Artists

Andi Otto

Andi Otto is a composer and performer of electronic music based in Hamburg. He has released six albums on labels such as Multi Culti, Shika Shika, City Centre Offices and Pingipung. Together with the Indian vocalist MD Pallavi, he creates decelerated electronic dance music with a “mystically futuristic sound design”, as the Igloomag puts it. He used the “Springintgut” moniker for his musical output until 2014. On stage, Andi Otto plays a selfmade sensor-extended cello bow which he has developed in collaboration with STEIM in Amsterdam. This instrumental system which he calls “Fello” allows for gestural performance of the electronically processed sounds of the amplified cello. Andi Otto regularly composes for theatre and dance performances in which he also appears as a performer, and he closely collaborates with musicians such as F.S. Blumm or Perera Elsewhere. His work has taken him around the world, most recently to Rwanda, India and Japan. Andi Otto is also one of the founders of the Pingipung label. In the times of the pandemic he has created a sound installation titled “Repetition is Change”, in which a tall pendulum with seven steel spheres generates rhythmical patterns in a digitally mediated soundspace. In his academic life, Andi Otto has written a PhD thesis on the history of the STEIM SensorLab, a pioneering device for the interface between the human body and digital sound synthesis. He is a teacher in Sound Arts at HKB in Bern and regularly gives seminars at the University of Basel and Humboldt University in Berlin.

Abagore Barashaboye (YNFND 2021, 7’’ Single) w/ Sophia Nzayisenga
Entangleland (Pingipung 2020, LP) w/ F.S.Blumm
Rwandance (Shika Shika 2019, LP) solo album
Bow Wave (Multi Culti 2018, LP) solo album
Sowers And Reapers (Hanseplatte 2017, 7’’ Single) w/ MD Pallavi
VIA (Pingipung 2017, 2LP/CD) solo album
Bangalore Whispers (Pingipung 2016, 7” Single) solo
Unter Tieren (Pingipung 2015, Tape/DL) solo album
Springintgut: The Bird and White Noise (Night Cruising, Japan 2014, CD/LP) w/ F.S. Blumm
Springintgut: Where We Need No Map (Pingipung 2013, CD/LP)
Springintgut: Bangalore Eagles (Pingipung 2012, 7” Single)
Springintgut: Park And Ride (City Centre Offices 2007, CD/LP)
Springintgut: Posten90 (Pingipung 2004, CD/LP)
Springintgut: Springintgut (Pingipung 2003, 12” EP)

www.andiotto.com instagram: @antioddo facebook: @andiottomusic © Chris

Black To Comm

Hamburg composer/musician Marc Richter utilizes vinyl & shellac loops, antique electronic & pump organs, Argeiphontes Lyre, YouTube samples, processed (and pure) voice and field recordings and various obscure acoustic and electronic instruments and effect devices to create intricate multi-layered collage based works combining the organic warmth and patina of vintage recordings and machinery with futuristic technology. Although the analog texture of his music discloses an almost romantic liaison with the past it is far from being overtly nostalgic. Contrary to the vast majority of so-called experimental music his output is often haunting and dream-like, melancholic and catchy. Even though influences of Musique Concrete and Minimal Music of the 60’s and 70’s can’t be denied his output transcends genres and condenses them into airy song-based forms. His 2019 album “Seven Horses For Seven Kings” for the renowned Thrill Jockey label revealed an increasingly angry, transcendental and fearless approach, attaining new levels of urgency through noise, volume, rhythm, repetition, atonality and beauty.
Since 2003 Richter has released 11 full-length albums under the Black To Comm alias, including 2009’s critically acclaimed “Alphabet 1968” on Type Records, a monolithic 36-minute one-chord drone CD on Digitalis Recordings (“Charlemagne & Pippin”), 2011’s vinyl-only collaboration with the late visual artist Mike Kelley on the En/Of label and three albums on his own Dekorder label. His soundtrack for the film EARTH by Singapore artist Ho Tzu Nyen came out on De Stijl in March 2012. New album “Oocyte Oil & Stolen Androgens” (compiling several works for art installations) has again been released by Thrill Jockey in late 2020. “Alkisah Versi Hitam”, a radical reimagination of Indonesian duo Senyawa’s most recent album will be released in June 2021.
In November 2014 Richter’s first multi-channel piece was premiered in the 47-speaker Kubus Hall at ZKM Karlsruhe. In 2015 he received a commission from INA-GRM to compose a new multi-channel piece for their Acousmonium premiered in Paris in January 2016 alongside new works by François Bayle, Robert Hampson, Leo Kupper and Ragnar Grippe. He recently finished new soundtracks for Jan van Hasselt’s film “Der Weiße Elefant” and Ho Tzu Nyen’s theatre/installation piece “The Mysterious Lai Teck”.
Between 2016 – 2018 Richter released two albums, a limited edition picture-disc and art book under his somewhat arcane Jemh Circs alias on his newly founded Cellule 75 label (compiling odd YouTube edits, digital Fourth World Psychedelia, warped Pop exorcism and vectorized songs about Milk, Zebras, Biogenetics and Cutlery). In 2020 he revealed new moniker Mouchoir Étanche.
He also ran the Dekorder label from 2003-2017 (currently on hiatus) releasing music by Felix Kubin, Sculpture, Giuseppe Ielasi, The Hafler Trio, Asmus Tietchens, Andrew Pekler, Kemialliset Ystävät, Stephan Mathieu, Experimental Audio Research, Richard Youngs, Excepter and many others.

Oocyte Oil & Stolen Androgens (Thrill Jockey 2020, LP/CD)
Before After (Thrill Jockey 2019, LP)
Seven Horses For Seven Kings (Thrill Jockey 2019, 2LP/CD)
Black To Comm (Type Records 2014, 2LP)
EARTH (De Stijl 2012, LP/CD)
Coldplay, Elvis & John Cage (En/Of 2011, LP)
Alphabet 1968 (Type Records 2009, LP/CD)
Charlemagne & Pippin (Digitalis 2009, CD)
Fractal Hair Geometry (Dekorder 2008, LP/CD)
Wir können leider nicht etwas mehr zu tun… (Dekorder 2007, 2LP)
Rückwärts Backwards (Dekorder 2006, LP/CD)

Boris Hauf

Multi-Instrumentalist, composer, producer and performer Boris Hauf has released approximately 50 albums, composed music for 40 performance and dance pieces, 12 ensembles and 7 films. As curator he has developed festivals and concert-series formats, record releases and large scale orchestral events. He is active in the educational field since 2010.
Haufs current musical practice oscillates between the free jazz and avant-garde new music of his early professional years, reductionist experimental electric-acoustic-improvisation, postindustrial-sci-fi-space-techno-electronica, film music, sound design and contemporary new music.
A significant part of his work are longstanding collaborations within the performing arts, with which he continuously explores interdisciplinary practices. Developing generative tools for creative processes has been the core of his educational practice at UdK Berlin and other institutions. His curatorial work expands personal musical research interests into larger formats: investigating the dualism of improvisation and composition throughout various geographical locations (“Chicago Sound Map”); exposing audiences of all ages and abilities to a wide range of musical styles (“Playdate”); establishing innovative concert formats transcending traditional concert situations (“Cinesthesia”). Together with Vancouver based designer Julian Lars Gosper he started the record label Shameless in 2015.Boris Hauf plays worldwide with a variety of bands and ensembles including Clark, Owl & Mack, Next Delusion, The Peeled Eye. As performer and composer he collaborates closely with choreographers Christina Ciupke, Martin Nachbar, Karen Christopher and many others within the performance context. Boris is the keyboarder/multi-instrumentalist of legendary Austrian rock band Naked Lunch. He owns and runs the label Shameless and lives in Berlin, Germany.

