In the collision of composition and destruction, complex sound structures materialize, in order to shatter in the next moment.
Contagious, Photo: Kayoung Kim @ BEEK
Contagious (Berlin) is a compelling blend of avant-garde experimentation and electronic music. Andrea Neumann on her self-developed, transportable Inside Piano, applies feedback processes to simple piano strings and sometimes sends them to Mieko Suzuki’s processing rig, where she uses her own pre-recorded sounds and her skills on the turntables, while Sabine Ercklentz’s trumpet sounds shoot through this same processing system. Together, the three musicians communicate in compositional logics and futuristic structures in which fragile sonic textures and impulses become monumental.
Rumpeln (Munich) is negation personified and expressed in and by video cut-ups, sound experiments and high- energy performance which play off each other in anti-rhythmic succession. Planning, practising and a compulsion for structure were always a thing of horror for Anton Kaun. He takes the direct approach somewhere between null and void.
The Unheimlich Unchestra (Hamburg) follows the phenomena of sound art and the acousmatic. Modular synthesizers, digital sequencers and other intermediary devices process field recordings. The collection is electronically modified in an improvisation. The participants are interchangeable, but never arbitrary in their constellation. The ensemble of the evening consists of Leonie Maltz, Frida Rahne, Michael Dietrich, Phillip Kästle, Nina Gohl, Luisa Bacelar, Theo Huber, Monika Orpik, Charlie Spiegelfeld, Jakob Floess, Nozomi Ngceni, Felix Raeithel (Unheimlich)
Vinyl selectors mme Schall and dj careblech express the composed destruction with protopop and cultural alignment.
Rumpeln, Photo: Kayoung Kim @ BEEK
Unheimlich Unchestra, Photo: Kayoung Kim @ BEEK