Madison Greenstone, heart meridian for solo clarinet

Madison Greenstone is a clarinetist, writer, and composer whose solo practice, exstatic resonances, explores phenomenological, material, and spatial expressivities of sound through richly noisy timbral actions. heart meridian is an exploration of exstatic and fugue like states through repetition, combinatoriality, obsessiveness, and circularity, and the wonder of drawing out vast substance from small essence.

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).

Making Waves #16

Broken Words: on other modes of speaking necessary to grasp a genocide.

Readings and discussion by Tomer Dotan-Dreyfus & Tanasgol Sabbah, together with a screening of Annemarie Jacir's Like Twenty Impossibles (2003)

Tomer Dotan-Dreyfus is an author and translator who writes regularly about Israel and Palestine as well as anti-Semitism in Germany. His articles appear in publications such as Süddeutsche Zeitung, taz and Berliner Zeitung. His first novel, Birobidschan (Voland & Quist), was longlisted for the 2023 German Book Prize. His new book KEINHEIMISCH (2025, Ullstein Verlage) is about the loss of belonging.

Tanasgol Sabbagh is an artist and poet who presents her literary work in performances, audio pieces, video installations and musical collaborations. She is a co-founder of the artist collective parallelgesellschaft and the event series of the same name, which deals with political art outside of German dominant culture. Together with the poet Josefine Berkholz, she is the founder and editor of the auditory literary magazine Stoff aus Luft, which is published as a podcast: a format that emphasises spoken and sound-based literature. Tanasgol lives in Berlin.

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)

with kind support from Musikfonds e.V.

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

Asterales celebrate the recent releases of Léo Dupleix's Round Sky (Black Truffle 2025) and Fredrik Rasten's Fuse Modulations (Thanatosis 2025). The newly formed quartet is dedicated to the exploration of just-intonation harmony, focusing on original music by the quartet’s members. Lane, Heilbron, and Rasten are all members of the composer/performer collective Harmonic Space Orchestra; meanwhile, Dupleix and Rasten have collaborated on the duo release Delve II (INSUB records 2022) and on Dupleix’s Resonant Trees (Black Truffle 2024). Heilbron and Lane also collaborate as a duo, and their interpretations of music by Catherine Lamb and Jakob Ulmann have been released on the label Another Timbre.  

Program:

Fredrik Rasten, Fuse Modulations (excerpt) and Simultaneities

Léo Dupleix, Ghosts

Rebecca Lane, Rings of Syllables

Jon Heilbron, The Golden Hour 

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, Album for the Young for violin and synthesizers (2025)

with kind support from INM Berlin e.V.

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.