is formed by Sofia Borges and Klaus Janek and celebrates the transitional space between acoustic material and electroacoustic manipulation conceived on paper, and/or imagined live. Both instrumentalists expand their creativity extending their playing techniques on electronic settings. The acoustic materiality and its electroacoustic procession transcends the space in which projection and imagination happens and proposes alternative temporalities. Their realm forms abstract and evocative landscapes that challenge preconceived notions of what music is. Listeners become active participants, invited to immerse themselves fully in the unfolding sonic narrative.

sept 12: Circolo libero pensiero, Lecco
sept 13: Casa Stanata/Corovana091, Locarno
sept 14: with Ensemble Sous-Sol, Spazio Elle/Carovana091, Locarno
sept 16: Studio Hubert Kostner, Castelrotto/Kastelruth
sept 17: Südtiroler Künstler Bund, Bolzano/Bozen

pls click HERE for the recording of the premiere of the piece at Sommerblut Festival Cologne 2024

may 1: Goethe Institut, Montreal
may 2: Eagle Club, Minneapolis

Klaus Janek contrabass, processing
Andy Graydon field recordings, electronics, no-input mixer

Janek and Graydon have been engaged in a series of collaborations since 2011 involving a widening constellation of projects and players. By 2021 they began to think about focusing in on a duo work. Working with geographical and temporal distances, the collaboration unfolded in conversations with one’s self and its resonating other, reciprocally developing semantics, metaphors and maintaining states of softly chancing awareness. The performances of the tour conclude a two-year common process of composing, creating and thinking, while projecting that process into the now.

may 5: Wander Lines at Dreamsong Gallery

How to Inhabit These Different Temporalities?

As you wander among the MMFA’s contemporary works, you will be immersed in the soundworld of ten soloists from various backgrounds and traditions. For this bold concert-installation, the performers will spend the entire day on an archipelago of five musical islands, relaying music back and forth, each one contributing according to their own temporality, tradition, emotion, rhythm and score. All the while, they will be weaving together a captivating musical landscape, in which you can wander and listen as long as you like, taking your cues from your curious ears and eyes.

This durational performance is meant to be a sensory exploration of the idea of our relationship with the various temporalities of life on earth. It underscores how important it is for us human beings to feel, to listen and to understand the planet’s geological and biological rhythms, even when their transformations are slow and silent.

Musée des beaux-arts de Montréal and SMCQ , April 20 / 21 from 10am – 5pm

Aga Khan Museum, Toronto and SMCQ, April 28 from 10am – 5pm

Sutra

The Maison de la culture Ahuntsic-Cartierville partners with the SMCQ Homage Series dedicated to composer Sandeep Bhagwati, to present this transatlantic collaboration featuring 10 performers from Berlin’s Śabdagatitāra and Montréal’s Oktoécho ensembles.

Fusing diverse instruments and styles, these ensembles offer a unique musical experience of comprovisations, blending compositions and improvisations, celebrating music as a universal language, capable of transcending borders and creating bridges between seemingly distinct universes.

Seven performers from Berlin meet up with three from Montréal to create and perform this unique concert, bringing together influences and instruments from all over the world. This collaboration highlights the importance of cultural exchange and diversity in the creative process. It shows how the diversity of the performers and their instruments can adapt to their new environment, while maintaining their own authenticity.

have a listen to our music here

pls check out Cedriks online archive, label and information pool syrphe.com

pic: TU Dresden/Eric Münch

Have you ever dreamed of spending a night in a museum?
The Lullabyte project presents itself as part of the Dresden Music Festival and invites to an extraordinary evening on 1.06.2023 at the Hygiene Museum.

Music has strong effects on the human brain. Particularly well known are the “somnogenic” effects, i.e. that music influences the physiological state in such a way that sleep and relaxation are promoted – an effect that lullabies pick up on. But why does music have such a great influence on the brain that moods or even sleep behavior can be promoted? Since 2019, scientists* from neuroscience, psychology, musicology and computer science have been working together at TU Dresden in the “Lullabyte” project to investigate this question.

An exciting insight into the topic will be provided by “SOUND & SCIENCE” and an eight-hour sleep concert, which invites you to listen to sounds, relax or simply sleep.

Prof. Dr. Kira Vibe Jespersen – Assistant Professor at the Center for Music in the Brain, Aarhus University
Prof. Dr. Martin Dresler – Head of the Donders Sleep & Memory Lab, Donders Institute, Nijmegen
Jun.-Prof. Dr. Miriam Akkermann – Junior Professor for Empirical Musicology at the Technical University of Dresden, Germany

Duo Akkermann/Janek:
Miriam Akkermann – flute and electronics
Klaus Janek – double bass and electronics

The European notion of the note is set into a relation with the Indian, Chinese, Arabic, Armenian, and blues, which each follow different ways of conceiving musical sound. Such a musical-practical and microscopic analysis of the concept of note in transcultural comparison has not been done before. As a result of the accumulated knowledge about the respective cultural practices, transtraditional transformations have formed a musical unity with new symbols: the NOTE as an extended dimension and as a deconstruction of habitual playing techniques towards an alternative musical reality. The musicians are thereby enabled to use self-designed novel modes within their own methods of composition and improvisation, and to invent their own categories of raga- or makam-like approaches and to transfer them to 20th and 21st century learned musical practices that shape their musical identities.

In the concert, the musicians of Ensemble Extrakte will present jointly developed “final fragments” in groups and as an ensemble. The pieces in the program are based on analyses and extended ways of playing gained from these analyses, as well as synergies from newly learned notational practices of the various traditions. The result is a musical approach rich in new dimensions.

Sponsored by Musikfonds e.V. FEB-III Stipendienartige Förderung für Ensembles und Bands

ENSEMBLE EXTRAKTE
Sören Birke – Mundharmonika, Dudek
Klaus Janek – Bass, Elektronik
Bakr Khleifi – Ud
Cathy Milliken – Oboe, English Horn
Gregor Schulenburg – Flöten, Duduk, Kyotaku
Ravi Srinivasan – Tabla, Whistling, Vocal
Wu Wei – Sheng, Erhu
Jeremy Woodruff – Baritone Saxophone
Zhao Lucy – Pipa
Jeremy Woodruff – Musikalische Leitung
Elke Moltrecht – Leiterin Ensemble Extrakte

Research period Feb – April 2023
concert 16. April 2023, 16:00
ACUD CLUB RAUM, Veteranenstrasse 21, 10119 Berlin

When a tsunami devastated Japan’s east coast in March 2011, Sandeep Bhagwati wrote an open score of seventeen short compositions – even before the full extent of the Fukushima disaster became visible.
The pieces have since been interpreted by female musicians and reimagined by poets. The audio piece – Bhagwati’s reaction to a world that has begun to falter – reflects his own process of creation: it depicts different trial stages, tells of provisionality, failed attempts, continuous change and becoming.

(Measured time)

Music gives time a measure; in it we measure what is actually an eternal flow. Landscapes are also measured to get a feeling for their proportions and shapes.

In Sandeep Bhagwati’s musical journey “Vermessene Zeit” (Measuring Time), we experience both: the musicians of the Ensemble Extrakte and the Kairos Quartet go to Teltow Park as sounding surveyors. Always only three of them make music in a wide-stretched triangle, in the middle of which the listener can of course hear them best. At some point, one corner of the trio falls silent – but a little further away, another instrument, a voice picks up and adds to the music of the triangle again. But now its centre is somewhere else – if you want to continue to hear everything, you have to go there!

In this way, the sounds gradually survey the park in three steps – and you yourself wander along, listening to how our man-made harmonies and dissonances merge into the songs of wind, leaves, grass, insects and birds. On the way, you read poems by the wayside that sing of the earth and trees, of the sound of the world – and give some of them to the musicians for inspiration.

While some encounters reverberate in our consciousness and are reflected in our lifestyle habits, others remain hidden. That is, until the surface is scratched and they begin to take shape in our thinking, speaking and acting.

