Dec 022016
Mar 02, 2017 | Thu | 17年03月02日
8:00 PM | 20時00分


Beyond the Reflections

Electronic sound and visual performance.

Reflections are shaded
Shaded where
Where are we
We are here
Here is gone
Gone after that
That is Beyond
Beyond the Reflections

Beyond the Reflections is the second act of the project XOVER.
Xover is an electronic sound and visual performance executed by Danilo Casti (Sardinia, Italy) and Travis McCoy Fuller (Boston, USA). The performance encompasses glitch, drone, noise and field recordings. Xover comes from the gathering of our paths in experimental electronic music, a mixture between digital and analogue sounds, between programming and circuit bending, between no-idiomatic shapes and abstract sound objects. Structures are made in the moment to disrupt time perception and audio spaces, overlapped by generative visual textures.

Danilo Casti

Travis McCoy Fuller

Henrik Pultz Melbye

saxophone/clarinet player / improviser / composer

Since graduating from the Academy of Music and moving to Copenhagen in 2011 Henrik has been extremely active on the experimental and improvised music scene.
He has toured most of Europe and released four albums with the collective avantgarderock quartet SVIN, while also releasing a critically acclaimed album with his own band Henrik Pultz Melbye Trio, that got a nomination for a Danish Music Award in 2016.

In february 2017 he will release a cassette tape on the Copenhagen based label and record store, Insula Music, with recordings of solo saxophone done in rooms of different sizes and with different acoustics. The music is improvised on the spot and is part of an ongoing personal exploration of non-idiomatic saxophone sounds and techniques.

Henrik Pultz Melbye has collaborated and played with people like Kresten Osgood, Kasper Tranberg, Adam Rudolph, Jesper Zeuthen, Jacob Anderskov, Devin Gray.

Christof Ressi & Szilard Benes

Die beiden Musiker verbindet die Lust an der Grenzüberschreitung.
Während Szilard Benes sich auf der ständigen Suche nach der klanglichen Erweiterung seines Instruments befindet und Inspiration vor allem aus der Neuen Musik und dem Free Jazz, aber auch aus der Klezmer-Musik schöpft, bastelt Christof Ressi, wenn er nicht gerade komponiert oder arrangiert, an live-elektronischen Setups und Computerprogrammen, die ihm einen spontanen und direkten Umgang mit Klang und Bild ermöglichen. Gemeinsam suchen sie nach neuen Ausdrucksmöglichkeiten im Aufeinandertreffen unterschiedlicher Medien und vertreten dabei einen möglichst offen Begriff davon, was (noch) Musik sei.
Bei den Stücken handelt es sich meist um Konzeptimprovisationen – darunter die audio-visuelle Performance “Borderline”, eine Studie über das expressive Potential psychischer Ausnahmezustände.

Szilard Benes (HU) – Klarinette/Bassklarinette
Christof Ressi (A) – Elektronik/Video

Dec 142016
Mar 14, 2017 | Tue | 17年03月14日
8:00 PM | 20時00分

blauer fehler, roter fehler

(UND ACHTUNG: datum fehler!!!!! Dieses Konzert findet ausnahmsweise am DIENSTAG statt, bitte Datum beachten)

matija schellander – kontrabass
yan jun – electronics
jean-luc guionnet – saxophone
seijiro murayama – snare drum


blauer fehler, roter fehler (..)
ich folge dem strom (Y.J.)

I love the mistakes
I hate the colors … (J.-L. G.)

playing several hours without saying anything, for example. (S.M.)

Jan 062017
Apr 06, 2017 | Thu | 17年04月06日
8:00 PM | 20時00分

Soft Kill Option

„Urbaner ヨ-Jazz im Trioformat mit tiefergelegtem Chassis und der Lizenz zum Headbangen.(Falter Top 10 des Jahres 2015)
„Jazz, der vom Energielevel her ordentlich abgeht und so richtig schön kantig und ungehobelt aus den Boxen schallt.“
(Michael Ternai, MICA).
„Changierend zwischen Slowcore & speedy, funky & punky erinnern SKO ein wenig an Ken Vandermarks Spaceways Inc. File under: Urban Headbang Noir Jazz.“
(Klaus Nchtern, Falter)
„Grenzgänger einerseits, Experimentierer andererseits, die sich das Beste aus Jazz und Rock herausfiltern und zu einer Melange der Extraklasse verschmelzen.“
(Herbert Heil,
„In ihren besten Momenten klingt diese Musik als wäre die Inbrunst des Jazzrock in den Sound von Rage Against The Machine gefahren und hätte noch ein bisschen was von King Crimson aus den 70ern mitgenommen.“
(Christoph Irrgeher, Wiener Zeitung)


Keyboard and drums duo Hexenschuss produce fast-paced, sharp and nasty instrumental tracks which merge classic EBM sensibilities with contemporary sound interests. The music is beat-driven and dirty, and shies away neither from experimental nor pop. It attacks all senses with relentless sound textures, sequencer-like beats, and guitar samples. Underneath the apparent simplicity of their hypnotic, repetitive music lies a deep, constantly evolving musicality.

