This event takes place at Kastanienallee 77, Berlin-PrenzlauerBerg
http://salonbruit.org/

Mehmet Can Özer

… Der knapp 30-jährige Özer ist dabei strukturell, konzeptionell und was das sinnliche Erlebnis betrifft weiter als manche Akustiktüftler in unseren Breiten. Jörn Florian Fuchs (Wiener Zeitung)

Mehmet Can Özer was born in 1981. His professional career started when he was accepted to Bilkent University FMPA composition division with full scholarship. He’s studied composition and orchestral conducting with Bujor Hoinic. After graduating, he was accepted to Conservatoire de Géneve for both electroacoustic and intrumental composition divisions. There he’s worked with Michél Jarrell and Rainer Boesh. Later he’s studied in Zurich HMT with Gerald Bennett. In 2005 he moved to Turkey and took a job in Baskent University as a Lecturer.

He took part in the Halici-Midi Composition Competition (1998), Bourges International Electroacoustic Music Competition (2003 and 2007), received the Goethe Institute Artist Award (2006) and SWR Experimental Studio Grant (2008).

He has performed in several international festivals such as Bourges (France), AudioArt (Poland), Remusica (Kosovo), Busan Biennale (Korea), Pyramidale (Germany), Acousmania (Romania), SMC (Greece), Generator (Switzerland), Electro-Globe (Belgium), Create (USA), EMUfest (Italy), Ankara International Music Festival (Turkey), Granada Festival (Spain), Estoril Festival (Portugal), DE:Sonanz (Macedonia) and Apparat (Denmark).

Apart from being commissioned at home, he received commissions from I.M.E.B. (France), Musiques-Recherches (Belgium) and EMS (Sweeden) and has been invited from their studios to realize a piece. In 2005 he has started electroacoustic music concert series in Ankara and organized many concerts up to 2007. In 2008, he has commissioned by Goethe Institute for Ernest Lubitsch’s silent movie “The Oyster Princess” and gave improvised concerts through Turkey.

In 2009, first electroacoustic music CD in Turkey “Siyah Kalem’s Dance” has been released. In 2010, he has been commissioned by Thyssen-Bornemisza Art Contemporary (Vienna) for “The Morning Line” sound pavillon and by Visisonor Foundation(Amsterdam) for his “Siyah Kalem” project. Currently he is working on his software “Asure” and giving concerts with it. Mehmet Can Özer’s instrumental compositions also played in various places and he continues to write for both instruments and electronics. Currently he is a lecturer in Hacettepe University Ankara State Conservatory.

“Aşure” (pronounced as Ishuré) is a real time improvisational environment developed by Mehmet Can Özer. The project has different aspects in order to explore, to make research and all of them are connected with various fields such as composition, improvisation, software and hardware development, ethnomusicology, sociology, interaction between human and computer and the most important cultural exchange. Nowadays, we are faced with difficulties as far as international relations are concerned. Lack of communication and understanding we can only fight with “the other”. Consequently we are keep discriminating people. I am considering Western and Eastern Cultures as one and inseparable. During my research I learnt that, even geographically distant cultures may share the same things as well as variations of the original. Those things are called as “cultural entity”. This interdisciplinary project is going to be focused on mainly music and all the research and development process will follow the guidance of musical aims.