Discography (selection)
Do you Get Stressed (BanoffeeSound) Rmx
exspiro (jmymusic)
Do Less More Often (shameless)
CLARK2 (shameless)
On the Pulse of Morning (shameless) feat. Maya Angelou
Here come the Bells – Naked Lunch (lotterlabel)
So Sad – Naked Lunch (lotterlabel)
CLARK (shameless)
EISEN (noise appeal) Couscous & Boris Hauf
NEXT DELUSION (shameless)
The Peeled Eye (shameless)
Postmarks – National Parks (monotype)
Boris Hauf Sextet (clean feed)
Proxemics (Creative Sources) Hauf/Hess/Jackson/Juun

compositions (selection)
music for arditti – premiered by Arditti Quartett, musikprotokoll
The Walk / Animal Dances / Incidental Journey / Repeater – Martin Nachbar
Now and Then / Object of Discomfort / life and death of a melody / what moves moves– Christina Ciupke
Parts of the Belly / Drama Queen / And 10 times more – Zoe Knights

film music
Red Rebels (promo trailer music)
The Woman Who Swallowed Her House – (dir. Frauke Havemann, onairproductions) (in production)
Robolove – (dir. Maria Arlamovsky, Geyerhalter Film)
Monowai, Nebraska – (dir.Lilo Mangelsdorff)
Drama Queen (dir. Jeremy Xido)

http://hauf.klingt.org/

F.S.Blumm

Comparisons between musicians and painters can be tricky. But historical parallels are not unusual. And just as some paintings place their creators in a particular period in their creative lives, there are also musicians who can look back on distinct creative phases. F.S.Blumm is one such musician.
At the end of the 90s there were alot of murmurs about the living room scene in Berlin; magical concerts on improvised stages in temporary event spaces. Back then it was about music without fat beats and bass. It was a counter-reaction against rockstars with all their posing and egomania. You made music with acoustic instruments and kitchen appliances. Concerts were listened to attentively and with deep concentration. One of the protagonists of this scene was F.S.Blumm. His background knowledge as a trained classical guitarist combined with his love for untempered, often self-made instruments predestined him for this.
At the turn of the century virtually any kind of music which used acoustic instruments was branded „Free Folk“ or „Alternative Folk“. But other than a few ironic comments in interviews Blumm didnt try to monopolize on this supposed movement, rather he kept a poised distance from it. It was during this time that his album „Mondkuchen“ (trans. Moon Cake) was released on Morr Music. The bristly detailedness of the living room scene met serious and powerful reductionism. F.S.Blumms music worked as a link between indietronic and a new type of minimal music.
F.S.Blumm has many faces. He does film-music, radio-play, sound-installations and oil-paintings. The musical styles he engages range from neoclassic to dub, from delicate arrangements to bold basslines. Working your way through his vast discography would be a research project all in its own right. He has collaborated with the likes of David Grubbs, Lee “Scratch” Perry, Lady Ann, Andi Otto, Harald “Sack” Ziegler or Nils Frahm. He found his passion for jamaican music with the Quasi Dub Development. With the band KINN he played dynamic postrock. Blumm has a faible for odd beats and could write an a-z on minimal musics pattern matching. Quite where his personal musical signature lies remains something of a mystery. Nevertheless only a few bars are enough to recognize it. “Blumm is instantly recognizable ” (pitchfork) This may by down to his preference for open harmonies, his poingnent arrangements or perhaps the general easiness of his musical touch.
Around 2008 F.S.Blumm entered a new phase of his creativity which one could call his nonchalant songwriting phase. With the swedish singer Ella Blixt he wrote some smooth and silky bedroom producers pop under the moniker “Bobby And Blumm”. With Berlin based singer Jana Plewa he had a full acoustic duo called “Old Splendifolia”. With swedish Madeleine Jonsson Gille he established a third vocal duo whose album debut came out in 2015.
F.S.Blumm repeatedly toured Japan but also Canada, USA, Mexiko, India, Bangladesh and Europe. For his solo album “Welcome” he decided to sing his own songs himself. For him that felt like a journey back to his youth – sitting in his bedroom with a songbook and his first guitar. With „Sounds of Silence“ and „Sister Ray“ day in day out.
On Sept. 3. 2021 the forth collaborative duo album with Nils Frahm is being released (“2×1=4”). “I love ending up somewhere where I’m surprised by myself or the machine or the person with whom I’m making music,” Schültge concludes, while Frahm emphasises that, “None of this is too serious. The record is only as much of a dub record as the ones before are jazz records…”
Maybe this finally brings F.S.Blumm back to his origin: instrumental music with that touch of sweet melancholia. Back in the harbour, ready to go back to the sea, ready for another journey of discovery, searching for the uncertain, hunting for the essence of a musical idea, checking the cracks, leaving spaces for the thought to travel.

F.S.BLUMM
In Sight (sonicpieces 2020, CD/LP)
Nice To Have You (bandcamp 2019, digital LP)
Welcome (karaoke kalk 2017, CD/LP)
F.S.BLUMMBASTIC (pingipung 2015, 7“ EP and album on bandcamp)
Up Up And Astray (pingipung 2013, CD)
Food (bandcamp 2012, digital EP)
Up Up Treasures (Poprebop 2010, Split-Tape with Bradien)
drawings (Ahornfeld 2006, 7“ plus 36-pages booklet with drawings)
Summer Kling (morr music 2006, CD/LP)
Zweite Meer (morr music 2005, CD/LP)
Italian Short Story (autumn rec. 2004, CDR)
Lichten (audio dregs 2003, CD/LP)
Ankern (Staubgold / Tokuma 2002, CD/LP)
Mondkuchen (morr music 2001, CD/LP)
Bettvanille Weiter (Tomlab 2000, 10“)
6 Mbiras (emphase 2000) Split 7“ with Miniklon
Esst Obst (Stetzer 1998, EP)

SACK & BLUMM
Die fuenfte Dengelophonie (Dhyana 1998, 7“)
Sylvester Orchester 2000 (Staubgold 1999, 7“)
Sack & Blumm (Tomlab 1999, CD)
Shy Noon (Gefriem 2000, CD)
2×5 (Staubgold 2000, 10“)
Zack Bumm (Tokuma / Sonig Japan 2001, CD)
Kind Kind (Staubgold 2003, CD/LP)
Returns (Staubgold 2009, CD)

BOBBY AND BLUMMe
verybody loves .. (morr music 2008, CD/LP)
a little big (morr music 2010, CD)
six slightly sexy songs (teto 2015, tape)

