REFLUX – Festival für zeitgenössische elektroakustische Musik
14.9., 16.9., 18.9., 25.10., 27.10., 29.10., 10.12., 11.12. & 13.12.2022
@ St.Elisabeth, Kulturraum Zwinglikirche, Kleiner Wasserspeicher, Kesselhaus Herzberge, KM28, Spreehalle, Uferstudios, Amerika-Gedenk-Bibliothek, Theater im Delphi
with amongst others Pierre Berthet (B), Mario Bertoncini (IT), Charo Calvo (ES), Martina Claussen (AT), Lawrence English (AUS), Luc Ferrari (F), Beatriz Ferreyra (ARG/F), Annette Vande Gorne (B), Jasmin Guffond (AUS/D), Roland Kayn (D/NL), Douglas Lilburn (NZ), Francisco Lopez (ES), Sachiko M (JAP), Lasse Marhaug (NOR), Katsura Mouri (JAP), Sean Meehan (USA), Rie Nakajima (F/JAP), Jerome Noetinger (F), Charlemagne Palestine (B/USA), Bernard Parmegiani (F/IT), Josef Anton Riedl (D), Rainer Riehn (D), Philip Samartzis (AUS), Tomoko Sauvage (F/JAP), Valerio Tricoli (IT), …
Artistic direction: Ignaz Schick & Werner Dafeldecker
REFLUX is a production of zangimusic.wordpress.com with the financial support of Hauptstadtkulturfonds Berlin
FLUX FESTIVAL
Contemporary Electro-Acoustic Music From Berlin
13.8. – 19.8.2018 @ Spektrum Berlin
Flux Festival presents seven days of concerts and talks from 30 solo artists of the current Berlin experimental electro-acoustic music scene.
Artists include Tomomi Adachi, Liz Allbee, Boris Baltschun, Rashad Becker, Burkhard Beins, Andrea Belfi, Sofia Borges, Jim Campbell, Roy Carroll, Mario De Vega, Sabine Ercklentz, Korhan Erel, Andrea Ermke, Evapori, Hanna Hartman, Hatam, Annette Krebs, Cao Thanh Lan, Joke Lanz, Felicity Mangan, Kaffe Mathews, Andrea Neumann, Rieko Okuda, Andrea Parkins, Ignaz Schick, Richard Scott, Wolfgang Seidel, Eliad Wagner, Marta Zapparoli, …
In the last 20 years an incredibly multi-faceted & adventurous experimental music scene has evolved in Berlin. The scene currently consists of several generations of protagonists and a vast stylistic spectrum ranging from Improvised Music, Free Jazz, Echtzeitmusiik, Electronica, Noise, Sound Art, Electro-Acoustic Music to composed Contemporary Music with fluent crossovers into the vital club scene (Electronica, Techno, Dubstep, Breakcore, Ambient).
Many musicians of this younger Berlin generation are working with electronics or electro-acoustic devices. The working methods of these musicians/composers are as multifarious as the stylistic results of their music. There are artists who focus on improvisation, others are composing or building installations. Some work with complex and precisely elaborated (custom programmed) software, others rely on analog synthesizers and old oscillators. Some are using self-made objects or instruments while others work with pre-produced field recordings or base their work entirely on found materials like old vinyl records or sampled sound archives.
Another characteristic of the Berlin scene is its strong international interconnection and attraction. In recent years, musicians and composers from all over the world have been moving to Berlin with the aim of engaging with and enriching the vital musical discourse.
FLUX FESTIVAL will present a one week festival of new pieces and works from some of the most important players of this vibrant music scene. Each afternoon invited artist will give a short lecture talking about their working methods and musical approaches. Evening concert sets follow where artists present new pieces commissioned especially for the festival. With 4-5 sets nightly and a maximum duration of 25 minutes per performance, the festival surveys a mosaic-like overview of the current experimental electronic music scene in Berlin. We aim to present the scene in all its complexity with the intention to build evenings of diverse, contrasting music. As a venue we have chosen Spektrum in Neukölln – a rather small and compact room with an intimate and concentrated listening situation.The program can be seen as both inventory and retrospective of 20-25 years of electro-acoustic music in Berlin. All concerts will be recorded and we are planing to release a CD-Box of the entire festival.
