Michiko Ogawa

Release concert for Pancake Moon (Futura Resistenza 2025)

Michiko Ogawa's Pancake Moon drifts between darkness and light, weaving sho, piano, and synthesizers into a soundworld where memory, loss, and rebirth dissolve into one another. 

Marcus Pal, solo sound synthesis

Marcus Pal is a sound-artist, composer and theorist working with harmonic sound. Their work focuses on the phenomenology of intensity, clarity and possibility as it manifests in the perception of tones, chords, harmony and other forms of harmonicity. Marcus is interested in how our ways of conceptualizing harmonic sound, and perceptual experience more generally, limit and shape the possibility space of listening. 

Labor Neunzehn's Cluster #44

Andrés Nuño de Buen, solo for acoustic synthesizer

Andrés Nuño de Buen performs his "acoustic synthesizer" installation with a nod to Hermann von Helmholtz and the 19th-century investigations of overtones that laid the groundwork for electronic music. Vibration and resonance are central to Andrés Nuño de Buen's music, which strives for a sensory immediacy eluding verbal explanation. He works with acoustic instruments, electronic media, objects, and instruments he builds himself. His current solo work focuses on an "acoustic synthesizer"—a sound installation of tuning forks, electromagnets, and glass bottles that produces sound through physical interaction alone. The sound is heard directly from the objects—no loudspeakers or digital processing. 

Screenings of Julie Murray, If You Stand with Your Back to the Slowing of the Speed of Light (1997, 16mm, 18'), and Eva Giolo, The Taste of Tangerines (2019, 16mm, 11')

Skultura 

Cansu Tanrıkulu (voice/live processing), Liz Kosack (synthesizer), Eldar Tsalikov (clarinet), Nick Dunston (double bass) & Mariá Portugal (drums) with special guest Merve Salgar (tanbur)

Skultura is Nick Dunston’s primary working band. Based in Berlin, the electroacoustic quintet employs explosive improvisations within the context of Dunston’s compositions. The group does not necessarily run away from any genres and musical traditions, but rather leans into, even exaggerates them while also hybridizing them with many different musical palettes.

Elliot Simpson performs guitar works by Walter Zimmermann and Nils Günther.

Program:

Walter Zimmermann, Stücke für Gitarre

15 Zwiefache (1980), Irrgarten (2004/2023), evoL (2001/2023), Est-ce-Mars (1998/2016), Tre Stanze (2017), Sentenzen (2005), Bridget Riley’s Circles (2024), Blindtexte Birke I–V (2025) (Transkriptionen der Zeichnungen von Beate Spalthoff)

Nils Günther, White Cloud Music #1, Purple Fungus Song für Elliot Simpson

Madison Greenstone, exstatic resonances for solo clarinet

Madison Greenstone is a clarinetist, writer, and composer based in Brooklyn. Their solo practice, exstatic resonances, explores phenomenological, material, and spatial expressivities of sound through richly noisy timbral actions.

Hunter Brown, solo electronics

Hunter Brown is a musician and sound artist whose experimental practice explores the intersection of digital simulation and human sonic perception. His work investigates how digital representations of sound, the materiality of audio systems, and computational abstraction shape auditory experience. This practice often manifests through the implementation of unconventional synthesis and analysis methods, machine learning, psychoacoustic phenomena, and spatial audio techniques. 

Die Enttäuschung

Rudi Mahall (bass clarinet, clarinet), Axel Dörner (trumpet), Jan Roder (double bass) & Kasper Tom (drums)

On the heels of its recent releases on Two Nineteen Records—Music Minus One and Die komplette Enttäuschung—the legendary Die Enttäuschung enter their next phase with drummer Kasper Tom. 

Power Loom #20

Solo electronics sets by VOSP and Plastic Bag

VOSP is the solo audio work of Eric Grieshaber, also known for Soft Target and collaborative projects such as Pool and Hand of Food.  With VOSP, a blend of field recording techniques and modular and computer synthesis result in a discomforting approach to concrete music and composition.   

Plastic Bag is the tape noise/electronics offshoot project of Ren Schofield aka Container (Morphine, Alter, Spectrum Spools).

Harpist Cara Dawson presents The Just Tuned Harp, a concert exploring the possibilities of the harp in just intonation. Developed through close collaboration between composers and performer, these works use unique tuning systems to explore the instrument’s microtonal and harmonic possibilities, contributing to the growing repertoire of just intonation music for the harp.