Sign Wave is a musical performance that digs into buried stories and encounters since the German occupation in East Africa.

Over the distance, we will connect Rwanda/Tanzania and Germany on stage in a new play. The artist and performer Eric 1key, with whom Sounding Situtaions has been collaborating for several years, approaches the visual traces of the Germans on site via video, using words he scratches up the surface, which we create live here in Berlin with double bass and voice sampling to a joint piece.

Music: Milena Kipfmüller, Klaus Janek (Sounding Situations) Video and Text: 1key
The performance were specifically created for celebrating the 40th anniversary of the German/Rwandan association, and was held at Rheinland-Pfälzische Landesvertretung in front of the Ambassadors of Germany in Rwanda, Rwanda in Germany and others.

How does music morph when it crosses listening traditions? Based on an album by Ensemble Extrakte, 4 iterative live concerts and their sound and video recordings are interwoven step by step. Following an always identical instruction score by Bhagwati, the musicians comment on, accompany, and imitate the preceding concert – before they themselves become the inspiration for the following one: as acoustic memories in the headphones of their colleagues, and as fragments and samples in the sound of the Gebr. Teichmann. The audience can hear and see how new music is created: designed but unpredictable, guided yet involuntary, rich in tensions – and in unexpected beauty. Between the concerts, renowned historian of science Hans-Jörg Rheinberger will reflect on such “iterative listening as artistic research”.

Gefördert von Musikfonds e.V., Beauftragte der Bundesregierung für Kultur und Medien, matralab, Concordia University, Noland

Programm

Mittwoch 8.12.2021 Maschinenhaus Kulturbrauerei
19:00h ITERATIONEN I : Akusmatisches Konzert
19:45h RESOUND 1 : Live-Konzert
20:45h RESOUND 2 : Live-Konzert

Donnerstag 9.12.2021 Maschinenhaus Kulturbrauerei
19:00h RESOUND 3 : Live-Konzert
19:45h ITERATIONEN II : Podiumsgespräch
20:45h RESOUND 4 : Live-Konzert

Deniza Popova (Stimme), Ravi Srinivasan (Tabla, Stimme), Lucy Zhao (Pipa), Wu Wei (Sheng, Erhu), Eva Glasmacher (Stimme), Sören Birke (Bluesharmonika, Duduk), Elshan Ghasimi (Tar, Stimme), Klaus Janek (Bass), Simone Heilgendorff (Viola), Claudius von Wrochem (Cello), Gregor Schulenburg (Flöte, Duduk), Naoko Kikuchi (Koto),

Gebrüder Teichmann (Live-Elektronik, Live-Sampling)
Anweisungspartitur (Video): Sandeep Bhagwati
Album: ITERATIONEN – resonant responses to a live concert (Noland NO5)

In 2021, P600 has been chosen for the ensemble support grant of Musikfonds (FEB). In an intensive autumn work period, two one-week residencies are taking place in Berlin, including three public ‚work in progress‘ performances: at Liebig12 project space and in the BHROX Bauhaus ReUse glass construction on Ernst-Reuter-Platz. The group’s new musical output will be examined and presented in three different versions: as a low volume version (Liebig12), as a full range version (BHROX) and as an ‚open lab version‘ over the course of six hours (BHROX)

The quartet project P600 refers to specific research factors of cognitive science / psycholinguistics as a premise to create conceptual and graphic scores for music/sound.
Consisting of four musicians, including one klangregie (sound director / live sound manipulation), P600 experiments with a range of acoustic, electro-acoustic, and acousmatic sound. Each musician acts as an independent sound source, but also sends an audio signal to a main mixer. The klangregie manipulates and spatializes their sounds, via the mixer and (quadraphonic) loudspeakers, according to a score. This is equally inspired by Dub Reggae producers and avantgarde composers like Stockhausen or Nono, in that the mixer becomes an instrument. The autonomy of each musician, combined with the klangregie’s use of their signals, offers a complex level of sound dynamics: ranging from micro to macro and barely audible to omnipresent. For each performance the quartet spends a period of days in the space, developing ideas which both relate and respond to the space – both sonically and conceptually.
Since the launch of the project in 2013, a ‚modular approach‘ has been established besides the group work: collectively conceived ideas, audio material and scores/concepts have been integrated and re-contextualized in solo and duo efforts – in ongoing studio experiments, published recordings, as well as concerts.

P600-2021
residency and concerts
Version 1: low volume performance – Liebig12 – 22/Nov 7-9PM
Version 2: full range quartet concert – BHROX Bauhaus Reuse – 30/Nov 7-9PM
Version 1: six hours trio performance – BHROX Bauhaus Reuse – 04/Dec 1-7PM
P600:
William „Bilwa“ Costa: electronics and unnatural field recordings
Klaus Janek: double bass and electronics
Luca Marini: drums, percussion
Nicolas Wiese: klangregie / live sound manipulation, samples, feedback

Mention Rwanda, and most people think of the genocide that began in April 1994. But since then, the country has undergone substantial economic development, and has now emerged as an African tiger economy – with a German colonial past. For the younger generation, this raises the question of how to deal with the past.

In this Rwandan-German joint production, Rwandan hip-hop artist Eric 1key and Berlin musician Klaus Janek compose an interactive soundspace of language, traditional sounds, electronic music, beats and field recordings.

Hamburg director and dramaturge Jens Dietrich and Berlin sound artist Milena Kipfmüller have recorded conversations with numerous people in Rwanda and put together a heterogeneous ensemble of voices. Between grandiose visions of the future, and yearnings for disappearing traditions, the immersive musical performance of Rwandan Records blends pre-colonial stories with present-day tales between Rwanda and Germany, presenting a new and unconventional perspective on a globalised self-image. Each evening a new, emotive symphony will be created; visitors can request each individual version as a download link to listen to again after the event.

The Berlin-based Ensemble Extrakte is convinced that new music in the social reality of our cities can no longer emerge from Eurocentric ideas alone. In this concert-like spatial staging, Ensemble Extrakte continues its artistic exploration process between avant-garde art music of Western influence and music of other cultures and genres. Ensemble Extrakte searches for ways to link the many musical worlds existing simultaneously in a city, freely and listening to each other at the same time – so that each musician remains with himself, takes from others and gives.

The audio-visual space installation is based on a film with 12 musicians, which was recorded at 12 places favored by the musicians, with which they associate home. The initial musical format was the dulab, an Arabic rondo form in which a melody is commented on from instrument to instrument and passed on to the following musician. In the sense of a musical gift, each musician formulates his or her personal accents as a template and invitation for the next one, as in the game “Silent Post”.

During the concert, the musicians react to three film projections distributed in the room – three-part stratifications. They continue their musical lines realized in the film and spin them further. In fact, the film projections are recordings of three musicians each, recorded solo and related to each other as trios. The musicians weave new musical rondo variations live in various constellations, from solo to tutti, in harmony or contrast with the film material. Sometimes the projections pause and the ensemble – inspired by the creative and open form of Dulab – has all the space for free musical development.

The result is a spacious breathing between the common source material, the Dulab melody, the interrelated musical commentaries, a mixture of live analog music and digital post-production contributions. From a wealth of diverse acoustic and visual homes, a musical whole emerges that is stimulated and co-shaped by all these individual templates.

Location:
KINDL – Center for Contemporary Art, Am Sudhaus 3, 12053 Berlin, Germany.

