Austin Larkin, solo violin, presents Violin Liquid Phases, which focuses on the psychoacoustic possibilities of the violin (harmonic tuning, rhythmic phasing, spectral bowing) as well as on landscapes of energy (catharsis, ekstasis).

Quentin Tolimieri performs new works for solo piano and quadraphonic sound.

with kind support from the Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt 

A split bill featuring Chris Abrahams (solo piano) and The Still, the instrumental quartet of Chris Abrahams (piano), Rico Lee (electric guitar), Derek Shirley (double bass) & Steve Heather (drums)

Chris Abrahams is a pianist and composer who has released 12 solo piano albums to date. His collaborative projects include duos with Melanie Oxley, Mike Cooper, and Alessandro Bosetti and trios including TREE with Burkhard Beins and Andrea Ermke, AAA with Oren Ambarchi and Robbie Avinaim, and The Necks with Lloyd Swanton and Tony Buck.

Originally formed as a soundtrack project for Stephen Eastaugh's Winterover (documenting a winter residency in Antarctica), The Still creates song-forms diluted by overtones and resonances that melt together into a cyclical trance, promising no resolution. Their debut album The Still (Seriés Aphōnos) was deemed "a beautifully recorded future classic" and named one of Mojo Magazine's Top 30 albums of 2016. Their followup Got It  (Seriés Aphōnos) was released in 2021.

Power Loom #19

Power Loom presents solo electronics sets by JD Zazie and Rubén Patiño.

JD Zazie is an experimental DJ, avant-turntablist and sound artist. Coming from a DJ and a radiophonic background JD Zazie has explored over the years different approaches to real-time manipulation of fixed recorded sound. 

Rubén Patiño is an artist working in the field of electronic music, operating in a hybrid territory that incorporates elements of club culture and contemporary art. He is part of N.M.O., a fluxus-techno military space music project with Morten Joh.

Ned Collette (guitar/voice), Chris Abrahams (piano), Judith Hamann (cello and organ), Fredrik Kinbom (bass) and Steve Heather (drums and percussion) 

Ned Collette’s songs serve as departure points for longer improvisations and explorations by this Berlin-based quintet. Collette has long established himself as a singer and songwriter whose literate, evocative songs are paired with music that's both adventurous and eclectic. Much like on his albums, the sets are crafted with an overall arc in mind, both musically and narratively. Typical confessional “songwriter” tropes are eschewed in favour of abstraction and character studies; rumination rather than certainty confronts the world we are faced with. 

Lea Bertucci, solo saxophone & electronics

crys cole, objects & electronics

Lea Bertucci is an artist, composer and performer whose work describes relationships between acoustic phenomena and biological resonance. In addition to her longstanding practice with woodwind instruments, her work incorporates multichannel speaker arrays, radical methods of free improvisation and creative misuses of audio technology applied to field recording and sampling/collage techniques. In recent years, her projects have expanded toward site-specific and site-responsive sonic investigations of architecture and acoustics.

crys cole is sound artist who works in composition, performance, sound sculpture, and installation. Taking a conceptual approach, she generates subtle and imperfect sounds through haptic gestures and seemingly mundane materials to create texturally nuanced electro-acoustic works that continuously retune the ear. 

PHILM  

Philipp Gropper (tenor saxophone, composition), Elias Stemeseder (piano / synthesizer), Robert Landfermann (double bass) & Leif Berger (drums) 

PHILM, founded by Philipp Gropper in 2012 and named Band of the Year in 2021 (Deutcher Jazzpreis), performs music from its forthcoming release, building on an already formidable discography, including Licht (2012), The Madman of Naranam (2015), Sun Ship (2017), Live at the Bimhuis (2018) and Consequences (2019), all on Berlin label Why Play Jazz.

Kaj Duncan David, Only birds know how to call the sun and they do it every morning

Kaj Duncan David (keys and synthetic vocals) with Scenatet: Vicky Wright (EWI), Mikkel Schou (MIDI and electric guitar) and Matias Seibæk (MIDI percussion)

A psychedelic re-imagining of how language develops, or the transition from pure vocal sound to meaning as musical gesture. The songs are inspired by glossolalia in various forms: in infants who are still learning to speak; in states of consciousness where semantics dissolve; and "hallucinating" chatbots, which might be able to speak, but do so without understanding what they say.

Stellan Veloce, solo set for harmonicas and electronics

The har­mon­i­ca is seen both as a toy and as an expres­sive musi­cal instru­ment, depend­ing on who you are ask­ing. Its inex­pen­sive­ness and egal­i­tar­i­an aura are opposed to the rich chords it pro­duces and its sub­tle micro­ton­al and melis­mat­ic impro­vi­sa­tion pos­si­bil­i­ties. Since 2020, Veloce has been making pieces for cus­tom-tuned, dia­ton­ic harmonicas both as solos and in collaboration with other musicians and ensembles.    