F.S.BLUMM & NILS FRAHM
music for lovers, music versus time (sonicpieces 2010, CD)
music for wobbling, music versus gravity (sonicpieces 2012, CD/LP)
music for lovers .. music for wobbling… (sonicpieces 2012, 2LP)
tag eins tag zwei (sonicpieces 2015, CD/LP)

OTHER BANDS & PROJECTS
DIE AUCH – “Im Ernst” LP on n.Ur-Kult-releases (Hannover 1994)
STRÖM – “Honigtier / Fensterkreuz“ 7inch on n.Ur-Kult/ Dhyana (Hannover/Augsburg 1999)
STRÖM – “Wellenbrecher“ LP on Klangkrieg Produktionen (Berlin 2000)
Rebresch & Blumm – “Hoercomics“ CD on Plattenmeister (Jübeck 2000)
Blumm & Möbius – “20 Lock Grooves” 7inch on Happy Zloty Records (Bremen 2002)
KINN – “KINN” CD on Tête-à-Tête (Berlin 2003)
F.S.Blumm & Friends – “sesamsamen” CD on Plop / Inpartmaint (Tokyo 2004)
KINN – “KARLSHORST” CD on audio dregs (Portland 2006) licensed by sinnbus (Berlin 2006)
David Grubbs & F.S.BLumm – “music for drawings” 7inch on ahornfelder (Leipzig 2006)
Anne Laplantine & F.S.Blumm – “FA” – 10inch on alien transistor (Munich 2007)
F.S.Blumm meets Luca Fadda – s.t. – CD on Ahornfelder (Leipzig 2007)
OLD SPLENDIFOLIA – “swaying boldly afar ..” CD on Plop (Tokyo 2008)
F.S.Blumm / Lucrecia Dalt – “Cuatro Covers” mp3-EP on La bèl netlabel (Rome 2011)
QUASI DUB DEVELOPMENT – “Limousine to the Guillotine” – LP on RumpRecordings (Copenhagen 2011)
licensed by Lantern / Nature Bliss (Tokyo 2011)
OLD SPLENDIFOLIA – “Utterly Heartbreaking” CD on La bèl netlabel (Rome 2013)
QUASI DUB DEVELOPMENT – “Little Twister vs Stiff Neck” – CD/LP on Pingipung (Hamburg 2014)
Springintgut & F.S. Blumm – “The Bird And White Noise” CD/LP on night cruising & Pingipung (Kyoto & Hamburg 2014)
Jonsson Gille & Blumm digital-album on bandcamp (2015)
Andi Otto & F.S.Blumm – “Entangleland“ LP on Pingipung (Hamburg 2020)

https://fsblumm.de/

G.A.M.S.

Feedback leads a life of it’s own. It is an uncontrollable sonic accident, usually ear-numbingly loud but sometimes also delicately ethereal. The essence of feedback is being released from bonds, its path is always one of intensification and escape. Its a physical phenomenon and hard to predict.
The duo G.A.M.S. makes music on the edge of losing control. A restless drummer works his way through waves of feedback, which span the full spectrum of frequencies from pumping bass to the highest tones. With the pulse of the feedback Andi Stecher’s drumming, at times feverish and driven, then distanced and abstract, creates polyrhythmic structures. What comes into being is a maelstrom of sound and rhythm – music beyond every style, the power of which lies in its rawness.
Stecher and Möbius switch the roles of desired and undesired sound and thereby create pieces like archaic sculptures. Their music is raw and powerful, and can also be soft and etheric. Sometimes it feels like a delicate organic painting. But if there’s one thing that G.A.M.S. music certainly isn’t that’s predictable. The duo uses freely improvised spaces and reacts to unplanned sonic events. And despite all it’s seeming randomness, G.A.M.S. still manage to compose clearly structured pieces and to reconstruct these in their live program.
Through a cut-up technique patterns of feedback sound fragments are juxtaposed and interlocked in varied combinations. These hypnotic loops move between rhythm and melodies, a web that is carried along by a driving drum set, accents of sub-bass and layers of feedback drones.
The playful drum style of Andi Stecher is far removed from conventional rock drumming. Instead he experiments with various materials for instance by preparing his cymbals with chains or putting different objects on the skin of his drums. He makes offbeat meters and complicated grooves sound easy and light. The same goes for changes in timing or dense textures comprising ghost notes. On the other hand he plays straight forward beats dynamically and with power. With the help of a guitar amp, a microphone and effects Guido Möbius creates live feedbacks which can be massive and noisy but also fragile and gentle. Fleeting and concrete sounds join into dense textures. Feedback is never static rather always in a process of change.
Musical guests on their debut album are ex Napalm Death drummer and Blast Beat inventor Mick Harris and the versatile singer Yuko Matsuyama. The Dadaist no-wave track „Lalaland Symbiose“ features Felix Kubin on vocals and was released as a 7inch including a remix by the Italian producer Unprofessional.

G.A.M.S., s/t (Karlrecords 2019, LP/DL)

Gordan

Gordan join traditional Serbian singing with abstraction, energy and minimalism. Their music is marked by radical reduction, seemingly endless ascension and a passion for experiments.
The Serbian singer Svetlana Spajić is an internationally recognized and acclaimed artist. She, like almost no other contemporary singer, is a master of all the complex local stylistic variations of singing from Balkan music. Guido Möbius plays bass and various electronic sound generators. Additionally he uses guitar amps, microphones and effects to provoke feedback which either harmonize or are juxtaposed with the song. It is a dialogue between sound and noise which is accentuated or fragmented by means of Andi Stecher’s expressive drumming. With a rich pool of ideas the percussionist drives the sound forward breathlessly and grounds it. Together the trio form a dynamic body of sound.
Gordan recorded their debut during the first wave of the Covid19 pandemic in Europe in March 2020. Due to the lockdown in Berlin at that time the city didn’t have many distractions to offer, so the trio just concentrated on work. The atmosphere of being isolated in a recording studio had a big impact on the musical results. All three band members came up with ideas for new pieces, which were immediately tested, worked out and recorded. On abstract instrumentals provided by Stecher and Möbius, Svetlana Spajic sometimes reacted with personal interpretations of serbian traditionals, and the other way around. Most of the time it was as if the music just happend to the band; playing together felt natural from the first moment on.
Some of the old serbian traditional songs that Spajic sang are extinct forms with a specific local melodic mode. The skillful improvisation of their lyrics and ornaments was of great importance and very estimated among village singers. The title song Down In The Meadow for instance originally is a love song from the village of Odevce in eastern Kosovo, Serbia. The singing manner is of a great intensity and sonority, with lots of specific local ornaments. It disappeared along with the village communities from the area. Oh, my Rose flowers is from the region of Kopaonik mountain (southwest Serbia) and the mode, scale is known as ”kopaonički glas” (Kopaonik mountain air). Svetlana adopted the style from the late singer Veličko Veličković from the village of Ostraće. It is an old mountain solo chant, rich in fast ornamentation movements and microtonal intervals. Don’t ask how I live is Svetlana’s homage to the new popular folk music movement from the 80ies known as Južni Vetar (Southern Wind) led by a musician and composer Mile Ilić, known as Mile Bas (“Mile the Bass”) which revolutionized popular music introducing tabooed oriental music and original arrangements.