http://www.mehmetcanozer.com/Mehmet_Can_Ozer/Giris.html

Andre Bartetzki, geboren 1962 in Berlin, studierte Tonmeister an der Hochschule für Musik “Hanns Eisler” Berlin. Noch während des Studiums begann er dort mit der Einrichtung eines Studios für elektroakustische Musik (STEAM), das er bis 2002 leitete. 1999-2004 lehrte er am elektronischen Studio (SeaM) der Weimarer Musikhochschule und an der Bauhaus-Universität Weimar. Seit 2009 leitet er gemeinsam mit Volker Straebel das Elektronische Studio der TU Berlin am Fachgebiet Audiokommunikation. Er gab darüber hinaus Kurse zur Klangsynthese und algorithmischer Komposition u.a. an der TU-Berlin, HU-Berlin, der Hochschule für Musik und Theater Rostock, der Akademie der Künste Berlin, am Podewil Berlin, sowie an Musikhochschulen, Universitäten und anderen Einrichtungen in Bukarest, Prag, Lissabon, Seoul, Stockholm, Salzburg u.a.
Neben seiner Lehrtätigkeit arbeitet er als Programmierer, Sounddesigner und Toningenieur mit Klangkünstlern sowie Ensembles, Solisten, Komponisten und Veranstaltern im Bereich der Neuen Musik zusammen, u.a. Kammerensemble Neue Musik Berlin, Ensemble work in progress, United Berlin, Kairos Quartett, Ensembel Megaphon, William Forman, Helmut Zapf, Hanna Hartmann, Yueyang Wang, Matthias Jann, Johannes Wallmann, Miguel Azguime, Lenka Župková, Günter Heinz, Akademie der Künste, Kryptonale Berlin, Musikakademie Rheinsberg, Randspiele Zepernick, Inventionen Berlin.
Seine Software CMask für algorithmische Komposition wird weltweit verwendet und diente anderen Programmierern als Modell für eigene Entwicklungen.
Seine eigenen musikalischen und künstlerischen Projekte umfassen Klang- und Videoinstallationen, u.a. für das museum der dinge Berlin, für die singuhr hœrgalerie Berlin und wiederholt für das Randspiele-Festival in Zepernick, Tonbandmusik sowie live-elektronische Musik. Seine Musik wurde auf internationalen Festivals für Neue und Computermusik gespielt, wie z.B. Kryptonale Berlin, LAC 2007 Berlin, Pyramidale 2008 Berlin, Hörkunstfestival Erlangen 2006 und 2009, ICMC2002 Göteborg, ICMC2005 Barcelona, ICMC2007 Kopenhagen, ICMC 2008 Belfast, BIMESP 2002 São Paulo, SICMF 2003, 2004, 2005 und 2009 Seoul, Nuits d’hiver 2005 Marseille, ping! 2007 und 2008 Mallorca, ACMC 2005 Brisbane, deepwireless 2008 Toronto, emufest 2009 Rom, ElectroVisiones 2009 Mexiko. Er wurde Finalist bei Wettbewerben für elektroakustische Musik in Bourges und São Paulo. 2004 erhielt er ein Kompositionsstipendium vom ZKM Karlsruhe, 2007 ein Aufenthaltsstipendium am Künstlerhaus Lukas in Ahrenshoop, 2009 ein Aufenthaltsstipendium für Klangkunst in der Denkmalschmiede Höfgen.
Zwischen 1997 und 2004 war er Mitglied im Vorstand der Deutschen Gesellschaft für elektroakustische Musik (DEGEM) und dort u.a. für die Herausgabe der DEGEM-Mitteilungen verantwortlich.

http://www.bartetzki.de/de/index.html

http://moeslang.com/

Since 1992, ERIKM has extended the field of artistic experimentation on the international scene. Maintaining a constant fusion between thought, instinct and sensitivity, he pursues a simultaneity of practices and addresses the interplay between various compositional modes, relating to and using all languages. From his early experience as a guitarist through to his later visual work, he is a maverick genre-bender who breaks down anyone’s attempts to conveniently classify him.
Quickly recognised as a virtuoso turntablist and sound artist (1996), eRikm has made a longlife habit of crossing all territories and « world-systems » deemed “independent”, “institutional”.

Throughout his career, collaborations have naturally occurred with his audiences and contemporaries, most notably : Luc Ferrari, Christian Marclay, Akosh S., Mathilde Monnier, Bernard Stiegler, FM Einheit… The kind of coincidences which have confirmed his instinctive search for transmutation, and to play on several levels. eRikm is a Marseille based artist (Friche Belle de Mai)

www.erikm.com

DJ Pato
patooo.net

NADJA (CA/DE)

Nadja is a duo Aidan Baker & Leah Buckareff who duo began making music together in 2005, exploring sounds that encompass experimental music, drone, ambient, shoegazer, & doom metal.