Four composers present recent works that actualize the potentials of place and time in long-term if not life-time projects.

program:

Joseph Kudirka, Musique Suisse

Stefan Thut, another

Manfred Werder, [ the music of history ]

Nicolás Carrasco, sin título series 

Nicolás Carrasco (objects), Joseph Kudirka (music box, contrabass, objects), Stefan Thut (viol, objects), Manfred Werder (objects)

Music reflects the strata of cultural history in a conceptually condensed way. We always find the strategy of layering, which enables us to encounter the folded world in a certain and at the same time indeterminate way. This seems to be of importance: The precision with which the indeterminacy of each layer is attempted to be rendered. In the strata of cultural history, we never know exactly what is going on and where we find ourselves, they are impenetrable, but in some places, as infinitely gliding lines without points, we sense that we can interact, traversing and touching the impenetrable in certain ways. These are the moments in which ideas arise, ideas about the world that gain consistency in the immediate contact with the things of the world. This potentiality comes sometimes much closer to being violently shaken, in everyday survival anyway, and also in the arts as there is no escaping from the abyss of ambivalence. If we want to work on real ideas about the world, we cannot avoid radically surrendering to this gliding in the impenetrable layers of the world: Infinitely traversing the thresholds.

With kind support from Ernst Göhner Stiftung and the Swiss Arts Council Pro Helvetia 

Michael J. Schumacher, solo set with PMcSS (The Portable Multi-Channel Sound System)

The Portable Multi-Channel Sound System is a unique musical instrument designed specifically for Michael J. Schumacher’s spatialized compositions. It sets up in less than an hour and can be carried in a single suitcase, yet provides 12 fully discrete audio channels, complete with speakers, amplifiers and sound sources. The speakers are an assortment of small and tiny speakers, “naked” drivers and improvised resonators. They are essential in “filtering” the character of the sounds. 

Building on the pioneering work of composers such as Alvin Lucier and Maryanne Amacher, presentations explore the relationship between musical form and architectural space and how this relationship can inform listening. Combining installation and performance, algorithmic composition and improvisation, this goes beyond acoustics to the way people inhabit and use spaces, creating paradigms for listening and formal expectations. 

Bryan Eubanks (saxophone electronics) & Kaffe Matthews (The Ripley & electronics) present their recent work as a duo. 

Kaffe Matthews has been performing live music featuring outcomes of The Ripley, an instrument designed and built by Martin Howse. The Ripley is occupied with the generation and processing of all colors of noise, designed through alchemical discoveries made by the British alchemist George Ripley in the 15th century. Noise, colors, lightning, square waves, vomited wings and feathers, mashed through clocks and salt and fed by mercury to feed the final output – the Toad? – the gold?

Bryan Eubanks has been working with the soprano saxophone, electronics of his own design, and computer music. He improvises, composes, and is developing sound installations exploring acoustic holography. 

Dina Maccabee (voice, live electronics, composition), Evelyn Saylor (voice, live electronics, composition), Johanna Ackva (voice) and Marco Wessnigk (voice)

Composer/vocalists Dina Maccabee and Evelyn Saylor perform new duo works for their voices and live electronics. They will also premiere pieces for a cappella vocal quartet together with Johanna Ackva and Marco Wessnigk. The program explores the composers’ shared engagement with modal harmony, looped and cyclical structures, interlocking rhythmic play, and communal singing practices.

Divide by Zero #4

Joanna Mattrey, solo viola

Joanna Mattrey is a composer, improviser, and multimedia artist whose works blend installation, video, sound, and movement and are often site-specific, using the space to create intimacy with the audience. Her compositions use multimedia elements to strengthen and extend the transmission of her work, creating visual and sonic environments that deeply convey the themes of transformation, memory, social connection, loss, and spiritual journeys. 

Ben Bennett & Axel Dörner, duo for percussion and trumpet

Entangled Sounds 2024 #2

Lisa Simpson aka Agente Costura, solo set for hacked sewing machines and soft electronics

Graham Dunning, solo set for turntables and electronics

Lisa Simpson’s project Agente Costura is a continuous building site for self-playing, oscillating, blinking, touch sensitive, light sensitive, talking, soft, found, stitched, glitched, and hacked instruments, acting and reacting in an ever fluctuating state of chaos.

Graham Dunning's work explores sound as texture, timbre and something tactile, drawing on bedroom production, tinkering and recycling found objects. This performance is an exploration of the extended turntable system, using mechanical rotation to trigger, generate and modify sound.

with kind support from INM Berlin e.V.