Svetlana Spajic – vocals
Andi Stecher – drums & percussion
Guido Möbius – bass, feedback, electronics

Down In The Meadow (Morphine Records 2021, LP)

Guido Möbius

Guido Möbius is a musician, music publisher and PR person for music and art, who lives in Berlin. He
released records on labels like dekorder, Karaoke Kalk, Shitkatapult and clapping music, among
others. Möbius performs solo or with the trio Gordan feat. the serbian singer Svetlana Spajic and Andi
Stecher on drums.
Next to his artistic work, Möbius runs the music publishing house Autopilot. Autopilot Music Publishing
handles the rights of artists such as F.S. Blumm, Nicholas Bussmann, Sicker Man or zeitkratzer.
Möbius is also one of Germanys prime PR agents for leftfield music. His clients are international
record companies and many of Berlin’s most interesting music promoters like sonig, smalltown
supersound, Universal, Deutsche Grammophon, Accidental Records, House Of The World Cultures,
Basic Channel, CTM Festival a.o.
On his label emphase records Möbius released a series of 7-inches called ONE. The only condition
enposed on the artists by the label is to use only one instrument as a source. Each cover is hand-
printed with special stamps. The artworks were made up by the artists themselves. The ONE series
features exclusive tracks by Mats Gustafsson, Pierre Bastien, Hans Reichel, Franz Hautzinger, Vert
and others.
In his solo live sets Möbius creates delicate links between experimentation, funk, polyrhythmic
patterns, acid, weird noises and gospel music. Methodically prepared passages and improvisation
combine into a coherent set, and he deals with the energy on the fly. On stage Guido Möbius is
surrounded by his serially connected effects units that he controls as if in a trance. Failures and
restarts are constant companions and sources of inspiration. Möbius always invites chance to be his
accomplice.
International festival bookings include CTM (Ger), Todays Art (NL), Lethargy (CH), Nrmal (Mex),
Electrónica en Abril (ES), Serendip (FR), Acusmaticq (IT), Fusion (Ger), Lunchmeat (CZ), Biennale de
l’image possible (BE), WNWH (FR), Nono Logic (ES), Kometa (LV), Off the Radar (Ger), Mismas (CZ),
Time Zones (IT), Braille Satellite (LT), Construction (UA), Heart Of Noise (AT), Experimenta (IT)

a million magnets (emphase 2022, LP/DL) solo album
Gordan, Down In The Meadow (Morphine 2021, LP/DL) band album
G.A.M.S., s/t (Karlrecords 2019, LP/DL) band album
Batagur Baska (Shitkatapult 2016, CD/LP/DL) solo album
v.a., Though The Darkness Gathers (Karaoke Kalk 2013, CD) remix album
Spirituals (Karaoke Kalk 2012, CD/LP) solo album
asper #2 (Clapping music / Dokidoki éditions 2011, split LP with Centenaire + KingQ4)
Gebirge (Karaoke Kalk 2009, CD) solo album
dishoek (Dekorder 2005, CD/LP) solo album
Klisten (Klangkrieg Produktionen 2003, CD) solo album
blinker_inc, s/t (emphase 2002, CD) band album
Blumm & Möbius, 20 lock grooves (happy zloty 2002, 7inch)
Jew’s Harp (emphase 2001, split 7inch with Stephan Meyer)
Zwei Tage Sauerstoff, s/t (emphase 1999, split-7inch with 40 Sekunden Ohne Gewicht)

www.guidomoebius.com
http://www.emphaserecords.com

Jemh Circs

Jemh Circs is another guise for Black To Comm’s Marc Richter. In contrast to his usual analogue tape and vinyl based sound, in Jemh Circs he works with digital sources by primarily sampling modern Pop Music and sending chunks of it through a variety of arcane transformations and mutations.
On his latest record he deconstructs the hypermodern sound of popular music with a Post Punk attitude, energy and primitivism. Richter’s combining disparate elements that shouldn’t really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style.
“(untitled) Kingdom” converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds and narratives; completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.
The overall effect is quite remarkable. Each track is like a hologram of pop music itself, a tiny part that reflects the whole. You almost feel that you could open them out and re-create entire popular music cultures. We’ll be grateful for that when the next solar storm fries all of our hard drives. (Ian Sherred – The Sound Projector)
In that way Jemh Circs is a record about process – not just how Richter loops and distorts and mutates his samples, but how the sounds of pop music create a particular sonic signature, one that gets more interesting the farther they’re pulled from their original context. (Marc Masters – The Out Door)
If you’re up for a challenge and don’t mind a bit of neural vexation then check Jemh Circs debut out, odds are you won’t be having this much fun trying to re-assemble your frontal lobes with much of anything else this year. (Santa Sangre)
Recycling random audio off YouTube, Jemh Circs’ process couldn’t be less sentimental, but the results turn out to be sneakily emotive. (Philip Sherburne – Pitchfork)
Landing somewhere between early James Ferraro and Spencer Clarke, one of Merzbow’s more colourful whirligigs, and an asylum fitted with walls of TV screens playing every YouTube video at once, it’s not for the casual listener, but those who like their musical data dense with compressed information will be left reeling by the end of the record. (Boomkat)
Much like the first Jemh Circs album, (untitled) Kingdom is a deranged and fractured rabbit hole of cannibalized and re-purposed YouTube clips, though it feels like Richter has gone a bit deeper down that uniquely post-modern path this time around: this is very much a disorienting and lysergic playground of gleeful experimentation and deconstruction from start to finish.  As such, much of (untitled) Kingdoms’ appeal lies in its sheer otherworldly mindfuckery.  However, the album’s second half occasionally allows some unexpected vistas of alien beauty to break through Richter’s stuttering and kaleidoscopic fever dream. (Anthony D’Amico – Brainwashed)

(untitled) Kingdom (Cellule 75 2018, 2LP/CD)
s/t (Cellule 75 2016, LP)

Lonski & Classen

Lonski & Classen write and play fragile song hymns with great sparsity. Their music is minimal and disarming, presented with wholly honesty and yet constantly punctuated with small gestures of self-irony. Every song sounds like an awakening and at the same time a dissolution. Rough, punched out guitar riffs go along with lyrical harmony. The singing has an expressive intimacy, the song texts are about isolation in togetherness, getting lost and finding oneself. Lonski & Classen have soul and don’t play as much as one sound too many. They make no secret about their love of blues and Americana and they have a relationship with time which blows up all conventional boundaries of songwriting. They play their music with concentration and with the maximum possible nonchalance. Part of their portfolio includes an intensive collaboration with the celebrated French composer Yann Tiersen.