Nadja will be touring in support of the forthcoming 2CD compilation Excision on Important Records.

http://www.nadjaluv.ca/

http://www.facebook.com/luvnadja

http://www.importantrecords.com/

OFF THE INTERNATIONAL RADAR (CA)

Off The International Radar is a quartet from Toronto, Canada exploring post-rock, kraut-rock, psychedelic and punk, mixed with electronic, experimental and drone.

This will be OTIR’s first European tour, in support of their forthcoming full-length.

http://www.offtheinternationalradar.com/

http://www.facebook.com/offtheinternationalradar

http://handdrawndracula.com/

PORTRAITS (DE)

Portraits is a large ensemble group with an evolving cast of musicians lead by Jefre Cantu-Ledesma (of Tarentel). Their debut release is forthcoming from Important Records and features contributions from members of Barn Owl, Tarentel, and Date Palms, among others.

Participating musicians for this evening’s performance tba.

http://soundcloud.com/jefre-cantu-ledesma/portraits-sa

http://shiningskull.com/

http://www.importantrecords.com/

Concert session:

John Duncan portrays his work as a catalyst, inciting a transmission of energy through which he seeks to compel the audience to actively participate in the process of investigation and self-discovery. His lengthy career of electroacoustic intensity and confrontational performance art events is the result of rigorous investigations into a number of arcane, metaphysical, and at times transgressive themes. (Jim Haynes, The Wire)

The sonic works of John Wiese categorised as harsh noise create feelings of unease in even the most seasoned experimental music audience. They can be recognised by their constant, idiosyncratic and unpredictable changes in dynamics – from total loudness to absolute silence – and cuts between drastically different sound materials.

Eli Keszler is a composer, artist and multi-instrumentalist based in New York City. In performance, he often plays drums, bowed crotales and guitar in conjunction with his installations. In his ensemble compositions, he uses extended strings, motors, crotales, horns and mechanical devices to create his sound, balancing intense harmonic formations with acoustic sustain, fast jarring rhythm, mechanical propulsion, dense textures and detailed visual presentations.

Bill Kouligas is a sound artist, composer and designer who also runs the sound art label PAN. He has collaborated with the likes of Joseph Hammer, Destroy All Monsters, C Spencer Yeh, John Olson, Christian Weber, Chris Corsano, RLW, Kouhei Matsunaga among others.

Dirk Paesmans is a part of the Jodi collective together with Joan Heemskerk, and has since the mid-1990s been creating original artworks for the World Wide Web.

Screening session:

Raoul Hausmann
Rückblick Einblick Ausblick (1971)
22 Min.

Jürgen Eckloff
Instruction 37/57 (2008)
29 Min.

Arf Arf
Thread of Voice (1993)
19 Min.

Ludo Mich
Saturnus (1971)
25 Min.

John Duncan
Dream House – Rage Room (2010)
12.54 Min.

http://elikeszler.com/
http://folksomy.net/ytct
http://johnduncan.org
http://www.john-wiese.com
http://www.pan-act.com/
http://www.rumpsti-pumsti.com

In 1976, Hayward and fellow Radar Favourites and Dolphin Logic member, Charles Bullen began practising with bassist Gareth Williams under the name This Heat. They began to experiment with tape loops, found sounds and keyboards on several sessions (recorded from 1976 to 1978, but not released until 1979). Finally, in 1979, This Heat released their self-titled debut album. 1981′s Deceit marked the final new album from This Heat, Williams leaving just after its release.

While Bullen began working as a studio engineer, Hayward did sessions for Lora Logic, the Raincoats and Everything But the Girl before forming Camberwell Now with bassist Trefor GORONWY and tape manipulator Stephen Rickard. The trio released several albums through the Swiss Recommended label.

When Camberwell Now disbanded in 1987, Hayward embarked on a solo career which has continued to the present day. He debuted with Survive the Gesture (1987), Skew-whiff (1989) Switch on War (1991) and My Secret Alphabet (with Nick Doyne-ditmas) in 1993. In 1998, he joined Massacre with Fred Frith and Bill Laswell. Throughout the 90′s up to the present he has initiated a bewildering array of events and performances , including the widely acclaimed series Accidents + Emergencies at the Albany Theatre, Out of Body Orchestra (too much sound, not enough space, not enough time), music made from the sound of the new LABAN dance centre being built which was choreographed for the official opening, music for a circus (part of the National Theatre’s ‘Art of Regeneration’ initiative), the full-on installation/performance Anti-Clockwise (with Ashleigh Marsh and David Aylward) for multiple strobes, maze structure of diverse textures, 2 drummers, synthesizers and your nervous system. Recent developements include the Continuity evenings as part of Camberwell Arts.