Artistic Direction & Production: Ignaz Schick / zangimusic.wordpress.com
Funded by Berlin Senate Department for Culture & Europe
Media Partners: JAZZTHETIK & ZITTY
ECHTZEITMUSIKTAGE 2010
20 YEARS OF REAL TIME MUSIC IN BERLIN – RESTROSPECTIVE AND OUTLOOK OF A SCENE
08.09. – 30.09.2010 @ Sophiensaele, ausland, St.Elisabethkirche, Festsaal Kreuzberg & Naher Osten
program overview: http://festival2010.echtzeitmusik.de
Over 60 concerts in September with Chris Abrahams, Thomas Ankersmit, Martin Brandlmayr, Tony Buck, Nicholas Bussmann, Antoine Chessex, Eckehard Ehlers, Jason Forrest, Heaven And, John Hegre, Groupshow, Margareth Kammerer, Annette Krebs, Christof Kurzmann, Perlonex, mo:ha!, Paul Lovens, Stephan Mathieu, Kapitalband 1, Andrea Neumann, Die Enttäuschung, Olaf Rupp, Ignaz Schick, Mika Vainio, Burkhard Beins, Clare Cooper, Vladislav Delay, Axel Dörner, Hammerriver, Sven Ake Johansson, Greg Malcolm, Mattin, Monno, Phosphor, Clayton Thomas and many more !!!
The term „Echtzeitmusik“ (trans. real time) means that the decision about what one plays happens in the moment of playing. So is Echtzeitmusik really nothing else than improvisation. Or is it that simple? Since the fall of the Berlin Wall, Echtzeitmusik has tried to be something entirely different from the musical discipline “improv”. Maybe this new term was even chosen specifically to distance oneself from the established, insular Berlin improv and free-jazz circles.
Around the same time as the fall of the Wall a new generation of experimental musicians, improvisors and sound artists came to settle in Berlin. A scene started to form in in 1994 and 95 which became known as the so-called Echtzeitmusik scene. Its “members” came from all possible countries, having fled their origins due to the hopeless conditions for creative work their. Berlin on the other hand was going through a period of change and awakening. There was practically unlimited space and possibilities to try stuff out here and the living costs were low from the start. And so young, daring musicians flocked to Berlin in the first half of the 90s, formed projects and bands, or set out as solo acts looking for a new language of sound. Concerts were organised in the then still highly active squat scene or in otherwise empty buildings of which there were many. Right from the word go Echzeitmusik was characterised by a multitude of styles. It’s bandwidth stretched from electro-acoustic music, new reductionism, noise, jazz, avant rock, pop/songwriting, new composed music, performance, sound-art/installations all the way through to rock and club music (techno, electronica).
The Echtzeitmusik Festival 2010 presents this scene as compact and comprehensive as never before. A scene that has more resemblance to a beehive than a circle of insiders bound to a certain set of rules. And yet this swarm is one unified body. This body has developed a sense of common identity that is defined by its openness and curiosity. What unites the individuals that make up this group is a daring relationship with materials that produce sound. At the end of the day the “members” of this scene all have the desire for experimentation and an urge to search for new sounds and ways of expressing themselves. This also entails the consistent refusal of any form of formating. Wether one sees oneself as part of a scene or not is unimportant. Anyone looking for radical expression and who is ready to exchange this with others belongs to the scene. This is how musicians whose way of working is apparently contrary to the true meaning of Echtzeit music are able to move in Berlin’s Echtzeit circles. For many of them the music comes about BEFORE the concert, wether on computer or through intensive rehearsals. It’s pre-prepared and repeatable. The openness of the scene, which has always had a strong code, is evident in it’s
acceptance of such artists. It’s more about having an artistic attitude, originality, curiosity and being musically radical.