The Space Between Us (Osthafen 2020, LP)
All Tomorrow Is Illusion (Osthafen 2014, LP/CD)
Freedom / The Gift (American Typewriter 2010, 7“)
Climbing On Branches (Matrosenblau 2009, LP)
Selftitled (self released 2007, CD)

http://www.lonskiandclassen.com

Miwon

Miwon (aka Hendrik Kröz) makes soulful electronic music, balancing ambient textures, glitches, driving beats and catchy melodies in his very own way. He takes time to sculpt his tunes, until it’s near impossible to pinpoint where the pop, techno and cinematic elements of his imagination shake hands. Over the years Miwon has refined his style and released several albums: “Pale Glitter” (2006) and “A to B” (2008) on the seminal Berlin/Manchester electronica imprint City Centre Offices, and “Jigsawtooth” (2016) on the Californian label n5MD. 2022 will see the release of his fourth full-length LP.
Miwon has presented his music in small Berlin clubs in the beginning, and later on all kinds of stages – from the Parisian cultural center La Gaîte Lyrique and Deutsches Theater in Berlin to the techno festival „Sun Vibes” in Siberia. He is also a founding member of the spectacular guitar ensemble FeedBackOrchester and works closely with Berlin video artists telematique and u-matic, who add synced visuals to Miwon’s world of sounds.

Jigsawtooth (n5md 2017, LP)
A to B (City Centre Offices 2008, LP)
Pale Glitter (City Centre Offices 2006, LP)
Brother Mole (City Centre Offices 2004, EP)
Hendrix (Kohvirecords 2002, EP)

www.miwon.de
www.soundcloud.com/miwon
https://www.facebook.com/Miwon/
https://miwon.bandcamp.com/
https://open.spotify.com/artist/5o04AvqHZxEh6l2TeBKNHQ

Mouchoir Ètanche

In the pandemic year 2020 Marc Richter (Black To Comm) revealed new entity Mouchoir Ètanche with a 12″ on the Dekorder label (“Kommuniqué Zéro”) and “Une fille pétrifiée”, an LP on his new Cellule 75 imprint. Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism. A second LP is in the works.
Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.
RIYL Deux Filles, Kali Malone, Nurse With Wound, Luc Ferrari, Alphabet 1968, Panda Bear, John Oswald, Félicia Atkinson

Une fille pétrifiée (Cellule 75 2020, LP)

Nicholas Bussmann

Nicholas Bussmann is an artist, musician and composer for conceptual music. With a biographical background in Improvised Music, he creates conceptual frameworks and concrete scenarios for collective performances. At the center of his interest lies the tight and historically rooted connection between music, social practice and socialization.
Originally a cellist, Bussmann has since expanded his practice to a wide range of musical genres, from electronic to conceptual art. He works with a number of collaborators, including the duo Telebossa with Chico Mello; Rydberg with Werner Dafeldecker; and Nicholas Desamory with Lucile Desamory. With Martin Brandlmayr he plays as Kapital Band 1; with Lars Rudolph and Hanno Leichtmann he formed the band Ich Schwitze Nie from 1995 to 2003. Bussmann worked in the field of radio play as well as theatre and film music. As a curator he worked at Berlin Documentary Forum, Maerzmusik, Shanghai Biennale 2014 and the HKW Berlin.

Discography
Telebossa Garagem Aurora (Staubgold 2016)
Nicholas Desamory You only need to know how it feels to believe (Staubgold 2016, LP)
Nicholas Desamory Like You (m=minimal 2012)
Telebossa Telebossa ( HYPERLINK “https://de.wikipedia.org/wiki/Staubgold” \o “Staubgold” Staubgold 2011)
Kapital Band 1 Playing by Numbers (MOSZ 2007)
Alles 3 I Know How You Frown (KwanYin/China 2007)
White Hole Pink Album ( HYPERLINK “https://de.wikipedia.org/wiki/Kitty_Yo” \o “Kitty Yo” Kitty Yo 2004)
White Hole Holy Ghost ( HYPERLINK “https://de.wikipedia.org/wiki/Kitty_Yo” \o “Kitty Yo” Kitty Yo 2004, EP)
Kapital Band 1 Kapital Band 1 (MOSZ/Wien 2004)
The Beige Oscillator and Dj Attachee Waiting for Wood ( HYPERLINK “https://de.wikipedia.org/wiki/Charhizma” \o “Charhizma” Charhizma 2001, CD)
Lickmachine machine (moos 2001, mini CD) Bussmann/Soybelman/Williamson
Ich schwitze nie Billige Flaggen (Trikont 2000)
You Never Give Me Your Pillow Suite For Slow Dancers ( HYPERLINK “https://de.wikipedia.org/wiki/Free_Music_Production” \o “Free Music Production” FMP 1999, CD)
The Beige Oscillator and Dj Attachee Relaxin (Mehrwert 1999, EP)
Ode an die Langeweile Hommage an H.Eissler (Nomansland 1998, CD)
Ich schwitze nie Träume der Sehnsucht (Nomansland 1997, CD)
Nodoctor nodoctor (Algen 1995, mini CD)

Film music
1998 Psychic Tequila Tarot, Kurzfilm. Musik: Nicholas Bussmann
2005 Liebeskind, Spielfilm. Regie: HYPERLINK “https://de.wikipedia.org/wiki/Jeanette_Wagner” \o “Jeanette Wagner” Jeanette Wagner, Musik: Nicholas Bussmann
2013 Abracadabra, Spielfilm. Regie: Lucile Desamory, Musik: Nicholas Bussmann
2016 Miete essen Seele auf, Arte, Dokumentarfilm, Regie: Angelika Levi, Musik: Nicholas Bussmann & Cottbusser Chor
2016 Sign Space, Dokumentarfilm, Regie: Hila Peleg, Musik: Nicholas Bussmann HYPERLINK “https://de.wikipedia.org/wiki/Nicholas_Bussmann” \l “cite_note-21” [21]

Radio plays, theatre and dance productions
2002–2004 HYPERLINK “https://de.wikipedia.org/wiki/Sasha_Waltz” \o “Sasha Waltz” Sasha Waltz & Guests, diverse Zusammenarbeiten
2004 Die Reise nach Baratonga, Hörspiel. Regie: Wolfgang Rindfleisch, Musik: Bussmann/Leichtmann/Rudolph
2004 Snobby Dim, Regie: HYPERLINK “https://de.wikipedia.org/wiki/Beate_Andres” \o “Beate Andres” Beate Andres, Musik: Ich schwitze nie (Bussmann, Leichtmann, Rudolph), Hörspiel von Frank Becker
2005 Der Himmel unter Berlin, Hörspiel. Musik: Bussmann/Leichtmann/Rudolph
2005 Sex, Hörspiel/Performance. Lindy Annis & Nicholas Bussmann, Hebbel am Ufer
2008 Warburgs Memo von Lindy Annis, Musik: Nicholas Bussmann, HYPERLINK “https://de.wikipedia.org/wiki/Hebbel_am_Ufer” \o “Hebbel am Ufer” Hebbel am Ufer
2010 Barnes Dance, Straßenoper. Regie: Nicholas Bussmann, HYPERLINK “https://de.wikipedia.org/wiki/Sophiensaele” \o “Sophiensaele” Sophiensaele
2017 Singing Yesterday’s News Again Natascha Sadr Haghighian/Nicholas Bussmann Hörspiel Deutschlandradio Kultur