BARBEROS
http://vimeo.com/9784673
http://www.postmusic.info/

Barberos are four beards, 3’293’381’278’839 hairs, four drumsticks, 23 cables, four boys who met in liverpool, originally from Sheffield, Milton Keynes, Wales and Rome. After being involved with each other in various ways and various projects for two years, they eventually came together fuelled by a passion for loud noises, hitting things and of course, spandex.

Their music has been described as math/terror/doom/jazz/electronica, with very danceable breakdowns cutting through intermittently throughout the over all technical polly rhythmical, syncopated drum-dominated noise filled performance they deliver with their line up of two acoustic drum kits, synths and live visuals. All these factors, along with the costumes they wear (head to toe white spandex bodysuits), add to the band’s very impressive overall theatrical performance, which fits perfectly both on the small, and (preferably!) the large stage.

February 2010 saw them embark on their third UK tour in a year in which they have played shows in London, Brighton, Glasgow, Edinburgh, Manchester, Stafford, Milton Keynes, Dundee, Leeds and their hometown, Liverpool. In May 2010, the band completed a 14 date European tour with Stignoise, and a futher 6 date UK tour in June. In their short career they’ve shared the stage with: Tim Exile, Dälek, Charles Hayward, Chrome Hoof, Action Beat, Take a worm for a walk week, The network, Capillary Action, aPAtT, Stignoise.

Ultraspießer
http://www.julianbonequi.com/musik/index.php/ultra-speicer
http://www.radicalmatters.com/asp/web_editions.asp

“NK a well known place for avant-garde and experimental music in Berlin was the location where Julian Percy aka Ratbag (electric guitar treatment), Anton Maiof (voice, wii & max/MSP) and Julian Bonequi (manipulated drums & voice) came together in November 2010 to play Ultra Speicer, a stunning performance which promises a deep and intense sonic trip. Leading off with hypnotic drumming, distorted guitar lines embedded in ambient sounds the album moves to ecstatic drumming combined with female and male vocals, accompanied by well placed sound collages which achieve to carry off the listener to another state of consciousness.”

The concerts will promote new releases by Bolt Records – all dedicated to PRES and containing long-unreleased original (remastered) electronic pieces created in the Studio as well as new interpretations of the pieces. Among the interpreters featured on albums are John Tilbury, Eddie Prevost, Zeitkratzer, Thomas Lehn and many others.

http://patakaind.blogspot.com/2010/12/pres-revisited-in-memoriam-jozef.html

http://patakaind.blogspot.com/2010/12/bohdan-mazurek-sentinel-hypothesis_30.html

http://patakaind.blogspot.com/2010/12/zeitkratzer-plays-pres.html
http://boltrecords.pl/

http://patakaind.blogspot.com/

–
Artist Links:
www.zeitkratzer.de
www.reinhold-friedl.de

GenComp Collective Berlin: Chaotic, cybernetic, and hybrid systems.

Neurological and cybernetic research techniques have been adopted by many experimental music protagonists, such as Louis and Bebe Barron, Alvin Lucier, David Tudor and others. The GenComp Collective Berlin (Alberto de Campo, Hannes Hoelzl, and students, alumni and associates of the class Generative Art / Computational Art at UdK Berlin) explores the use of such systems for experimental performance. They use current developments like Rob Hordijk’s chaotic synthesizers(the Benjolin and the Blippoo box), Peter Blasser’s hybrid designs Fourses and the Rollz family of modules; they design, build and program their own performance systems based on a variety of sensors, analog electronics, and software synthesis.

The book to-be-launched: Choudhury, Suparna / Slaby, Jan (eds.):
“Critical Neuroscience. A Handbook of the Social and Cultural Contexts of Neuroscience.”