Sponsors and supporters:
-> With the kind support of the Ernst von Siemens Music Foundation and.
KINDL – Center for Contemporary Art.
-> The film was supported by the Kulturstiftung des Bundes.
-> Thanks to inpetto filmproduktion and x-tract-production
Comment Team

ensemble ɛkstʁaktə

Participating musicians in the film: Sören Birke (Jew’s harp), Klaus Janek (double bass), Cathy Milliken (oboe), Deniza Popova (voice), Farhan Sabbagh (oud), Gregor Schulenburg (bass flute), Ravi Srinivasan (voice), Andi Teichmann (live electronics, objects), Hannes Teichmann (live electronics), Wu Wei (sheng), Yoo Hong (daegeum), Lucy Zhao (pipa)

Participating musicians in concert: Sören Birke, Klaus Janek, Cathy Milliken, Deniza Popova, Farhan Sabbagh, Gregor Schulenburg, Ravi Srinivasan, Andi Teichmann, Lucy Zhao

Artistic direction: Uli Aumüller, Cathy Milliken
Musical direction: Cathy Milliken
Artistic-technical realization: Andre Bartetzki
Artistic project management: Elke Moltrecht
Film and sound: Uli Aumüller, Sebastian Rausch (inpetto filmproduktion)

Concert installation sept 25, 26, Humboldt Forum, Berlin
For an indigenous singer recorded on video
and twelve live musicians from perse traditions

Deniza Popova, Bulgarian vocals / Eva Glasmacher, soprano / Naoko Kikuchi, koto / Lucy Zhao, pipa/ Elshan Ghasimi, tar, voice / Wu Wei, sheng, erhu / Ravi Srinivasan, khayal, tabla, percussion etc. / Sören Birke, harmonica, khaen, mouth harp, duduk etc. / Gregor Schulenburg, flutes, kyotaku, duduk / Klaus Janek, bass. / Gebrüder Teichmann, live electronics

For the opening of the Humboldt Forum’s West Wing, composer, poet and music researcher Sandeep Bhagwati has conceived a two-day concert installation in the listening room of the ethnomusicological collection. Musicians from 12 different musical traditions take turns in 5 different positions, interconnected by watching and listening to a common “score”. This five-part, 90-minute “score” is composed of five video clips by Taiwanese documentary filmmaker Ye-Hai Chang. In July 2021, he was commissioned by Bhagwati to film his friend Siaman Vongayan (Chinese name: Kuo Chien-Ping ), an activist and guardian of the music of the indigenous Tao people on the Pacific island of Lan Yu, singing the same traditional song over several days at important locations on his island: a song about the shipwreck of a modern large ship on the rocks of Lan Yu. The different versions of this song, which vary slightly from place to place and day to day, as well as the soundscapes of the respective locations, become the basis for the musical interpretations of the live musicians – who react to the video, to each other, as well as to the presence of the audience with comprovisations: improvisations after concise instructions that orient their listening – and their playing with each other. No one brings ready-made music with them – all musicking arises from what can be seen, heard and felt at the time of performance.

Additional context for Sandeep Bhagwati’s concert installation ASED (…countercurrents…)
ABOUT LAN YU AND THE SONGS OF THE TAO
Located north of the Philippines and southeast of Taiwan’s main island in the Pacific
Ocean, the island of Lan Yu has an unusual history of contact with the outside world.
For centuries, it was mostly avoided by Chinese and European seafarers due to
difficult nautical conditions. Moreover, the ancestors of today’s Tao were known for
not always welcoming strangers and refusing to help shipwrecked people. They were
therefore largely left alone.
In 1896, the Japanese, who had taken over Taiwan as a colony a year earlier, undertook
an expedition to Lan Yu. Japanese scientists were thrilled to find an almost ” pristine
Stone Age culture”. As a result, the Japanese colonial government set up a police
station on the island and restricted access: from then on, only scientific personnel,
especially ethnologists, were allowed to enter Lan Yu for research purposes. The Tao
remained largely autonomous in their traditional way of life.
After the collapse of the Japanese empire, Lan Yu fell to Taiwan. Subsequently, a
sinicising forced modernisation began, which led to a gradual, forced loss of culture.
From the 1980s onwards, Lan Yu’s isolated location prompted the Taiwanese
government to store its residual nuclear waste on the island. This sparked a decades-
long Tao activist resistance that saw a resurgence of indigenous cultural practices, as
well as networking with other indigenous activists worldwide.
The singer featured in the videos, Siaman Vongayan (Chinese name: Kuo Chien-Ping
郭健平), is a leading activist in the local anti-nuclear movement. He is involved in
various cultural projects and is currently trying to keep the traditional Tao chants
alive in cooperation with an international team.
Traditional Tao chants on Lan Yu use only a few melodies, which are then adapted to
ever new texts. These texts are mainly meant to contain practical information on
farming, fishing, house-building, rituals, etc. and were often understood as a mixture
of manual and knowledge archive – a kind of sung encyclopaedia. One learns the
melodies by listening to them in childhood and youth, the lyrics can refer to new
incidents – like the song sung in this installation about the shipwreck of a foreign,
modern ship. Much emphasis is placed on the poetic quality of the texts.
The continuation of the poetic and especially the ritual singing traditions is
threatened by the inevitable migration of younger Tao to Taiwan, who can neither
attend secondary school nor find work opportunities on their home island – and also
by the access to internet streaming services.

Ensemble Extrakte & Tölöläb
Sandeep Bhagwati, artistic/musical direction

Two ensembles in two locations, Viitasaari and Berlin, exchange recordings of their music daily, a music contemplating both losses and hopes for renewal. Each evening they attempt to capture the spirit of their own improvisations from the same morning – thereby transforming it. And at the end, they try to evoke the evolution of the whole process, 4 days of constant exchange, likened to four seasons of the year.

The result of the day’s work will be combined and watched in sequence during the daily public online sessions (18–19 Finnish time on YouTube), in which the process is also discussed. The process will culminate on the Satuday 10 July Nagori Rengakai online concert (18–19).

Nagori Rengakai (2021) Viitasaari – Videos

Berlin-Ensemble
Gregor Schulenburg, flute, duduk, kyotaku
Wu Wei, sheng, erhu
Ravi Srinivasan, indian vocals, whistling, tabla, percussions
Gebrüder Teichmann (Andreas Teichmann & Hannes Teichmann), live-electronics
Musical co-direction in Berlin: Andreas Teichmann and/or Gregor Schulenburg

Hanna Grzeskiewicz, Management
Tom Wills, Streaming and Video
Nico Daleman, Audio

Viitasaari-Ensemble
Deniza Popova, Bulgarian vocals
Klaus Janek, double bass
Taavi Oramo, vocals, clarinets, electronics
Turkka Inkilä, flutes
Antti Salovaara, bassoon

Valtteri Mustalahti, sound & video
Musical co-direction in Viitasaari: Sandeep Bhagwati & Taavi Oramo

Live audio walk with connection to Salvador da Bahia, independently accessible with own smartphone (QR Code) (2020) Errant Sound – 17. Oct. 4:30pm

ZERO, LAND DER ZUKUNFT connects Europe and Brazil referencing two novels: Brasilien, Land der Zukunft by Stefan Zweig, describing his understanding of the country in the 1940s when he fled from German dystopia and projected all his optimism onto Brazil; and Zero by Ignácio de Loyola Brandão, a story situated in the 1960s, during the Brazilian military dictatorship, opening a near visionary dystopian image to what we are politically living today in Brazil.
In connecting two cities, we question dystopian fears and utopian hopes. Applied to the real city, we walk along the Spree with a live-soundtrack directly connected to Salvador, where two musicians, Edbrass Brasil and Andrea May, join the perfor-
mance, thus creating a live acoustic dialogue between two blind visions of our imagination. Sounds and music travel from Germany to Brazil and back, expand, enrich, and transform our walk in Berlin between Errant Sound and the Alte Münze. The acoustic bridge of these geographically separate musical entities performing together in real time creates a condition for a fantastic Utopia: in real space, dystopian elements are acoustically transformed in such a way that they become a possible real world.

