Festivals & Events

Contemporary Electro-Acoustic Music From Berlin

13.8. – 19.8.2018 @ Spektrum Berlin

Flux Festival is presenting various new works and projects of different experimental electro-acoustic music composers currently residing and/or working in Berlin. In the afternoons we will hold short lectures and Q/As with the invited artists talking about their working methods which will be followed by daily evening concerts in which the selected artists will perform new works and projects. We are presenting a wide spectrum of music, approaches and working methods. For reasons of concentration, intimacy and room size we consciously decided for solo sets only. With this festival we are aiming at giving a rough overview of the highly unique and diverse electro-acoustic music production in Berlin.

With amongst others: Tomomi Adachi, Liz Allbee, Boris Baltschun, Burkhard Beins, Andrea Belfi, Sofia Borges, Jim Campbell, Roy Carroll, Mario De Vega, Korhan Erel, Andrea Ermke, Hanna Hartmann, Annette Krebs, Joke Lanz, Felicity Mangan, Kaffe Mathews, Andrea Neumann, Andrea Parkins, Oliver Peters, Ignaz Schick, Richard Scott, Eliad Wagner, Marta Zapparoli, …



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.


22. – 25.10.2009 AKADEMIE DER KÜNSTE

T.I.T.O. – The International Turntable Orchestra


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



TIME SHIFTS #1 – 3.11.2007

Mike Cooper (lap steel guitar, electronics, vocals)

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

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




erase & reset poster01.09.2006 21:00 – 02.09.2006 09:00 @ Ausland Berlin


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




24.07.2003 21:00 – 25.07.2003 09:00 @ Staatsbank Berlin


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)

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.


Festival of Polish Experimental Sound
October 24th – 29th 2005


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)

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


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
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)