Program:

Kevin Kay, lux perpetua for two lever harps

Marc Sabat, The Tree for harp and lumatone

Thomas Nicholson, Ultramarine for harp

Cara Dawson (harp, lever harps) & Sebastian Dumitrescu (lumatone)

Kai Fagaschinski presents Aerodynamics (Ni Vu Ni Connu 2025), his new double album and first ever (kind of) solo release, comprising two large clarinet ensemble pieces. On this occasion, he gives the Berlin premiere of The Evil of Banality for four clarinets.

Liz Allbee presents her new solo album Breath Vessels (Ni Vu Ni Connu 2025), composed with self-made acoustic instruments.  On this evening, she also screens the audio-visual piece Elegy for the Lost at Sea and performs her latest text piece We will breathe back light ...

Dylan Kerr & Weston Olencki, with sharp bitter lines for voice, dulcimer, talkbox, and electronics

with sharp bitter lines is a set of songs—mostly about loss, coal, and emigration—that trace the unruly tethers between Ireland and Appalachia. Written and performed by Dylan Kerr and Weston Olencki, it draws upon their shared interest in the spaces between experimental sound, multichannel synthesis, and vernacular musics. Drawing on the work of folklorists Dolores Keane and Jean Ritchie, with sharp bitter lines uses digital string synthesis, voice, an Appalachian mountain dulcimer, and a talkbox to reimagine the future lineages of the ballad tradition, including tunes such as "Green Grows the Laurel," "Two Sisters," "Sliabh Geal gCua na Féile," "The Shoofly," and "Shady Grov."

Multiplex is a series dedicated to experimental and artists' films, readings, and performances organized by Zach Hart & Bryony Dawson. The fourth edition presents screenings of recent work by Sanya Kantarovsky, Jessica Wilson, and Sondra Perry and a solo performance by DJ SchluchT.

Program:

Sanya Kantarovsky, A Solid House (2022, 12:21, HD Video)

Jessica Wilson, Pretend I'm Dead (2024, 5:08, CG animation)

Sondra Perry, It's in the Game '17 (2017, 16:32, HD Video) 

DJ SchluchT, solo electronics

Asterales

Léo Dupleix (keyboards), Jon Heilbron (double bass), Rebecca Lane (quarter-tone flute) & Frederik Rasten (guitars) 

Members of Asterales perform new compositions by Dupleix, Heilbron, Lane & Rasten.

Saviet/Houston Duo present recent violin and keyboard works by Saviet/Houston, Chiyoko Szlavnics, and Zeynep Toraman. Formed in Berlin in 2019, Saviet/Houston Duo focuses on collaborations with composers, new and experimental music, their own compositions, and 19th- and 20th-century music. In 2024, they released a clearing (Marginal Frequency 2024), featuring five jointly-composed pieces for violin and piano, followed by lines we gather (Winter & Winter 2025) featuring duos by Poppe/Saunders, Lawrence Dunn, Michael Finnissy, Iannis Xenakis, and Saviet/Houston.

Program:

Saviet/Houston, Walking, waking for violin and piano (2025)

Chiyoko Szlavnics, New work for violin and piano (2025)

Zeynep Toraman, Duo for Violin and Synthesizers (2025)

Labor Neunzehn's Cluster #44

Drawing from a carefully selected palette of electro-acoustic textures and shapeshifting rhythms, Passepartout Duo’s work investigates the way in which we listen to and connect with sound. Reassessing the tools they use to create their music, Nicoletta Favari and Christopher Salvito are continually developing a specialized and evolving ecosystem of handmade musical instruments that have ranged from analog electronic circuits and conventional percussion, to room-size textile installations and found objects.

Erosão Septet

Mariá Portugal (drums, percussion), Angelika Niescier (alto sax), Lotte Anker (sax), Matthias Müller (trombone), Moritz Wesp (trombone), Carl Ludwig Hübsch (tuba) & Reza Askari (double bass) 

Erosão Septet, composed by outstanding musicians from the Cologne, Copenhagen and Berlin jazz/experimental scene, uses song as raw material for free improvisation. Mariá's songs are intertwined with other elements, such as Brazilian musical tradition, international pop music, European classical music, and pieces from the other musicians in the septet. These "samples" form a musical compendium with which the musicians can freely play and relate to when improvising. With this approach, Portugal seeks to challenge the conventional idea of authorship and established musical hierarchies between voice and instruments and between composition and improvisation, subverting the common format of a pop/jazz-song concert.