Guests in Brazil:
Edbrass Brasil and Andrea May

MACCHINA SOM ALLSTARS (Milena Kipfmüller/ Klaus Janek/Lukas Matthaei, BRA/GER)
develops performative radio and sound-work, combining the live processing of musical material, field recordings, and language, thereby shifting original definitions. Our practice is firmly rooted in a keen interest in aesthetic and political contexts, and creates unexpected links between auditive situations.
sounding-situations.com
matthaei-und-konsorten.de

Andrea May
is a visual and sound artist, independent curator and master student in Visual Arts, with research in the hybridization of artistic languages with emphasis on the aesthetics of noise. Also known as May HD acts professionally as a dj and vj.
linktr.ee/mayhd

Edbrass Brasil
is a sound artist, improviser, and researcher based in Salvador, Bahia. In his artistic practice, he investigates the manipulation and collage of recordings and samples, coupled with the use of unconventional wind instruments, with an emphasis on free improvisation and microtonal music. His fresh music with tubes and leafs, brings a specific «ancient» Brazilian flavor to his live performances.
edbrass.webnode.com

The piece was commissioned by the Dystopie Sound Art Festival – Berlin Brazil 2020

The Agency of Sonic Thinking

Published on December 14, 2020

Last updated on December 15, 2020

P600, the music project, utilises factors related to research into event-related potential (ERP) as a premise to create conceptual and graphic scores for music/sound. Consisting of three musicians and one sound director, P600 experiments with a range of acoustic, electro-acoustic, and acousmatic sound. Each musician acts as an independent sound source, but also sends an audio signal to a main mixer. The sound director manipulates and spatializes their sounds, via the mixer and quadraphonic loudspeakers, according to a score. This is equally inspired by Dub Reggae producers and Stockhausen, in that the mixer becomes an instrument.

P600 are: Luca Marini (drums), Klaus Janek (contrabass/electronics), William “Bilwa” Costa (electronics/objects), and Nicolas Wiese (sound direction/mixer/feedback)

“How To Inhabit These Different Temporalities” is a flexible, archipelago-like concert installation: spread out within the space, the musicians play as if they each occupy their own island. Surrounded by metronomes and ticking timers, they transform complex improvisation instructions supplied by the audience into an immersive, constantly shifting, poetic soundscape.

The Berlin-based Ensemble Extrakte was founded in 2013 by Sandeep Bhagwati and Elke Moltrecht and is made up of musicians from China, Germany, India, Korea, Bulgaria, Syria and the USA. The group embodies of a new kind of ensemble: acknowledging that we live in a time where musical traditions have transcended all the world’s geographical, ethnic and ideological boundaries, the members of Ensemble Extrakte seek to examine the musical potential of both familiar and unfamiliar traditions. For ‘Down to Earth’ Bhagwati, Moltrecht and the oboist Cathy Milliken have developed a flexible, archipelago-like concert installation entitled “How To Inhabit These Different Temporalities”: spread out within the space, the musicians play as if they each occupy their own island. Surrounded by metronomes and ticking timers, they transform complex improvisation instructions supplied by the audience into an immersive, constantly shifting, poetic soundscape in which one may walk around, lie down, join in, listen and linger. In common with the earth’s immeasurable time dimensions – those “silent transformations” (François Jullien) that people barely understand – in this musical event it is possible to experience intuitively a small section of a vast flowing process that began long before us and whose turbulences permeate all of us in every second.

Wu Wei Sheng (Chinese mouth organ), Erhu (Chinese string instrument)
Sören Birke Duduk (Armenian wind instrument), mouth organ, mouth harp
Farhan Sabbagh Ud (Syrian mandolin instrument), Riqq (frame drum)
Deniza Popova Bulgarian and Russian folksong techniques
Ravi Srinivasan Tabla (Indian drums), Khayal (North Indian vocal style)
Gregor Schulenburg Transverse flute, Kyotaku (Japanese end-blown flute), Duduk
Lucy Zhao Pipa (Chinese mandolin instrument), Guqin (Chinese fingerboard zither)
Jieun Kang Haegeum (Korean bowed string instrument)
Hong Yoo Daegeum (Korean transverse flute), Changgu (double frame drum)
Klaus Janek double bass
Gebrüder Teichmann gramophone, musical clock
Ensemble direction Sandeep Bhagwati & Elke Moltrecht

https://www.facebook.com/BerlinerFestspiele.Immersion/videos/3062914123827461

jan 25, 8pm: hauskonzert at Ingo’s with Maria Lucchese, teremin, voice, ocean drum, Matthias Bauer, db, Milena Kipfmüller, voice processing, Ingo Reulecke, dance and Klaus Janek db, electronics, Berlin

march 6,/7,/8,/12, 8pm: Schweigen Impossible, Thikwa Theater, F40, Berlin

due to corona from here on the performances were postponed or cancelled.

march 20, 21, 8pm: prepremiere DIVE, Anna Konjetzky Company, Tafelhalle, Nürnberg

march 28 8pm: premiere DIVE, Anna Konjetzky Company, kammerspiele, München
march 29, 30 8pm: DIVE, Anna Konjetzky Company, Kammerspiele, München

april 4, 8pm, april 5 3pm: DIVE, Anna Konjetzky Company, Statetheatre, Pretoria, South Africa

april 30, 8pm: Ensemble Extrakte, Elisabethkirche, Berlin

may 1, 8pm: trio with Ulrike Brand, cello, Ingo Reulecke, dance, Klaus Janek contrabass electronics

may 5 – 10: Pixelsinfonie, Michael Rauter, Ensemble Kaleidoskop, Schlossfestspiele, Ludwigsburg

may 17, 8pm: Ensemble Extrakte, Neuevokalsolisten, Stuttgart

may 18 – 20: Ensemble Extrakte, Berlin

june 29 – july 6: Ensemble Extrakte, Musiikin Aika,Viitasaari, Finnland

set 26, 27: Schweigen Impossible, Bird-Festival, Tottori, Japan

oct 21 – 25: Pixelsinfonie, Michael Rauter, Ensemble Kaleidoskop, Bonn

nov 12 – 15: Ensemble Extrakte, Humboldforum, Berlin tbc

This performances will happen or happened:

nov 26 – 29: Sumpfgeborene, matthaei&konsorten, Sophiensaele, Berlin

oct 17th: Zero, Land der Zukunft! live Audio Walk on Spreeufer. Macchina Som Allstars (Kipfmüller, Janek, Matthaei), Dystopie Sound Art Festival 2020 Berlin-Brazil

oct 9th: P600, Nicolas Wiese, Luca Marini, Bilwa, KJ, Werkhalle Wiesengrund

sep 20th: Probebohrungen/Sumpfgeborene, matthaei&konsorten: Rieselfeld, Gatow
sep 19th: Probebohrungen/Sumpfgeborene, matthaei&konsorten: Microbiologisches Institut, Berlin
sep 17th: Probebohrungen/Sumpfgeborene, matthaei&konsorten: Nicolaikirche, Berlin
sep 16th: Probebohrungen/Sumpfgeborene, matthaei&konsorten: Recyclinghalle, Heinersdorf, Berlin

august 21st to 23rd: ensemble extrakte, HOW TO INHABIT THESE DIFFERENT TEMPORALITIES, Martin-Gropius-Bau, Berlin

july 29th: [SNDG STTNS], Hosek Contemporary, Berlin – cancelled

june 18th: Pixelsymphonie, Beethoven/Michael Rauter, Schlossfestspiele Ludwigsburg. Watch/listen here

first solo concert of contrabass and electronics “infinite bang” after its composition and recording at Klanggalerie, Berlin. The concert happened september 1st, at Studio Silk in Jönköping and was invited through Stina Nilson and Helena Boström. The music is available on LP on almenrauschen. You can buy it here

jam session with sounding situation

Dorcy Rugamba initiated the session for an exchange of the this year Rwandan con memorial festivity band and the artists-in-residence Milena Kipfmüller and Klaus Janek. The initiative was caught on the fly by the director of the Goethe Institut Kigali, who then hosted the event.

Part 1
public rehearsals of ‘to be in a time of war’, Etel Adnan, will be edited by sounding situations (Milena Kipfmüller, Klaus Janek).
It is a combination of voice, poetry and musik.