The band members are influenced by a variety of artists, none of which could be traced in their sound. Although Hexenschuss believe in live instrumental performance (drums/keyboards) the approach towards the music they produce is more similar to the electronic music world. Minimalistic and repetitive trance-like phrases are very well influenced by techno music as well as alternative acts like the Fall. German Krautrockers Faust and their like were quite an influence on the sounds palette, whereas Post-Punk band Wire’s ability to compose less than two minutes long masterpieces certainly influenced the more song-based tracks.
The rhythms are complex but packed in a simple groovy beat, influenced by noise rock and sometimes prog rock. The keyboards are layered with distorted wall of sound which is still clear in definition and melody and it is played like an electric guitar set up. It avoids sequencing & sampling and is played like an analogue instrument – with effect racks that could be turned on and off and manipulated while playing. The combination of sounds can be described as mean and sweet, dark and cinematic. The noise that Hexenschuss make is usually either hypnotic psychedelic effect-soaked soundscapes wrapped around a hypnotic beat, or stripped-down but carefully structured skeletons of songs, very short, compressed and minimal – they’re not real songs, since there are no vocals on them, more like parodies or reflections about popular songwriting, usually made up of only two parts. Although their music is constructed of repetition of simple bass lines and drum beats, the foundation of their music is a good song structure.

The attitude of the duo is post-punk, meaning the music brings something new and doesn’t play an existing defined sound/genre. Hexenschuss music crosses over many genres and can attract music lovers from a wide range of styles- from dance to rock, from post-punk to general psychedelia.

Jan 202017
Apr 20, 2017 | Thu | 17年04月20日
8:00 PM | 20時00分


Sonde I (for double bass and public liyng on the floor)
Sonde II (for prepared double bass and two bows)

Marco Quaresimin – double bass and objets

An organic engine shakes the ground and the bodies all around..

Shining water surface.
Aqcuatic plant spirals.
Forest of bones.

Immerse in a dance of wawes, sliding between thousand of possible variations within a slow and continuous movement.

The rumble of a boat along a black river.

Marco Quaresimin solo works are focused on relations between sound, time, space and movement. He has been playingsolo concerts since 2011, exploring different forms, from free improvisation to graphic scores, from free jazz-like explosions of energy to very calm and contemplating minimalistic long form. He has performed in Italy and France in theaters, art galleries and open-air events. His new performances are based on the balance between continuum soundand constant micro variations, with a specific focus on breath. They are sensory experiences which explores the visceral quality of the sound with the listener, opening up a communication between the resonance in our human bodies and the vibrations of the space.

Biography: Double bassist and bassist Marco Quaresimin started to play different jazz forms with the musicians of the northern Italy creative scene (A.I.R.E. El Gallo Rojo Records) at the age of 18. He developed then his vocabulary as a free improviserworking regularly with the percussionist Roberto Dani, and meeting between Italy and France Jöelle Léandre, MatsGustaffson and Tristan Honsinger. In parallel to this he had a rich and varied academic education in both the Rovigo (Italy) and Evry (France) conservatoires. He has also continuously followed body and vocal practice workshops. Now based in Paris, he plays in, amongst others bands, with the minimalistic trance music trio Tripes (COAX Recrods), with wich he had a tour in Europe in 2015, and the jazz quintet Healing unit (Futura -Marge Records). Thinking about connections with other disciplines as a source of inspiration to enrich and precise his artistic universe, he’s involved inprojects in different areas. In the the field of dance the group Tripes collaborate on choreographic performances with Claire Malcrowicz and Flora Gaudin under the direction of Marine Mane; in theater with the musical for children Un ourse of cOURSE alongside Lawrence Williams and Alice Zeniter; in cinema playing Noma Omran’s music for the Ossama Mohamad’s films, like Eau Argentée, presented at the Cannes festival in 2014. In circus composing and playingthe music for the Tanmis company’s rchitectonic circus show. S pace S.

Feb 042017
May 04, 2017 | Thu | 17年05月04日
8:00 PM | 20時00分


Philipp Kienberger (bass, effects)
David Gratzer (guitar, effects)
Valentin Duit (drums)

Benannt nach dem naturwissenschaftlichen und psychologischen Begriff Entrainment (Synchronisation, Rhythmus, …), bewegt sich die Musik des Trios zwischen Jazz, Pop, improvisierter Musik, Minimal Music und elektronischer Musik.
Down Tempos und Elemente von Post Rock, Noise und Electronic Dance Music beeinflussen den Band-Sound. Dadurch hat die Musik oft an einen Soundtrack erinnernden, manchmal auch meditativen Charakter.
Inspiriert werden die Kompositionen auch von der nordeuropäisch-skandinavischen Jazz-, Pop-, und zeitgenössischen Musik.

Feb 182017
May 18, 2017 | Thu | 17年05月18日
8:00 PM | 20時00分


DEKJ functions as an ongoing project studying sound as the primary axis of actual dynamics, behaviour and instances. Considering the sonic and vibrational milieu as a representative for balance, transgression, violation, that also affects physical composition and the notion of structured spaces.

Relations in interobjectivity through dismantling factors attributed to automata elements in order to determine actual dynamics and effects infecting the experiential, derivations of non-eugenic/anthropocentric tendencies in posterity.

DEKJ is part of the oqko collective based in Berlin.