Reinhold Friedl

Reinhold Friedl studied composition with Witold Szalonek an Mario Bertoncini, piano with Renate Werner, Alan Marks and Alexander von Schlippenbach. and mathematics in Stuttgart, Berlin and Marseille. PhD in music computing at Goldsmiths University, London.
Reinhold Friedl is known for his radical music. He received numerous prizes and fellowships as Eurocréation Paris, Villa Serpentara Rome (Berliner Akademie der Künste), STEIM Amsterdam, Paris Cité des Arts,… as well as commissions by the French State, Maerzmusik Berliner Festspiele, Wiener Festwochen, Asphodel San Francisco, ZKM Karlsruhe, RomaEuropa Festival, the BBC London, Ultima Osolo. His music is performed by groups like Diotima Quartet Paris or Ensemble 2e2m. Friedl released over hundred CDs and LPs as composer and performer. interdisciplinary cooperations with artists as Sasha Waltz, Frank Castorf (Volksbühne Berlin), Lillevan.
Friedl founded and directs the ensembles Piano-Inside-Out and zeitkratzer and is known as expert for extended piano techniques. Friedl cooperated with various musicans as Phil Niblock, Lou Reed, Alvin Lucier, Lee Ranaldo (Sonic Youth), Helmut Oehring, Nicolas Collins, Laurie Anderson, Merzbow, Mario Bertoncini (nuova consonanza), Keiji Haino, Rashad Becker, and has made countless radio and CD recordings.
As curator, Friedl leads the record series Perihel for Karlrecords, invented the Off-ICMC (International Computer Music Conference) and directed the music department of Podewil Berlin. He was a jury member of Ars Electronica and Gulbenkian Foundation, Lisboa. Friedl profits from his worldwide touring and interviews electronic music composers: this allowed him to realize more than fifty radio shows for WDR3 Open Music – Studio elektronische Musik Cologne, Germany a.o.. Friedl is also known as a specialist for the music of Iannis Xenakis and published several articles on the topic, he presented experimental music with children a.o. in cooperation with the Berlin Philharmonic Education program. Reinhold Friedl is guest professor for artistic research/ performance at the Katarina Gurska Institute in Madrid, Spain, and has a teaching assignement at the The University of Music and Performing Arts Vienna, Austria. Lectures and teaching also at University Paris VIII, Berlin UdK, London Goldsmiths University, Musikhochschule Basel, University for Music and Drama Gothenburg, Music University Thessaloniki, MIT Melbourne, etc.
Reinhold Friedl lives in Berlin.

Ensemble 2E2M & zeitkratzer, Krafft (zeitkratzer records 2020, CD)
Animal électrique (Editions Mego 2020, LP)
Quatuor Diotima, string quartets (La Muse en Circuit 2016)
music for piano, spring / flower / cracker / stream… (Holotype Editions 2019)
zeitkratzer, Grand Orchestra (Tochnit Aleph, zkr rec. 2012)
Neo-Bechstein: Golden Quinces, earthed (Bocian Records 2015)
Eight Equidistant Pure Wave Oscillators… (Room 40 2011)
inside-piano (Hrönir 2011, LP)
inside-piano (zkr 2011, 2CD)
mutanza, inside-piano solo (Bocian Records, Bolt 2012)
Piano Inside-Out (edition zeitklang 1998, CD)
Tobel w/ Franck Vigroux (Alamuse 2014, CD)
Tobel 2 w/ Franck Vigroux (Monotype 2016)
Anostalgia w/ Elliott Sharp (Grob 2002, CD)
Feuchtify w/ Elliott Sharp (Emanem 2006, CD)
REAL TIME w/ Dirk Dresselhaus (Blume 2014, 3CD Box)
p.o.p. IKEBANA
p.o.p. Täbriz
Reinhold Friedl, Robert Schumann – Dichterliebe w/ Bernhard Schütz
zeitkratzer, Xenakis[a]live! (Asphodel 2007, CD + DVD)
zeitkratzer, Xenakis[a]live! (KORE, Karlrecords 2016)
zeitkratzer, Neue Volksmusik (zkr rec. 2012)
zeitkratzer, Volksmusik (zkr rec. 2008)
zeitkratzer, Random Dilettants (Mort Aux Vaches 2003)
zeitkratzer, Sonx (Timescraper Rec. 2000)
zeitkratzer, Schoenberg Pierrot Lunaire Cheap Imitation (zkr rec. 2007)
Au défault du silence w/ Michael Vorfeld (Trente Oiseaux 2001, CD)
zeitkratzer, Draft
Pech w/ Michael Vorfeld (Room 40 2006, CD)
Message Urgent w/ Michael Vorfeld w/ Bernhard Günter (Trente Oiseaux 2004, CD)
Ulrich Krieger, Burkhard Schlothauer, winter was hard too… (Tourette 2003, 2CD)
Hai-q, Modern Art Sextett

The Green Apple Sea

The Green Apple Sea play country-infused folk-music since 1998. They have released four full-length albums: „All over the place“ (2000), „Forever sounds great“ (2007), „Northern Sky Southern Sky“ (2010) and „Directions“ (2018).
Though band line-ups changed over the years, core-members Christian Ebert (also album-producer), Lena Dobler and Singer-Songwriter Stefan Prange have created a warm, melancholic, „happy but unhappy“ trademark sound that kept fans and media listening over the course of now more than twenty years.
At the moment the band is recording their fifth album. Working title: „Dark Kid – six seasons and a movie“.

Directions (Hometown Caravan, K&F Records 2018, CD)
Northern Sky Southern Sky (K&F Records 2010, CD)
Forever sounds great (Skycap Records 2007, CD)
All over the place (Skycap Records 2000, CD)

The Marble Man Band

Back in 2007, Josef Wirnshofer appeared on the scene as The Marble Man, releasing his debut album SUGAR RAILS. Then 19 years old, the highly talented songwriter immediately impressed with a sense for timeless songwriting and a fascinating ease. The Traunstein native displayed confident minimalism in his compositions. There was no effect-seeking recourse to harmonic ideas, no proud harping on catchy choruses. Everything was measured. On his second album, LATER, PHOENIX…, published three years after SUGAR RAILS was released, Wirnshofer, by then based in Munich, demonstrated a disciplined restraint. The evident maturity, stylistic confidence and class continued to raise hope for great things.
And that’s what followed. 2013 saw the release of the third album, HAIDHAUSEN – recorded for the first time with the now five-piece band. In its sonic grandeur, the spirit of reduction was still palpable. Instead of showing off big pop anthems, which would have been easily possible given the song material and body of sound, the band honed their concentrated, ink-black sparkling sound. Playfulness and ornamentation were practically absent and it was all about depth and weight.
A good seven years after HAIDHAUSEN, and following a long series of concerts, the group continues its path of expansion through reduction. On LOUISIANA LEAF, this path leads The Marble Man deeper into dark, cool, nocturnal regions of soul and sound.
LOUISIANA LEAF, the fourth album by The Marble Man, sounds like a film noir turned into music. Everything breathes beautiful decay. The songs follow a rhythm of their own. Arranged sparsely, they unexpectedly seem to freeze now and again, coming to a hypnotic standstill. Time becomes meaningless in these moments. Carried by a stoic bass and unwavering drums, this band works like a reduction machine. Not a note too much. The resulting songs are not forced into any kind of straitjacket but are allowed to burst their brims.