Part 2
jam session with the band and Milena Kipfmüller and Klaus Janek.

These artists are also part of it Groovy Band:

Iradukunda (aimable drummer)
Nkomeza Alexis (Keys)
Niyobyiringiri Ellam (electric guitar)
Izerimana gad (bass guitar)
Nikeza Alice (singer)
Karinijabo Ignace (singer)
MBONIMPA Methuselah (saxophone)

Goethe-Institut Kigali

sounding situations performance and workshop

After the first edition last year about the power of tales in the process of reconciliation, DigiTales Across Borders was back again to address the role of tales, therefore, oral culture for the transmission of knowledge through generations in the Great Lakes Region. Generally, tales are vehicle of identities and culture heritage.

Milena Kipfmüller and Klaus Janek, two Berlin based artists working on sounds/recordings together with storytellers from the Great Lakes Region presented 1 week of work between tradition and modernism of storytelling, along with an hybrid live performance.

The final performance was executed by Augustin Gasake, Gran Pere, Muheto Jean Bosco, Huguette, Lion King, Deo Munyakazi and sounding situations. It took place at Impact Hub Kigali on april 27th. In addition to the performance sounding situations (Milena Kipfmüller/Klaus Janek) lectured about listening and recording at RAI Rwandan Arts Initiative on may 29th and 30th. The performances was funded by Goethe-Institut Kigali, Institut Francais, and supported by RAI Rwandan Arts Initiative.

walkable music theater

Upon hearing the word Rwanda, most people probably think of the genocide that began 25 years ago in April. There has been massive economic development since then and the country now presents itself as an “African Tiger”. But Rwanda’s younger generation, like Germany’s, has to grapple with a difficult legacy. Crossing magnificent visions of the future with yearnings for dispersed traditions, Dietrich and Kipfmüller, the Rwandan spoken word artist Eric 1key and the Berlin-based composer Klaus Janek have developed “Rwandan Records” – a record label, sound studio, bar and archive of personal recollections. The project presents a new and unusual perspective on identity in a global context. In Rwanda and Germany, there is a similar interest in pop culture and the keywords used in public debate – identity, migration, community, integration, home, tradition and prosperity – are the same. But in Rwanda, they are associated with completely different visions and thus gain new, expanded meanings. After recording many conversations with many people in Rwanda, Dietrich and Kipfmüller have created a heterogeneous ensemble of voices. This work of walkable musical theatre is at once sound installation and radio play, concert and staged space, whose acoustic architecture is shaped by the audience. The composition moves between different times and worlds, between traditional songs, pop music and electronic sounds. The voices of the ensemble and its stories become a moving live symphony. The audience’s movements are tracked so that at the end visitors can download and take home with them a personal album of the stories that they heard. Only the files that are listened to will be saved. The others will vanish. Individual decisions thus enable collective knowledge to be preserved or actively forgotten. A narrative that transcends genre and culture will emerge on the basis of a combination of different times, visions of the past and the future, as well as breaks in people’s biographies.
Jens Dietrich works in Rwanda regularly. He was last there for the theatre production “Planet Kigali” that premiered in winter 2018 in Kigali and at Hamburg’s Kampnagel
theatre. Milena Kipfmüller won the Blind War Veterans’ Radio Drama Prize for her radio version of the play “Hate Radio” and she and Klaus Janek won the 2018 Music Theatre NOW Award for their production “Musraropera”. In 2007, Klaus Janek composed the techno opera “Afterhours” for one actor, 3 sopranos, 1 alto, 1 bass, 1 rock singer, a choir and a sequencer, which premiered at Berlin’s Berghain club. Janek’s music explores the boundaries between “serious” and popular” music, performance and installation, noise and music, traditional and contemporary and analogue and digital.

Premiere
21 March 2019, as part of the „Find the File“ festival (HKW), 5-8 PM
Additional Performances
22 – 24 March 2019, Haus der Kulturen der Welt, 5-8 PM
ARTISTIC DIRECTION & TEXT: Milena Kipfmüller, Jens Dietrich WITH:
Klaus Janek und Eric 1key SPECIALIST COUNSELLING Assumpta
Mugiraneza STAGE DESIGN Jelka Plate MUSIC & COMPOSITION Klaus
Janek ASSISTANCE Amina Nouns LIGHT AND TECHNICAL DIRECTION
Chris Umney PROGRAMMING Marco Peise PR Yven Augustin PRODUCTION
MANAGEMENT Annett Hardegen
VOICES Wesley Ruzibiza, Natacha Muziramakenga, Assumpta Mugiraneza,
Eric 1key, Chris Schwagga, Hervé Kimenyi, Jean Marie Vianney Mushabizi,
Deo Munyakazi, Yannick Kamenzi, Odette Mukakimenyi, Paul
Ntakirutimana, Evariste Karinganire, Jean Marie Vianney Mushabizi.
A PRODUCTION BY Dietrich/Kipfmüller IN CO-OPERATION WITH Haus
der Kulturen der Welt and the Iriba Centre for Multimedia Heritage Kigali
SPONSORED BY Hauptstadtkulturfonds and the Goethe-Institut Kigali SUPPORTED BY
Phonogramm Archiv Berlin

pic by Roberto Duarte

Nº 12: [Tradition(en): Zerlegt & Zusammen: Gesetz] ensemble ɛkstʁaktə
Concert interspersed with discourse
Friday, 1. Februar 2019, 20 h (Saal 1) Exploratorium

Sandeep Bhagwati (IN/DE/CA) – musical direction | Sören Birke – blues harmonica, duduk | Gene Coleman (US/DE) (Gast) – bass clarinet | Klaus Janek – double bass, live electronics | Ji-eun Kang (KR) – Haegeum | Margret Köll – baroque harp | Deniza Popova (BG/DE) – (bulgarian) chant | Ravi Srinivasan (IN/MY) – hindustani chant, tabla, whistles | Hong Yoo (KR) – deageum, changgu

Do we actually stop to develop our listening? Do we always hear the same thing, even when we listen to foreign music? What is foreign music anyway? In a concert we want to explore these questions sensually and verbally.

To this end, we invited the ensemble ɛkstʁaktə, which embodies a special ensemble concept: “Based on the insight that we live in a post-exotic time, in which musical traditions have spread across all geographical, ethnic and ideological orders in the world, the musical cosmopolitans of the ensemble ɛkstʁaktə ask their familiar and foreign musical traditions about their musical potential”, writes Sandeep Bhagwati. In a conversation we will take him at his word.

Moderation: Reinhard Gagel

The Miyagi Haikus are a score of seventeen musical haikus — brief melodic and rhythmic snapshots — that Sandeep Bhagwati wrote in one day in 2011 as a reaction to the earthquake, tsunami and nuclear reactor disaster in Fukushima. At HKW, the open score becomes the contact zone for seventeen musicians of various stylistic origins, who take on the score in public rehearsals and two concerts between composition and improvisation and transfer it to their own music tradition for their own instrument. At the final concert, poetic reactions by Christian Filips, Yang Lian, and Yoko Tawada translate this “comprovisation” back into lyrical form.