Critical Neuroscience: A Handbook of the Social and Cultural Contexts of Neuroscience brings together leading scholars in a collective effort to understand the impact of the intellectual, economic and political conditions on current views of the brain and how these models may in turn impact society. With illuminating insights and deep scholarly rigour, Critical Neuroscience offers a comprehensive interdisciplinary perspective that aims to enrich our understanding of the brain as situated in the body and world, and neuroscience as embedded in a complex cultural context.

http://eu.wiley.com/WileyCDA/WileyTitle/productCd-1444333283.html

Both workshop and evening event are open to the public; if you’d like to attend the workshop though, please do register [link to mpiwg website above] in advance.

With: Maya Dunietz, Tim Hodgkinson, Yoni Silver, Raul Suarez, Ioan Marius Lacraru, Andrei Kivu, Adam Sheflan, Shmil Frankel, Haggai Fershtman, Clotilde Lacroix, Vasile Comsa, Eran Sachs.

Hyperion was founded in 1976 by the composer Iancu Dumitrescu. As a starting point, Hyperion explored possible connections between the most archaic Romanian music – Byzantine music, folk music collected by Bartok, etc. – and today’s avant-garde music. It is a tradition of performance, of interpreting each new score as a provocation of the spirit, and a quest for new domains of sound. Aesthetically, at the heart of this work is the notion of spectrality as it developed in the work of Dumitrescu, Avram and other Romanian composers – that is: a specifically transformational spectrality, as opposed to the structural spectrality of the French Itinéraire group. Hyperion has performed all over Europe, Israel and in United States, and recorded numerous LPs and 28 compact discs. (from Mode Records- New York)

Clifford Torus is an embedded submanifold with Anders S. Hana- drums, synths, vocs (Moha! & Ultralyd) & Leon T. Barnett- guitar, vocs (Horacio Pollard).

Marinos Koutsomichalis (b. Athens, Greece 1981) sound-artist, composer. Active internationally in both academic and non academic milieus, MK is being composing and performing exploratory sound (and sometimes visual) art since the mid ’00s using a variety of mediums – computers, programming languages, acoustic instruments / ensembles, analogue electronics, loudspeakers, domestic appliances, environmental sounds or photography amongst others. He is mainly interested in how sonic/visual phenomena manifest in the space-time-consciousness complex and how he can create aesthetically intriguing artworks based on such manifestations as mediums in themselves. He has no interested in expressing or representing anything – his art aims rather at fulfilling space and at essentially stimulating one’ s state of being instead.He has exhibited works of his worldwide in acclaimed galleries, academias, festivals, churches, independent venues, etc. He has collaborated with Z’EV, Francisco Lopez, Marc Behrens, Kasper T. Toeplitz, Greg Haines, the Red Note Ensemble, N. Kyriazopoulos and others.

http://www.chocolateguns.com
http://cliffordtorus.blogspot.com/
http://www.marinoskoutsomichalis.com

Costantino Luca Rolando Kiriakos, born in Milan, Italy in 1966, moved to Greece at the age of 6, where, better known as Coti or Coti K., has been involved in various Athens pioneering electronic bands since the mid eighties (Ricochet, Dada Data, Raw, Spiders’ Web, In Trance 95). He works as a musician, composer, installation artist, record producer and sound engineer, and collaborations include: Tuxedomoon, Stereo Nova, Blaine Reininger, The Raining Pleasure, Nikos Veliotis, Ilios and others. He has released various solo CDs, written music for film, theatre, dance companies and TV. A member of club 2-13, he has played live electronics with many musicians including Evan Parker, Phil Durrant, Nikos Veliotis, Rhodri Davies, Andrea Neumann, Phill Niblock, Mark Wastell, Matt Davis and others.

Nikos Veliotis is cello player and video artist who at last after all these years needs little introduction to the greek music-loving public. Whether endlessly bowing, simply plucking, or grinding his cello to pieces, he’s guaranteed to add immesurable weight the proceedings. He’s been known to perform in the experimental outfits of Cranc (Rhodri & Angharad Davies), Looper (Martin Kuechen & Ingar Zach), Texturizer (with Coti K), Mohammad (Coti again, and Ilios), Vertical (with Anastasis Grivas) but also with the occasional songwriter type (David Grubbs, Giannis Aggelakas).