Louisiana Leaf (Millaphon 2021, CD)
Haidhausen (Redwinetunes 2013, CD)
Later, Phoenix… (K&F Records 2010, CD)
Sugar Rails (Schinderwies 2007, CD)

Tobias Vethake / Sicker Man

Tobias Vethake started composing and arranging music for film and television
during his studies at the Hannover University of Music, Drama and Media:
e.g. Muxmäuschenstill, Russendisko, Bye Bye Berlusconi, Reise nach
Jerusalem; He composed and performed his first score under the name of his soloproject
Sicker Man for the American/Canadian production Seance directed by
Simon Barrett.
Since 2005 he has also been composing music for theatres, performance art,
installations and radio plays: e.g. Schauspielhaus Hamburg, Volkstheater Wien,
Deutsches Theater Berlin, WDR, Deutschlandradio Kultur, Teatrul Național
Sibiu, Imperial War Museum London;
Besides releasing albums of his own various musical projects like the electronic-jazz
duo Mini Pops Junior on his label blankrecords (est. 2003), he also provides a
platform for new, not yet established artists such as the experimental soundcollective
Bohemian Drips. His solo-project Sicker Man is the focal point of his
artistic creation. Here he transfers his musical visions into reality, combining
classical songwriting with sonic soundscapes. His main instrument is the electric
cello. He has been collaborating with artists from all over the world, and is the
producer and co-writer of various international releases: e.g. Serengeti (US), João
Orecchia (RSA), Machine est mon Coer (AUS/FR), Trialogos (IT/GER);
In response to the altered living and working conditions during the pandemic Sicker
Man and Kiki Bohemia started the daily series of livestream concerts Cleansing
Drones For Locked Down Homes in March 2020. With Fragments Of Futures
Past Sicker Man pursued the daily livestream concert routine during the summer
and created 70 electroacoustic instant compositions for solo electric cello.
He developed this idea with his latest project „Fleeting Places“, in which he recorded and filmed himself performing music at unusual places.

Discography
Seance (Lakeshore Records 2021)
come away, death (blank records 2021)
Hollow Men (blank records 2021)
Dialog (blank records 2021, LP/CD)
Fragments of Futures Past (blank records 2020)
Off The Trail (blank records 2018, LP/CD)
Theatre Work Two (blank records 2018)
The Missing (blank records 2016, LP/CD)
Vicca Tantrum (blank records 2014, LP)
Old Garden (blank records 2012)
Flower My Decay (blank records 2011, CD)
Nowhere Enterprise (blank records 2009, CD)
Theatre Works (blank records 2008)
A Subtle Life (blank records 2005, CD)
Duive Moro (blank records 2003, LP+CD)

Filmography
V/H/S/94 Episode: “The Empty Wake“ (Kinofilm / USA / Simon Barrett) 
Seance (Kinofilm / USA / Simon Barrett)
Reise Nach Jerusalem (Kinofilm / D / Lucia Ciarla)
Streetthief (Kinofilm / USA / Malik Bader) Tribeca Film Festival 2006, Chicago International Film Festival Award 2006
Mux Mäusschen Still (Kinofilm / D / M. Mittermeier) Berlinale 2004, Max-Ophüls-Preis 2004
Olga Benario (Kinofilm / D / G. Iyitanir) 

www.tobiasvethake.de
www.sicker-man-com

Trialogos

TRIALOGOS are Conny Ochs, Sicker Man and Kiki Bohemia, each of them coming from different musical backgrounds and experiences. While singer-songwriter and visual artist Conny Ochs is a troubled troubadour of the special kind, who gained massive recognition for his highly praised collaborations with Wino, Sicker Man works as a composer and producer for film and theatre scores and explores the musical field in between experimental pop, noise and instant composition, using and processing the cello as his main instrument. The third corner point of this mystical triangle is represented by Kiki Bohemia, a singer and autodidactic player of lost and found instruments and toys, who is also Sicker Man’s longtime partner in a variety of different projects, such as the doom duo Slutty Clowns.
Following Tony Conrad’s concept of maximalism in minimal music, TRIALOGOS’ widescreen super 8 soundscapes and occasional haunted house vocals conjure up visions of winter lost beaches, bats dancing upside down and sojourns in permanent dawn.
“The foundation for Trialogos was layed out, without us knowing it, in an underground backstage room at the Zukunft Club in Berlin. I had been crashing at Kiki´s and Sicker Man´s flat many times before, in between tours, and we have been friends for many years now. But it finally needed this one moment none of us had planned or prepared for, that just happened on account of an invitation of a circle of friends in said backstage. I feel that in fact, a totally naive moment of actually being thrown in front of an audience following and invitation without planning anything beforehand gave all of us an immense freedom and curiosity about what we would be able to dig up together. Still, none of us expected this special night might lead to us recording an album together. But somehow an unspoken pact had been agreed that was impossible not to fulfill. And again, without planning anything, I found myself crashing in that apartment again, just letting the others lead the way, bouncing back and forth like kids on a playground.“ (Conny Ochs, Borghi, Italy, March 2021)
“In response to the altered living and working conditions during the pandemic Sicker Man and I started a daily series of livestream concerts called “Cleansing Drones For Locked Down Homes” in March 2020. Designed as an experimental musical ritual to comfort and express emotional and artistic turmoil during a state of emergency. When Conny got on board we expanded the technique of those “dialogues” to include the voice of a “third”, taking collective soul searching and notion of self-transcendence to a further stage. Locked up in our studio in Berlin, seeking solitude and introspection, we recorded our debut “Stroh zu Gold” within just 3 days, gaining new artistic vision and transvaluation from this almost eremitic kind of lifestyle. What we hear in these “trialogues” is one word sounding through the other. Like in a doubly exposed photograph, the individual elements become both more ethereal and more defined. They touch and blend, align and dissociate at the same time and take on the remarkable capacity of ghosts: the ability to inhabit one another, one voice speaking through the other.” (Kiki Bohemia, Berlin, March 2021)

Conny Ochs: Acoustic & Electric Guitars, Vocals, Bass, Drums, Percussion
Sicker Man: Acoustic & Electric Cello, Guitars, Juno 6, Moog, Lapsteel, Beats, Effects
Kiki Bohemia: Rhodes, Vocals, Bass, Dictaphone, Autoharp, Effects

Stroh zu Gold (Exile On Mainstream 2021, LP)

http://www.facebook.com/trialogos
https://www.instagram.com/trialogosmusic

VERT

Adam Butler aka Vert’s first album was titled ‘The Köln Konzert’ and appeared in 1999 on sonig, the Cologne institution for nonlinear electronic music. Shortly afterwards Butler left his home in London and was pulled into the Bermuda Triangle of Mouse On Mars / a-Musik / sonig; at the end of the nineties, Cologne was after all still the capital of German electronic music. In the years that followed, he left his mark on the experimental electronic scene and defined his own complex sound language. After three albums on sonig, Vert released ‘Some Beans and an Octopus’ (2006) – an album focused more explicitly than ever before on songwriting and pop music. With this, his last regular album, he succeeded beautifully in getting the balance right between song and experiment. In hindsight, it must have had something to do with his weakness for ragtime.
But then in 2009, Butler declared that he would stop making music. Fans, critics, and record labels were shocked. Instead, he wanted to write a novel. Which he did. It was not until the death of his father, himself a passionate musician, that Vert finally decided to go on.
So now, nine years after “Some Beans…”, Vert is back. And it’s as if his last album for sonig just came out. The eleven songs on THE DAYS WITHIN don’t have much to do with ragtime, but they have plenty to do with songwriting. A kind of songwriting that is so typical of Vert, who has meanwhile relocated to Berlin, that it can hardly be mistaken for anyone else’s. The tracks on THE DAYS WITHIN all have such a well-defined profile that it is difficult to describe them in terms of one specific style. Butler doesn’t like to use the same idea twice. His signature as a songwriter and producer is more recognizable by atmosphere than by harmonies and hooks. Vert’s music is a mix of melancholy, sophisticated arrangement, densely woven sounds, delicate irony, and many surprises.