A trio from the New York jazz scene, with Peter Evans (trumpets), Dave Taylor (bass trombone), and Felix Del Tredici (bass trombone); the Open Music Quartet from Stuttgart, with Felix Borel (violin), Scott Roller (cello), Jürgen Kruse (piano), and Michael Kiedaisch (percussion); and a trio comprising a traditional musician from Korea, Jieun Kang (haegeum), a vocal artist from the musique actuelle scene of Montréal, Gabriel Dharmoo (vocals), and the Berlin-based bass maven Matthias Bauer (double bass); and the trans-traditional Ensemble Extrakte Berlin, with Wu Wei (sheng, erhu), Cathy Milliken (oboe), Ravi Srinivasan (tabla, percussion), Sören Birke (duduk, blues harmonica), and Klaus Janek (double bass)

Readings by Yoko Tawada, Yang Lian, and Christian Filips

Produced, composed and conducted by Sandeep Bhagwati (composer-researcher and director of matralab)
Phase I jan 10th, public rehearsals at HKW / Phase II jan 11th, concert of the orchestra version, auditorium HKW

a sounding research archive stories,
sounds and tunes from the famous broadcasting complex of the former GDR-radio station in Nalepastraße

Grotest Maru and sound and radio artists Klaus Janek and Milena Kipfmüller revive radio history in their research “Nalepa lives!”. A central role is played by the old studios in Nalepastrasse. Thematic strands are the acoustical peculiarities of the studios, in particular the unique large broadcasting salon, the radio drama, feature and news production of the sixties to the eighties and also the everyday social life in this around-the-clock complex with a maximum of 5,000 workers.

The “Open Nalepa Studio” provides an insight into the current research stand with images, sketches, audio samples and their processing.
Also invited are contemporary witnesses with their own perspectives on the Nalepastrasse: the acoustic expert and former head of the Laboratory for Acoustic-Musical Boundaries, Gerhard Steinke, the former radio editor and current city guide through the Nalepa complex, Wolfhard Besser, a former sound engineer of the Funkhaus and composer Andre Bartetzki and (Ker) Stine Satke, former radio play spokeswoman and former member of the ensemble of speaker children.

Afterwards pasta and radio plays.

Funded by the Senate Departement of Culture, Berlin, and hosted by KuLe, Berlin

Concerto Ambulante is a performance and live-audiowalk in dialogue with its environment. The duo Sounding Situations works without any presets or pre-recorded samples and invites to a collective walk with the audience to discover sounds and sceneries that are captured by open mics, ears and eyes. All the sounds for the piece are recorded along the way and transformed into music instantly. In parallel a descriptive frame creates a context, that makes up scenes by the act of observation in dialogue with the musical composition. The performance is broadcasted directly to the audiences smartphones that perceive a synthesis between the different elements in interaction – including themselves. The headphones are permeable so that the source is able to interfere in what is heard. The technical construction of imagination stays always transparent and invites to interact.
In this way the massive architectural structures and wild nature melt into new and shared paths. The landscape becomes a scenery, cars, bicycles, and passers by the performers. The everyday life with transformed soundtrack turns into a fictive film without a screen but real images. The different layers of transition, music creation, description, interpretation and imagination compose a walkable theatrical sound-track.

During the days of collaborative work and research the CAMP collective creates and discusses artistic ideas combining individual creativity with collective needs. The artistic research method is used for topics to be chosen, discussed, produced and presented as art projects.

the this years festival happend at RMPE Stuttgart and hosted following artists:

Goncalo Cruzinha PT | Fried Dähn DE | Neus Estarellas ES | Emilian Gatsov BG | Vladislav Iliev BG | Pepa Ivanova BG | Klaus Janek DE | Hanna Kölbel DE | Mirian Kolev BG | Desiree Lune DE | Sabrina Ma CA | Alexandra Mahnke DE | Thomas Maos DE | Lora Rounevska | BG | Milan Schell DE | Swen Seyerlen DE | Petko Tanchev BG

and here a little presentation feature..
click here

the event was livestreamed and can be listened back at https://voicerepublic.com/talks/radiofon-no-3

RADIOFON is a series of encounters in the field of radio works in a wide and open definition. We perform and debate formats and contents with outstanding inter/national artists. Every event is designed according to the wishes and needs of the participants. This 3rd event features Cathy Lane, sound artist, composer & academic, based in London.
Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. She is a Professor of Sound Arts and Director of CRiSAP (Creative Research in Sound Arts Practice), University of the Arts London.
https://cathylane.co.uk/

macchina som allstars is Milena Kipfmülle / Lukas Matthaei / Klaus Janek

the event was livestreamed and can be listened back at https://voicerepublic.com/talks/radiofon-no-2

Radiofon is an encounter in the field of radio works – in a wide and open definition. We will perform and debate formats and contents. Every single event is designed according to the wishes and needs of the participants. This second event invites Marc Matter. More about Marc

funded by inm – initiative neue musik berlin

macchina som allstars is Milena Kipfmülle / Lukas Matthaei / Klaus Janek

Die Zunge als Musikinstrument: im Mund – oder in Zungeninstrumenten aus vielen Traditionen. “Zunge” ist ein Wort für Sprache: Singen und Sprechen sind Zwillingskinder der Zunge – aber sind sie auch innerlich verwandt? In diesem Projekt macht sich das Ensemble Extrakte zusammen mit Dichtern auf in das Herz der Sprache, um dabei für die Musik neue Klänge und Poetiken zu entdecken.

Ensemble Extrakte feat. Nicholas Isherwood, Gabriel Dharmoo, Sameer Dublay und Gebrüder Teichmann. Leitung: Sandeep Bhagwati

The tongue as music instrument: in the mouth – or in Zungeninstrumenten (tongue-instruments) of many different traditions. “tongue” is an expression for language: singing and speaking are twins of the tongue – but are they internally related? In this project the Ensemble Extrakte togethe with poets researches the heart of language, in order to discorver new soundings and poetics for the music.

Ensemble Extrakte features Nicholas Isherwood, Gabriel Dharmoo, Sameer Dublay, Gebrüder Teichmann and the poets Chris. Directed by Sandeep Bhagwati

the event was livestreamed and can be listened back at https://voicerepublic.com/talks/radiofon-no-1

Radiofon is an encounter in the field of radio works – in a wide and open definition. We will perform and debate formats and contents. Every single event is designed according to the wishes and needs of the participants. This first event invites Antje Vowinckel. More about Antje

funded by inm – initiative neue musik berlin

macchina som allstars is Milena Kipfmülle / Lukas Matthaei / Klaus Janek

Klaus Janek, processed contrabass   William “Biwa” Costa, sine tones, field recordings

The electro-acoustic duo of Klaus Janek and William “Bilwa” Costa search for aesthetics and compositional discourse; approaching sound equally from fine art and musical perspectives, both theoretically and practically.

Working within set structures, they allow space for chance and emergence, using listening and assessment as primary compositional tools. Drawing from a palette of sine tones, contrabass (acoustic and processed), amplified objects, feedback, electronics, and field recordings, their process is seemingly transparent and focused on sonic, visual, and spacial qualities.

They use both actual time and manipulated time perception, by displaying time in sound events and music narration. Through repetition, duration, and abstraction, actual (real) time looses its physical measurability. The duo build and break expectations; leaving room for an audience to perceive, question, understand, and introduce personal, emotional memories and experience.

Excerpts from the album which will be released in autum 2017

sounding sitations (Milena Kipfmüller & Klaus Janek) were invited to the sound art festival paisagem sonora 2017 in Cachoeira, Bahia. Due to weather conditions the route had to be changed and brought to equipment-safe conditions, under a big tend. Here are a few picture impressions of the performance.

https://www.facebook.com/paisagemsonoraemcachoeira/videos/1496438127095811/

by sounding sitations (Klaus Janek & Milena Kipfmuller)
Miss Hecker, Berlin
Echolot searches for hidden sounding and musical material that is saved in books. Written words that transmit semantic meaning are for us scores for sound and music. Transformed through the voice of the visitors into sound, the short and playful recordings get overlayed, (de)composed, sent, resent and recieved by the listener in musicalized form. An inicially „simple“ sembling recording of one voice transforms into a four-part fugue, into a mix of music and language and then into a rythmic-electronic
musicpiece-radioplay. The listener can constantly rearrange, record and re-influence the live mix together with the performers and suggest new and other spoken or musical accents, a different text passage or speak in other languages. The construction is therfore a living instrument to reaserch the sounding depts of the library. Visually we play with different axis, that shift the perpective leading always back to the listening. The books and the readers overlay, scores and players, as basic elements of the always changing composition.
The project was developed for the library of the Goethe Institut Montreal for the nuit blanche 2016 and presented as stage performance at the matralab of the Guy Concordia University Montreal and in december at Miss Hecker, Berlin

matraresidencies
ECHOLOT
Residency Project by
K. Janek & M. Kipfmüller

ECHOLOT is a performance installation by Milena Kipfmüller and Klaus Janek which will be presented at the Goethe Institut, Montréal for Nuit Blanche on February 27, 2016.