Festival curator Ignaz Schick has shaped the program in a way as to make themes and groupings recognisable. With subtitles like „the struggle continues“, „in exile / home again“ or „the world and the raw people“ individual currents within the scene will be gathered together thematically. And Schick has made sure that each evenings concert program is rich in contrast. Parallels in content and overlap in personnel are cleverly highlighted through a multitude of ensembles. That Berlin Echzeitmusik has become internationally recognised is not just evident through the worldwide tour calendars of the individual players. The massive influx of unknown as well as internationally acknowledged experimental musicians and sound artists says the same. At the same time, Echtzeitmusik within the city is enjoying a boom. So many performance locations have popped up that it’s hard to keep an overview of them all. And the scene remains flexible and nomadic at all times. If one concert venue disappears or is officially forced to close, house concerts will be organised instead or new venues open up immediately in other districts. In this way the Echtzeit scene has managed to survive the gentrification of entire districts such as Prenzlauer Berg, Mitte & Friedrichhain. And this is the reason that Berlin has managed to stay on top of other experimental music cities like New York, Chicago, London, Paris, Tokyo or Sydney.
http://echtzeitmusiktage.zangimusic.de
22. – 25.10.2009 AKADEMIE DER KÜNSTE
T.I.T.O. – The International Turntable Orchestra
with
Claus Van Bebber (Kalkar)
Maria Chavez (Brooklyn)
Dieb 13 (Vienna)
Wolfgang Fuchs (Linz)
Philip Jeck (Liverpool)
Joke Lanz (Zuerich)
erik m (Marseille)
Katsura Mouri/Busratch (Kyoto)
Martin NG (Sydney)
Arnaud Riviere (Paris)
Marina Rosenfeld (New York)
Ignaz Schick (Berlin)
Martin Tetreault (Montreal)
Takahito Yamamoto/Busratch (Kyoto)
with public rehearsals, solo prasentations, duo, trio & quartet performances and a daily orchestra slot presenting concepts, pieces & instructions by its distinct members …
for more information check
http://tito.zangimusic.de
http://www.adk.de
TIME SHIFTS 2007
TIME SHIFTS #1 – 3.11.2007
Mike Cooper (lap steel guitar, electronics, vocals)
Perlonex
Ignaz Schick (turntable, sine waves, objects)
Joerg Maria Zeger (guitars)
Burkhard Beins (percussion, objects)
TIME SHIFTS #2 – 4.11.2007
Johannes Bauer (trombone)
Clayton Thomas (bass)
Paul Lovens (drums)
TIME SHIFTS #3 – 1.12.2007
Boris Baltschun (electronics)
Dietmar Diesner (saxophones)
Ignaz Schick (turntable, objects)
TIME SHIFTS #4A – 2.12.2007
Arnold Dreyblatt (strings, percusssion, electronics)
Konrad Sprenger (strings, percussion, electronics)
TIME SHIFTS #4B – 2.12.2007
Thomas Ankersmit (alto saxophone)
Sven Åke Johansson (percussion)
all concerts @ ausland Berlin
Lychenerstrasse 60
Berlin-Prenzlauer Berg
http://www.ausland-berlin.de
TIME SHIFTs is a concert series consisting of 4 nights with 5 different constellations. Each set brings together so-called “old heroes” and “young stars” from the world of experimental & improvised music. The selected artists come from different generations (born in between 1942 – 1979) and various stylistic backgrounds like noise, free folk, free jazz, electro-acoustic improvisation, minimal music, avant pop, …. The idea was to invite artists who are all open to challange and to break down artistic boundaries. In the last 15 and more years the Berlin scene (similiar to scenes elsewhere) was constantly in danger of being divided into many small & rivaling mini-fractions – little sub-scenes which often acted with a lot of scepticism and competition against each other. Time Shifts tries to work against this tendency and wants to start a dialogue between seemingly opposed positions.
