TAK Ensemble performs Weston Olencki's when the great fires were lit on the other side of the ocean (record release concert)

Laura Cocks (flute), Madison Greenstone (clarinet), Marina Kifferstein (violin), Charlotte Mundy (voice), Ellery Trafford (percussion)

Dylan Kerr, selection of sean-nós and other traditional songs

Borrowing its title from the psychogeographical excursions of W.G. Sebald, when the great fires … takes its own journey through real and imagined histories of electricity, using myriad perspectives and mythologies around electrical force to re-enchant its ubiquitous presence throughout our recent past. The musical settings are as varied as their source materials: slow-burning, mesmeric drones constructed from the harmonics of 60Hz ground hum, crackling textures of the electromagnetic ether, field recordings taken at Nikola Tesla's first AC power plant in Niagara Falls, and a speculative contrafactum of old Irish balladry.  

Sean-nós (meaning "in the old way") singing is a traditional Irish solo vocal practice that is usually unaccompanied and in the Irish language. Each singer has their own personal interpretation of the songs, as they are learned by ear and one may decide to make changes that suit their expression of the song and its story. It often features highly ornamented and melismatic melodic lines (with significant regional variation), free, speech-like rhythm and a nasal tone.

TON

Matthias Muche (trombone), Etienne Nillesen (extended snare drum), and Constantin Herzog (double bass)

The music of TON operates in the liminal space between improvisation and composition, where shifting textures and microtonal structures unfold in slow-motion transformations. Drawing on minimalist, spectral, and extended instrumental techniques, their sound is less about individual gestures and more about emergent sonic phenomena, where the interplay of overtones, resonances, and microtonal frictions creates an immersive, constantly evolving environment. 

Marmalsana

Burkhard Beins (percussion)

Maurice Louca (acoustic quarter-tone guitar)

Tony Elieh (acoustic bass guitar)

Cansu Tanrıkulu (voice, clarinet)

Beins, Louca, and Elieh formed Maralsana to work on collective compositions played only with acoustic instruments without amplification, using extended techniques and objects to create soundscapes of drones, textures, melodies and polyrhythms. This journey leads from Beirut via Berlin to Cairo and forms a nomadic musical language. Elieh and Beins have their own duo, Zone Null (featuring two electric basses and electronics), while Elieh and Louca are also members of Karkhana and Dog Plugs.  

Abrubto

Marina Mello (harp), Mauricio Takara (drums, percussion), Mariá Portugal (drums) & Carla Boregas (electronics)

The Abrupto project features compositions written by Marina Mello for her new quartet. Abrupto is the result of intensive rehearsals in Berlin, during which ideas, compositions and collaborative creative projects were explored and developed. 

Tamar Osborn, Varier: Berlin

Tamar Osborn (baritone sax & flute), Regis Molina (saxophones & flutes), Maurice Louca (prepared guitar & electronics), Rosa Brunello (bass), Bex Burch (percussion) and Dudú Kouate (percussion)

Record release concert for Tamar Osborn's latest release Varier: Berlin (Dark Circles 2026). Centered around the concepts and rituals of improvisation, collaboration and music as a tool for healing, Varier is a project drawn from two recording sessions completed in different cities—Berlin and London—with two different ensembles. The Varier: Berlin session is the first to be released and sees Tamar further develop her approach to collaborative playing.

Lâkin

Korhan Erel (synthesizers, GRM Tools Atelier, iPad instruments & Chromaplane) & Neslihan Schmidt (prepared piano, Osmose synthesizer)

The electroacoustic duo Lâkin, founded in early 2025 by pianist Neslihan Schmidt and electronic musician Korhan Erel, explores new sonic interactions between acoustic and electronic soundscapes. The duo will present new works commissioned from Gudrun Gut, Jessie Marino, and Grgur Savic. The program will be complemented by structured improvisations from the duo, further developing the dialogue between composition and spontaneity, established form and immediate sonic interaction.

Gudrun Gut, Compliment (2026) UA
Jessie Marino, Sinking, Probing (2026) UA
Grgur Savic, Graphic Scores, Study Nr. 1, Study Nr. 2, Study Nr. 3 (2025)

Lâkin, Structured Improvisations

with kind support from INM Berlin e.V.

Jane in Ether

Miako Klein (recorders), Magda Mayas (piano) & Biliana Voutchkova (violin, voice) 

Jane in Ether performs two new works commissioned from the composers Jessie Marino and Juliana Hodgkinson.

with kind support from INM Berlin e.V.

Kristofer Svensson, Kacapiblomster for solo kacapi 

The composer and performer Kristofer Svensson has developed a distinctive contemporary practice for the kacapi, a traditional Sundanese zither from West Java. Svensson's kacapi music can be heard on the solo album Andra Segel and For Violin, Snare & Kacapi, a trio recording with Maya Bennardo and Etienne Nillesen. 

Rose, Scott & Collins

Jon Rose (violin), Richard Scott (synthesizer) & Nic Collins (trumpet)

Lea Bertucci presents her latest release The Oracle for flute, voice & electronics

Werner Durand, solo saxophone 

Réplicas is a series of concerts and encounters that extend the spirit of the International Festival of Experimental Music and Sound Art (FILEC) beyond Mexico. The second Berlin edition brings together local and international artists for an evening of exploratory sound practices, highlighting dialogue, risk, and collaboration.

Program:

Emilio Gordoa & Lucy Railton, duo for vibraphone and cello

Leslie García & Daniela Huerta, electronics duo

Elshan Ghasimi & Joss Turnbull, to them who didn't shout for tar and percussion

Ghasimi and Turnbull draw on Persian music while taking very different paths of reference and transformation. Tar specialist and composer Elshan Ghasimi works with Persian musical heritage, literature and the renewal of the Radif, while Turnbull combines traditional techniques on the Persian goblet drum with unconventional instrumental approaches.

In to them who didn't shout, their distinct musical languages meet Persian poetics and recitation in a dialogue between inherited forms and comtemporary practice.