On March 2, they will present a lecture performance at matralab that investigates ECHOLOT on a deeper level. The questions that they will work on during the lecture performance are:

Do words function as music objects and information carrier for purely music composition?

Does the semantic understanding deviate the audience from the music meaning?

They will try out different possibilities of creating text material as music objects in english and german.

The transformation from the first pure reading of the text, via the overlaying of different loops, adding sounds and recomposing the donated material as musical source is the transformation process that we will follow in the installation. In the lecture they want to analyze in a collective process the mechanism of semantic and musical reception, changing between different understandable and non-understandable languages as well as a abstract sounds source. What kind of meaning is being lost and which kind of understanding is created?

by sounding sitations (Klaus Janek & Milena Kipfmuller)
Goethe Institut Montreal
Echolot searches for hidden sounding and musical material that is saved in books. Written words that transmit semantic meaning are for us scores for sound and music. Transformed through the voice of the visitors into sound, the short and playful recordings get overlayed, (de)composed, sent, resent and recieved by the listener in musicalized form. An inicially „simple“ sembling recording of one voice transforms into a four-part fugue, into a mix of music and language and then into a rythmic-electronic
musicpiece-radioplay. The listener can constantly rearrange, record and re-influence the live mix together with the performers and suggest new and other spoken or musical accents, a different text passage or speak in other languages. The construction is therfore a living instrument to reaserch the sounding depts of the library. Visually we play with different axis, that shift the perpective leading always back to the listening. The books and the readers overlay, scores and players, as basic elements of the always changing composition.
The project was developed for the library of the Goethe Institut Montreal for the nuit blanche 2016 and presented as stage performance at the matralab of the Guy Concordia University Montreal and in december at Miss Hecker, Berlin

Ensemble Extrakte ( 13th Dec 2015 ) #3- Vogel from matralab on Vimeo.

Ensemble Extrakte ( 13th Dec 2015 ) #5- Hark from matralab on Vimeo.

Ensemble Extrakte ( 13th Dec 2015 ) #6- Poetischer Dialog III from matralab on Vimeo.

Ensemble Extrakte ( 13th Dec 2015 ) #7- Rives from matralab on Vimeo.

Ensemble Extrakte ( 13th Dec 2015 ) #9- Dronen from matralab on Vimeo.

Extrakte Ensemble & Gebr. Teichmann
Klaus Janek bass, elektronics, Cathy Milliken oboe instruments, Deniza Popova Bulgarian singing, Farhan Sabbagh ud, Gregor Schulenburg flutes, duduk, Ravi Srinivasan tabla, percussion, Hong Yoo daegum, Gebrüder Teichmann silent DJs
Idea: Klaus Janek, Concept: Sandeep Bhagwati, Elke Moltrecht, Gebrüder Teichmann, Composition and musical direction: Sandeep Bhagwati

at Faithful II Festival nov 11th, 2014, at Radiasystem, Berlin

Iterations from matralab on Vimeo.

with Radio Citizen
27.6.2014 Postna Med Lent Festival Maribor (SLO)
8.7.2014  Jazz Festival Copenhagen Denmark
9.7.2014  Studenterhuset Odense Denmark
Gefördert durch die Initiative Musik gemeinnützige Projektgesellschaft mbH  mit Projektmitteln des Beauftragten der Bundesregierung für Kultur und Medien auf Grund eines Beschlusses des Deutschen Bundestages.
30.8.2014 Jazzfest Brandenburg Brandenburg

During their residency (21. – 24. 11.) at Liebig12 P600 will work on reconfiguring the space sonically within their presence. P600 invites Zaungäste who, because of their own research/interest, come by, observe, question, comment and/or feed back.We invite those interested to announce their passing by, mailing to mail{at}klaus-janek.de, so that we can organize (and prepare coffee or Tea). Beginning 5 p.m.

Konzert: Sonntag 24. November 2013, 20 Uhr

P600 experiments with a range of acoustic, electro-acoustic and acousmatic sound. In addition to the large soundsystem, controlled by Nicolas, each musician has a personal sound system. This allows for a micro-to-macro and audible-to-inaudible sound dynamic.

The P600 is an event-related potential (ERP), or peak in electrical brain activity measured by electroencephalography (EEG).
It is a language-relevant ERP and is thought to be elicited by hearing or reading grammatical errors and other syntactic anomalies.
Therefore, it is a common topic of study in neurolinguistic experiments investigating sentences processing in the human brain.

P600 in residency at Liebig12 // Preview from Liebig12 on Vimeo.

P600 / 3rd: "THE MEN NEXT DOOR" from Liebig12 on Vimeo.

William ‘Bilwa’ Costa – laptop, electronics, raw materials
Klaus Janek – double bass, laptop, electronics
Luca Marini – percussion, electronics
Nicolas Wiese – live sound manipulation, non-laptop-electronics

P600 is an electro-acoustic quartet who will make its debut on this evening, after a 3-day rehearsal period at Quiet Cue, Berlin.

P600 experiments with a range of acoustic, electro-acoustic and acousmatic sound. In addition to the large soundsystem, controlled by Nicolas, each musician has a personal sound system. This allows for a micro-to-macro and audible-to-inaudible sound dynamic.

The P600 is an event-related potential (ERP), or peak in electrical brain activity measured by electroencephalography (EEG). It is a language-relevant ERP and is thought to be elicited by hearing or reading grammatical errors and other syntactic anomalies. Therefore, it is a common topic of study in neurolinguistic experiments investigating sentence processing in the human brain.

The P600 can be elicited in both visual (reading) and auditory (listening) experiments, and is characterized as a positive-going deflection with an onset around 500 milliseconds after the stimulus that elicits it; it often reaches its peak around 600 milliseconds after presentation of the stimulus (hence its name), and lasts several hundred milliseconds. In other words, in the EEG waveform it is a large peak in the positive direction, which starts around 500 milliseconds after the subject sees or hears a stimulus. The P600 was first reported by Lee Osterhout and Phillip Holcomb in 1992. It is also sometimes called the Syntactic Positive Shift (SPS), since it has a positive polarity and is usually elicited by syntactic phenomena.

perpetualmvmtsnd.org/bilwa
klaus-janek.de
myspace.com/lucamarini
nicolaswiese.com

guit electronics – db electronics

Ulrich Müller is a composer, guitarist and author. As co-founder of the group 48nord the central focus of his work is on computer-based sound processing of guitar and theremin. Initially a rock musician, he took lessons in composition with Klaus K. Hübler, took part at the “Darmstädter Ferienkurse für Neue Musik”, visited workshops with Clarence Barlow and worked together with Josef Anton Riedl since 1987. In 1988 he won the Karl-Hofer-Award of the HdK-Berlin. In 1995 he was a guest artist at the Zentrum für Kunst und Medientechnologie / ZKM / Karlsruhe. 2000 to 2010 he was one of the curators of the “t-u-b-e” sound gallery, Munich. As author he mainly works for the editorial department “Neue Musik” of the Bayerischer Rundfunk.

a meeting of acoustic extended playing techniques with electronic extended playingtechniques.

