufo EditionsDiscogs

Giuseppe Ielasi is a composer, sound artist, mastering engineer, and owner of Senufo Editions. His music is a complex equation of an incredible feel for texture, intriguing use of space and rhythmical grids, in what can often be a dryly academic and foreboding field. Whilst still stringently minimal, curiously abstract, there’s a sensuality and humanity in his work which entirely appeals to our sensibilities.

Rashad Becker
Berlin, Germany

Discogs + Soundcloud

Blessed with a heightened sensitivity to frequency and a love of bass and subbass, mastering engineer, sound artist and composer Rashad Becker makes traditional music of notional species, which can be heard as a deliberate and hyper-conscious bypassing of staid conventions in melody, harmony and meter, albeit from the periphery of human experience.

b1xvsrlccae3cpn