Time Shifts is a co-production of Zangi Music Berlin & Ausland Berlin is supported by Initiative Neue Musik Berlin e.V. & Konzert des Deutschen Musikrates
http://www.myspace.com/cooparia
http://www.cooparia.org.uk
http://zangimusic.de/index.php?id=9
http://www.burkhardbeins.de
http://www.myspace.com/doubleclayton
http://www.99ct.org
http://www.saxophon-actor.de
http://www.zangimusic.de
http://www.dreyblatt.net
http://www.sven-akejohansson.com
ERASE & RESET 2006
INT. NIGHT OF EXPERIMENTAL & ELECTRONIC MUSIC
01.09.2006 21:00 – 02.09.2006 09:00 @ Ausland Berlin
with
Claus Van Bebber (D) – record players
Alexei Borisov (RUS) – analog synth, laptop
Yannick Dauby (F) – field recordings, laptop
John Hegre (NO) – feedback guitar, electronics
Michael Northam (USA) – magnetic table harp, devices
Iwan Palacky (CZ) – amplified knitting machine
Anthony Pateras (AUS) – analog synth, laptop
Ignaz Schick (D) – objects, turntables
ERASE & RESET is a 12 hour marathon concert involving 8 musicians. the continuos flow of music will start at 21:00 and not end until the next morning at 09:00. The event will present each musician in a short solo set and will then proceed to a marathon of all possible duo combinations.
For the second time, Erase & Reset 2006 reunites an international line-up of electronic experimental musicians who have been working for years on furthering developments in electronic music and, at the same time, managed to avoid the trapdoors of fashionable genres.
Again we invited players of very diverse stylistic backgrounds and instrumentation; and most of them haven’t yet been presented to a larger audience in Berlin. No matter what tools they use or which style they are associated with – all of them consciously accept risk as a desirable parameter in their music. most of the participants meet & play together for the first time.
The audience is welcome to stay over at the Ausland. Bring your sleeping bag and make yourself comfortable!
Financial Support: Initiative Neue Musik Berlin e.V.
also check ausland-berlin.de
cvbebber.de
nbresearchdigest.com/borisov
yannickdauby.net
dekorder.com/artists/hegre.html
preg.org/~mnortham
kaon.org/mnortham/
palacky.org
anthonypateras.com
myspace.com/ignazschick
ERASE & RESET 2003
INT. NIGHT OF EXPERIMENTAL & ELECTRONIC MUSIC
24.07.2003 21:00 – 25.07.2003 09:00 @ Staatsbank Berlin
with
Thomas Ankersmit (NL) – modular analog synthesizer
Xavier Charles (F) – vibrating surfaces, turntables
Phil Durrant (GB) – software synth/sampler, live electronics
David Galbraith (USA) – analog oscillators & selfmade circuits
Dominik Kowalczyk (PL) – sampling software, computer
Ignaz Schick (D) – objects, signal processors, turntables
Jacek Staniszewski (PL) – sampling software, computer, things
Torben Tilly (AUS) – live-electronics, pedals
25.07.03, 21:00
After Event @ Club der Polnischen Versager
with FACIAL INDEX (Warsaw, PL) & WOLFRAM (Warsaw, PL)
ERASE & RESET
resembles an international line-up of young artists who have helped to push further developments in experimental electronic music – each of them standing for an unique and personal approach.The meeting will present all of them in a solo set and then would proceed through a marathon of all possible duo permutations.
AUX POLE’N 2005
Festival of Polish Experimental Sound
October 24th – 29th 2005
with
Kamil Antosiewicz aka Mem laptop
Zbigniew Karkowski laptop
Robert Piotrowicz guitar, analog synty
Ignaz Schick turntables, objects
Maciek Sienkiewicz laptop,
Jacek Staniszewski laptop, turntable
Wolfram laptop
Anna Zaradny alto saxophone, laptop
AUX POLE’N is a touring festival representing current projects of the Polish experimental music scene. The musicians taking part in it are representing various trends in current electronic music.
The line-up contains the laptop artists (Wolfram, Sienkiewicz, Staniszewski), musicians creating free improv and noise (Zaradny, Schick, Piotrowicz, Antosiewicz) and the exquisite persona of Zbigniew Karkowski, well-known for his own work and cooperation with famous electronic music artist all over the world.
The Polish scene of experimental music is still developing and searching, however, in the recent years musicians have managed to find their own ways of creation and some distinctive personalities have appeared.
The artists mentioned in the line-up have been cooperating for years in many different configurations. They are also active off-stage.
They organize festivals and concerts (ALT+F4, Musica Genera), release records, etc. Polish scene is created by devoted and determined individuals, usually outside institutions, very often in small, one-man projects.