Clayton Thomas is a double bassist and grass roots organiser working in the broad spectrum of improvised music. Equally at home playing at high, medium and starkly reduced energy levels, he finds inspiration in creative music and musicians of all generations. He is the founder of The Splinter Orchestra, the NOW now festival and the concert series ‘if you like improvised music, we like you.” in Sydney, Australia.

an excerpt of the recording

European tour in fall 2011
Oct 22nd – Nov 8th:  Lodi, Milano, IT,  Zürich CH, Munich, Köln, D, Gent, BE, Saint-Amand-Montrond FR, Amsterdam, NL, Oxford, Manchester, Sheffield, Birmingham, Brighton, UK

This is a recent project started in 2009, featuring Klaus Janek on doublebass and electronics, with Scott R. Looney on electronics and prepared piano. These two musicians and their different experiences together and separately create a wealth of sonic textural landscapes in their interactions, with an emphasis on logic and contrasting concepts guiding the overall shape of the work. In Fall of 2010 this duo toured Europe, playing to audiences in Austria, Germany and the Netherlands. We also collaborated with many wonderful musicians like Marco Eneidi, Wilbert De Joode, Christoph Irmer, Sue Schlotte and Martin Blume.

Hummel, Schnirch, Looney, Janek MUG Munich oct 27th 2011 from Klaus Janek on Vimeo.

.
august 15th: with Sephan Roach, Feng Hao, Liu Xinyu, Yan Jun at fukoshima project, Treescape Cafe, Beijing
august 17th: with Li Janhon (guitar), and VAVABOND (laptop), Yan Jun, 2kolegas bar, Beijing
august 18th: with Yan Jun’s living room tour at one’s audience home, Beijing
august 19th: with Torturing Nurse, Yan Jun, Li Xenhui, 696 Live, Shanghai
august 20th: with Ruan Quianrui (visuals), Yan Jun, Mein’er (film), Yan Jun, Li Xenhui, W+K, Shanghai
august 24th: with Li Xenhui, Freedom House, Changsha
august 26th: with Zenlu, Er Dao, Li Xenhui, lisao concert, cold tea, Shenzhen
august 27th: with Li Xenhui, WOOSA, Guangzhou
august 28th: with Sin:ned, ReRecord concert, Nerve Osage Open, Hong Kong
august 30th: Annexe Gallery, Kuala Lumpur
.

.
Three musicians from different backgounds meet in the intersection between acoustic, electroacoustiv and electronic sound qualities. Feedbacks, fieldrecordings and doublbass create the raw material, which in pure or processed form is transformed into soundscapes. From the aesthetic point of view soundresults from the 50ies connect with today. In the content the trio works with changing levels of abstraction who invite the audience to active listening, but not fatigue. Given the distinct backgrounds of the three musicians the musical language promises heterogenity and three dimensionality: noise, drown, low case, energy play, research, contemporary composition, Berlin – Peking – Bolzano.Supported by Senatskanzlei – Kulturelle Angelegenheiten Berlin, subjam.org, Beijing, Italian Embassy Berlin and Istituto Culturale di Berlino. The tour resulted in two album releases: Hongkong Pavillion at Sin:ned Hongkong based label, rerecords and Reisenotizen aus dem land der Mitte, at the Kuala Lumpur based label, Herbal International
.

a work commissioned by t.u.b.e. Munich

The series of concerts, research and soundart events t.u.b.e ended in 2010. For the 10 years celebration and ending, KJ was commissioned to compose a piece out of 1 min long samples, contributed by musicians who performed during this 10 years at t.u.b.e.
The 2nd set was a solo with doublebass and electronics. The eventing was curated by Ulrich Müller.

oct 24 – 31st: Vienna A, Den Haag BE, Berlin, Hamburg B, Maastricht BE, Wuppertal, Köln, Bonn D

ige*timer in san luis obispo from Michelle Ettlin on Vimeo.

concert listing

sep 30th: Allways Lounge, New Orleans, USA David Torkanowsky keyboard and Rex Gregory, reeds
sep 29th: Zeitgeist Gallery, New Orleans, USA Aurora Nealand, reeds, Simon Lott dr
sep 28th: Blue Nile, New Orleans, USA Rick Trolsen, tb and Chris Alford guit.
sep 28th: Guerilla concert on oilfield, Texas, USA
sep 27th: superhappyfunland, Houston, USADamon Smith and Thomas Helton, db, Seth Paynter reeds
sep 26th: Church of the freindly ghost, Austin, USA
sep 23rd: Bookcompany, Marfa, USA
sep 21st: Albuquerque Recording Session: Christian Pincock/Mark Weaver/Klaus Janek
sep 20th: Guerilla Concert at Amphitheatre, Taos, USA
sep 19th: Radio Show Albuqerque University Radio kunm 89.9 FM Alberquerque, USA
sep 18th: Center of Grooviness, Albuquerque Christian Pincock, tb electr, Mark Weaver, tuba, BE, electr.
sep 17th: Guerilla Concert on Carol Springer Mountain/Apachereservation, USA
sep 16th: Guerilla Concert at Carcinema, Globe, USA
sep 15th: Solar Culture, Tuscon, USA
sep 13th: Jean Carnage at Perisphere, Los Angeles, USA
sep 12th: Echo Curio, Los Angeles, USA
sep 11th: Gureilla Concert, San Louis Obispo, USA
sep 10th: Guerilla Concert, Big Sur, USA
sep 9th: Recording Session Scott Looney / Klaus Janek, 1510 studio, Oakland, USA
sep 8th: ONE festival, Oakland, USA
sep 7th: Guerilla concert, Mt. Sutro, San Francisco, USA
sep 6th: radioshow at KUSF 90.3fm, San Francisco, USA
sep 3rd: living room, Portland, USA
sep 2nd: Gallery 1412, Seattle, USA
sep 1st: Fake Jazz, Wednesdays, Vancouver, Canada
aug 31st: Lot 8 Victoria, Canada
aug 26th: Velvet sun, Tokyo, Hideo Ikegami, db, Takuji Kawai, piano
aug 20th: Kissa Sakaiki Club, Tokyo, Naoto Yamagishi Drums
aug 17th: Omchatone, William Tokuhisa voice, and Ikebana, traditional flower arrangement artist
aug 16th: Club Sabaco, Tokyo Yasunori Tani, guit. elect. and guests

ige*timer at apache drive-in theater from Michelle Ettlin on Vimeo.

The pictures are impressions of the tour. They are a selection out of several thousand pictures.

concert listing

oct, 14th: ige_timer, University, Chicago
oct. 11th: ige_timer, SCI*FI PHILLY, Philadelphia
oct. 10th: ige_timer, Red Room, Baltimore
oct. 6th: ige_timer, blue nile, New Orleans
oct. 5th: ige_timer, fairgrinds coffeehouse, New Orleans
oct. 4th: ige_timer, hi ho lounge, New Orleans
oct. 3rd: ige_timer, mckeowns books, New Orleans
sep. 29th: ige_timer, ciné, Athens, Giorgia
sep. 27th: ige_timer, eyedrum, Atlanta
sep. 25th: ige_timer, sonic cirquit festival, Washington
sep.18th, 19th, 20th: ige_timer, listen/space, New York

The pictures are a selection of impressions of the tour

with Anat Cohavi, reeds and Sebastian Hielken, cello
june, 21 – july 6: Jerusalem, Tel Aviv, Karmiel, Haifa, Hamburg

what also happend at the white nights was an encounter, which is not documented, but a few pictures are here:  Christer Irgens-Moller conducting an ensemble later on a trio with myself, Günter Baby Sommer drums, and Harold Rubin on clarinet

In 2001 the coincidence was the invitation of KJ by Scott Currie, coorganizor of the vision festival, for the participation in Bill Dixons orchestra, playing his piece “index”. Because the rehearsals being distrubuted on one month there was time for KJ to go on tour with his “Caspar”. A big help of organisation came fom Peter Kowald. The  tour was done using Greyhoud buss services, the bass travelled inside a flightcase – it was quite spectacular as you see on the photos. In following cities concerts took place:

Knitting factory, New York City

Birminghame, Alabama

Charleston, North Carolina

Eyedrum, Atlanta

Zeitgeist, New Orleans

Visionfestival as part of the VF Orcestra directed by Bill Dixon, playing his composition ‘index’