Active since the early 90′s in sound art and image, ILIOS has been exploring the extremes of sound and image derived phenomena. Through constant change in his sound palette touching and surpassing the limits of the sound spectrum ILIOS advocates for an anti-career. Some of ILIOS recorded output has been regarded by the media as: “The sound of death” or “The most enervating record imaginable”.

More than 200 live shows, lectures and workshops in 30 countries in: Asia, South + North America, Europe, Oceania pushing the space and body resistances to a hard test pursuing a state of alert for the human senses. Numerous audio releases including: “Kenrimono” based on sounds of pachinko parlours, “Vento Elektra” based on electric signals and home electricity, the “Symphonies for oscillators and internal combustion engines”, based on car vibrations; and many others. Also works for contemporary dance companies, theatre, films, animation. Collaborated with many sound artists live and in studio. Has been commissioned works by: World New Music days (Switzerland), Resonance Fm (UK), Yelp DanceCo (Greece), Fabrica (Italy), SineQuaNon (Greece), Grey (Denmark), DogPack (Greece), KineKine (Greece) a.o

Curatorial works include: “Electrograph – “Athens Sound Media” a festival on sound media in Athens (Curator + Co-director), Greece 2001 to 2006 ,SDR Muestra de Arte Sonoro de Santander in Santander, Spain since 2008 (Curator + Co-director), [Un]Commonsounds project (Co-director), sound events for the Athens Biennial (Curator), among others. Current parallel music projects include: Mohammad (Coti K / ILIOS / Nikos Veliotis), Loudspeaker (Chessex / ILIOS / Karkowski).

Since 1997, runs Antifrost, a publishing platform/label for sound media with more than 50 works published till date by renowned artists from all over the globe.

MOHAMMAD is the project of Coti K, ILIOS and Nikos Veliotis. Having worked separately in the experimental field they decided to join forces in order to study and work on the principles of inter-modulation using contra-bass (Coti K.), oscillators (ILIOS) and cello (Nikos Veliotis).

a review by (ParisTransatlantic):
This 280-copy limited edition triple-LP box, the sequel to last year’s intriguing Roto Vildblomma, will, I suspect, appear in many reviewers’ best-of lists. Mohammad – Nikos Veliotis, Coti K and Ilios – seem to have been born to produce ominous sonorities together, and this set definitely places them in favorable position to dominate Subsonic Valley while keeping a residence in Dark Melody County. There may be three discs, each with its own title (respectively, “Malad Van”, “Yap Divòce Tectónica” and “Dis Koraci”), but the core of this music is one and only one: the purveying of gaping tremor, either self-sufficient or strategically placed in a basic configuration not describable as a “tune”, but maybe a part of one, perhaps conceived by Black Sabbath, played on a mellotron and transposed down an octave. The timbral recipe – cello, double bass and oscillators – leaves no doubt on what the ears identify and descramble for the brain to retransmit to the body. The essential traits are right there: a powerful kind of subliminal throb – the sort of oscillation that sets loose objects in rattle-and-buzz mode at less than whispered volume – is persistently in motion, almost never absent. Its clutch is occlusive and convincing, the habitual sturdy pulsation materializing in a few seconds. Still, it’s not just low-frequency galore. The lyrical material (no better way to call it) revolves around extensive tones intertwined in mournful counterpoint and a quasi-systematic use of glissando, a phenomenon which some scientist should study to understand its emphatic repercussions on human consciousness. Similarly, the extraordinary morphing hum that characterizes “Ülvi Borzadás” at the onset of the second album would be valuable for therapeutic purposes. On the other hand, “Moniman”, the awesome “Tectonica” and “Grad” sound like East-European folk melodies slowed down to tortoise pace, unembroidered funeral marches for the ottava alta. Not to mention a handful of infinitesimal details (including even a barking dog) that underpin the gloomy moods and the sense of physical desolation. Act fast and secure a copy of what is destined to become a cult item.–MR

websites:
www.mohammad.gr
www.nikosveliotis.com
www.siteilios.gr
www.cotik.com