AUX POLE’N is a co-operation of
Salvia, Center for New Forms Association (www.salvia.pl)
Musica Genera (www.musicagenera.net)
Zangi Music (www.zangimusic.de)
with Tesla Berlin, Kulturbunker Cologne-Mühlheim & Tube Munich
and is sponsored by
Instytut im. Adama Mickiewicza (www.iam.pl) in frames of Polish-German Year 2005/2006 in Germany (http://www.de-pl.info)
DATES:
24.10.05 Tesla Berlin
25.10.05 Tesla Berlin
26.10.05 Kulturbunker Cologne-Muehlheim
27.10.05 Kulturbunker Cologne-Muehlheim
28.10.05 Tube Munich
29.10.05 Tube Munich
FESTIVAL FÜR AKTUELLE MUSIK 1998–2001
FAM 2001
25.11. – 27.11.01 @ Forum Elisabeth Berlin
Phosphor Spezial
Burkhard Beins (percussion)
Alessandro Bosetti (soprano saxophone)
Axel Dörner (trumpet, electronics)
Robin Hayward (tuba)
Annette Krebs (electro-acoustic guitar)
Andrea Neumann (inside-piano)
Michael Renkel (acoustic guitar)
Ignaz Schick (live-electronics)
part one: small groups
part two: orchestra
FAM 2000
28.09. – 30.09.2000 @ Staatsbank Berlin
28.09.00, 21:00
Durrant/Schick/Beins (D, GB)
Phil Durrant (violin)
Ignaz Schick (electronics)
Burkhard Beins (perc)
Joerg Maria Zeger Solo (D)
Joerg Maria Zeger (guitars)
+ Listening Room: Daniel Löwenbrück
29.09.00, 21:00
Alessandro Bosetti Solo (I)
Alessandro Bosetti (soprano saxophone)
Ticklish (GB)
Phil Durrant (electronics)
Kev Hopper (electronics)
Richard Sanderson (electronics)
Rob Flint (video)
+ Listening Room: Annibale Piccici
30.09.00, 21:00
Axel Dörner Solo (D)
Axel Dörner (trumpet/electronics)
Schick/Ermke/Krebs/Neumann (D, CH)
Ignaz Schick (electronics)
Andrea Ermke (sampling)
Annette Krebs (guitars)
Andrea Neumann (innenklavier)
+ Listening Room: Ed Benndorf
photoexhibition of Ingo Scheffler for the duration of the festival
FAM 1999
15.01. – 17.01.1999 @ NY Berlin & Meinblau Berlin
15.01.99, 21:00, NY
Perlon
Ignaz Schick (electronics)
Jörg Maria Zeger (guitar, electronics)
Burkhard Beins (percussion)
Ole Jarchov (electronics) playing “Idesweeg”
special guest: Anja Witte (soprano)
16.01.99, 17:00, Meinblau
Activity Center
Michael Renkel (guitars)
Burkhard Beins (percussion)
16.01.99, 21:00, Meinblau
Petit Pale
Ignaz Schick (electronics)
Andrea Neumann (inside piano)
playing surrealist and dada films:
L’Etoile de Mer (F, Man Ray, 1928)
Entr’Acte (F, René Clair, 1924)
Un Chien Andalou (F, Buñuel/Dali, 1926)
Edmundo Rosa playing “Perm
Ignaz Schick (electronics)
Sascha Brsma (electronics)
Martin Kirchbach (live sound doctoring)
Martin Kirchbach (electronics, samples, projections) “11th Dream”
17.01.99, 17:00, NY
Joe Williamson Solo (bass)
Andrea Neumann Solo (inside piano)
17.01.99, 21:00, NY
Odradek Distortion
Michael Renkel (electronics)
Markus Wettstein (scrap metal, electronics)
Harri Ansorge (electronics) playing “triple”
FAM 1998
30.01. – 01.02.98 @ NY Berlin
with Ignaz Schick (electronics), Anne Krickeberg (cello),
Nicholas Young (cello), Davide De Bernardi (bass), Andrea Neumann (inside piano), Sascha Brsma (electronics),
Petit Pale, Edmundo Rosa, Martin Kirchbach (live sound), Volker Barndt (projections)
Ignaz Schick & his network of Zangi Music 