The Days Within (Shitkatapult 2015)
New Thing At Novara (sonig 2008)
Some Beans & An Octopus (sonig 2006)
Small Pieces Loosely Joined (sonig 2003)
Nine Types Of Ambiguity (sonig 2001)
The Köln Concert (sonig 2000)

Wayne B. Magruder / tenEcke

Magruder studied design at the University of North Texas, where he met Aurelio Valle and Peter Gannon and joined The Factory Press (ND Records) as drummer. When the band relocated to New York City in 1995, The Factory Press recorded and released their final LP “The Smoky Ends of a Burnt Out Day” with Kid Congo Powers producing. In the meantime Magruder joined Bowery Electric as a live drummer. Subsequent Bowery touring with E.A.R. in ’96, and Main in ’97 followed, as well as playing live percussion with Robert Hampson and drums with Windsor for the Derby. In 1997, Magruder recorded with Bowery Electric on their second LP, “Beat” (Kranky) and released a found-sound & electronics EP with former school mate Sean Donovan under the name “Crumbles Recovery”. Desiring to integrate electronics, triggers, and samples in a rock format, Magruder formed Calla with Sean Donovan and Aurelio Valle in late 1997. Much touring followed with shows in Italy, France, U.K., Germany, Iceland, Israel and the U.S. Calla have released 3 full lengths (on Sub Rosa, Quatermass, Young God, Ryko and Arenarock) and are currently recording their 4th. In 2000, under the moniker “tenEcke”, Magruder released his first solo EP “adi-pre puddled” and full length “Block Terrain” (K20) that combined Brooklyn beats with textures, found sound and debris. “Night of the Hunter” is Magruder’s 2nd full length and features Jana Plewa (Kat Cosm) and Daphne Gannon (Mercova) as guest vocalists. It was released under his new moniker WAYNE B in September 2005 on quatermass.

Night of the hunter (Quatermass 2005, CD)

www.tenEcke.com

Zeitkratzer

zeitkratzer is sound made visible, tangible, bodily—a corporal live music experience. The physicality of sound is celebrated through extended instrumental techniques, a deep understanding of the musical material, and amplified traditional instruments. It will make you expect more from music than you ever did!zeitkratzer is perverting musical genres. Keiji Haino meets Karlheinz Stockhausen meets Laurie Anderson meets folk music meets Whitehouse meets Serbian war songs meets Terre Thaemlitz meets Iannis Xenakis meets Lou Reed meets The Shape Of Jazz To Come meets Arnold Schönberg. The joy of the intensity of sound and music: a challenge to both composers and non-academic noise-makers from the most talented performers, improvisers, sound artists and composers around.
zeitkratzer is a soloist ensemble. Its strength comes from its members. Founded in 1999, it gathers nine musicians and lighting and sound engineers living in different European cities — from Berlin to Palermo, from Belgrade to Oslo — meeting all over the world to work together. zeitkratzer benefits from its outstanding musicians, their advanced and unique playing techniques, their rich and multifaceted musical experience and varied backgrounds: contemporary music, noise, the Berlin Philharmonic Orchestra, improvised music, experimental rock, ambient, folk music, industrial, early music…
zeitkratzer is independent from music institutions. The ensemble finances itself through free projects and touring internationally. This freedom facilitates the idiosyncratic and groundbreaking repertoire that has made zeitkratzer internationally recognized. Faithful only to their own tastes and beliefs, they have established themselves to be one of the most intriguing ensembles to collaborate with. Musicians who have worked with zeitkratzer include: Lou Reed, Alvin Lucier, Keith Rowe (AMM), Mario Bertoncini (nuova consonanza), Jim O’Rourke, James Tenney, Merzbow, Zbigniew Karkowksi, Keiji Haino, Marcus Schmickler, Alvin Curran (musica elettronica viva), Lee Ranaldo (Sonic Youth), Laurie Anderson, Elliott Sharp…zeitkratzer is driven by unique concert programs. Blocks of repertoire created by the ensemble can function either separately or mixed together. From the Volksmusik of the Danube, reminiscent of waltzes and zithers, to Xenakis [A]Live! an homage to the great composer with a paraphrase of his “Persepolis”; the [electronics] series, including music by and with Keiji Haino, Terre Thaemlitz, Carsten Nicolai and William Bennett of Whitehouse; the [old school] series, dedicated to the new music of John Cage, James Tenney and Alvin Lucier; Noise with Merzbow, Keiji Haino and Zbigniew Karkowski; idiosyncratic songs for soprano and ensemble; and the famous Metal Machine Music by Lou Reed, guitar feedback transcribed for amplified traditional instruments. zeitkratzer is touring worldwide and performing at renowned festivals from Tokyo to Madrid, Rome and London to Vienna, Paris and Budapest to Berlin.zeitkratzer is not worried about preserving the “purity” of new music. Music, especially so-called new music, thrives on continuous contamination. The idea of “pure taste” as an independent aesthetic category was revealed by Pierre Bourdieu to be a medium of social distinction. “Thus, pure taste is based on nothing else but a rejection or rather disgust for the objects that ‘force us to enjoy’, such as disgust for such crude, vulgar taste that is also appealing in this forced enjoyment.”zeitkratzer is serious music full of joy!

zeitkratzer & 2e2m: KRAFFT
The Shape of Jazz to Come
zeitkratzer plays kraftwerk 2 & 1
zeitkratzer plays Kraftwerk 1 & 2
zkr & Terre Thaemlitz: DEPRODUCTION LIVE
Duft
Jorinde Voigt – Radical Relaxation
Kaspar Toeplitz – Agitation | Stagnation
Neue Volksmusik
Volksmusik
Serbian War Songs
[old school] Karlheinz Stockhausen
[old school] Alvin Lucier
[old school] James Tenney
[old school] John Cage
PRES Polish Radio Experimental Studio
[electronics] whitehouse
3CD-Box [electronics] Carsten Nicolai / Terre Thaemlitz / Keiji Haino & special textbook
[electronics] Keiji Haino
[electronics] Terre Thaemlitz
[electronics] Carsten Nicolai
SONGS
Reinhold Friedl – Schönberg Pierrot Lunaire Cheap Imitation
Lou Reed – Metal Machine Music
Reinhold Friedl – Xenakis[a]live!
electroniX
DIE KRAFT DER NEGATION
Terre Thaemlitz – superbonus
Reinhold Friedl – random dilettants
John Duncan – FRESH
Noise…[lärm]
SoundinX
SonX
Xtensions