This historical, world premiere Death in Vegas show, unites psychedelic auteur Richard Fearless and artist and actress Sasha Grey over a love of Throbbing Gristle and Chris and Cosey. Brand new experimental material, resonating across the soundscapes of visceral techno and unsettling, discordant drones, weaving a state of dreamlike euphoria. A specially conceived full audio-visual live show – long time in the making – creates a total artwork illuminating from within the the Ballardian landscape in which it’s set.
With cinematic fluidity, Alessandro Cortini (Hospital Productions, Important Records) acquaints music with memory, embracing the panorama of his family’s vintage Super 8 films. These snapshots of family life, captured by his grandfather, create a visual basis for him to further develop the melancholy of remembrance as sung by his instruments. The project began as a simple improvisation (utlizing a Synthi AKS) and evolved into a meditation on living memory through sound. The sonically expansive musical canvas compliments these filmed scenes to create a memoir, linking a visually remembered past with an expressively interpreted present, pointing forward and moving ahead, AVANTI, in Italian, carrying the listener down a long labyrinth path collective of these moments that shape ones’ life journey. Archival visual compilation, content curation and arrangement by Sean Curtis Patrick, continuing from Cortini’s previous Sonno and Risveglio projects.
Now based in Brooklyn, Drew McDowall was born and raised in Paisley, an area just outside of Glasgow, and was an important member of the UK punk and post-punk scene, most notably as a member of the bands Psychic TV and Coil. For Berlin Atonal he will be premiering a work entitled Unnatural Channel with visuals developed by Rotterdam based visual artist Florence To. They explore darkly subterranean themes and the new world that emerges from the disintegration of mental, physical, and emotional unities.
Finish sound-provocateur Mika Vainio (aka Ø and in groups such as ÄÄNIPÄÄ, Gagarin-Kombinaatti and Pan Sonic) teams up with Swiss contemporary artist Daniel Pflumm for a world premiere audio-visual show. Vainio is known to open up chasmic sound worlds that bridge noise, techno and the early electronic avant garde. In this symbiotic new A/V show the combination of two leading artists will bring new sights and sounds into the Atonal main room.
Moritz von Oswald (Basic Channel, Maurizio, Rhythm and Sound) and Rashad Becker present the second ever outing of their fathom project. At the centre of the concert is the natural sound of a piano, over-exposed by playing only a single note (b) that passes through varying paths of electronic convolution, gathering all kinds of electric patina and evoking echoes, clones and caricatures of itself, ultimately acting as a sonar impulse sent out to machinery to be informed and invaded by its circuitry. The sound of the piano turns into fiction as soon as it is picked up by a microphone, yet it’s legacy is unshakeable, its character unbendable.
Recent Arts is a duo formed by Chilean visual artist Valentina Berthelon and German musician Tobias Freund. They manipulate sound and image in real time during their stage shows. The music is created and performed by means of an application based on Max/MSP. This application has been developed by Max Loderbauer and Tom Thiel, and finalized based on ideas by Tobias Freund. The History of Darkness is their last audiovisual project. A narrative experiment that takes you on a trip into a universe of astronomical images. The visual work is based on old photographs, drawings and diagrams of the cosmos taken from old astronomy books.
Epic material from Roly Porter’s lastest release on Tri-Angle records and pioneering light and visual design from Marcel Weber combine for a total visual and sonic artwork. The show turns into a shivering phantasmagoria intensified by lighting effects. At its climax, walls of noise and violent rhythms combine with a uniform stimulation of blinding light (Ganzfeld effect); this causes shapes and patterns to appear under the eyelid – a collective hallucinatory experience.
Peter Zinovieff is best known as the founder of London’s Electronic Music Studio, where he spent the late 1960s developing the groundbreaking VCS3 synthesiser. EMS was a legendary hub of innovation for electronic music, traversing the popular, experimental and avant garde domains. Lucy Railton is one of the finest cellists working in the electronic and experimental scenes today. Together they collaborate on their first work for cello and computer. The work articulates a bold and luminous meshing of voices and a visceral encounter between a venerated technological innovator and one of today’s leading musical minds.
Porter Ricks is the sound project of Thomas Köner and Andy Mellwig. Their legendary releases on Chain Reaction (1996) and Mille Plateaux (1997) will soon be complemented by a new LP to be released on Tresor Records in 2017. Köner has been working extensively as a sound designer and artist – exhibiting at among other places the Centre Georges Pompidou and The Louvre. Mellwig’s other projects include collaborations with Kevin Shields of My Bloody Valentine and Pete Kember of Spacemen 3. Porter Ricks is undoubtably the central item in their musical careers, setting a high-water mark for experimentally tinged pulsating techno.
Robin Fox has been performing his monochromatic green Laser Show worldwide for almost a decade. The premise behind the work is that you see and hear the same electrical signal at the same time creating a manufactured synaesthetic experience. The work is extreme and immersive. In late 2013 he set to work on a new show that employs three laser projectors one red, one green and one blue. Sound and light are synchronous. The audience is saturated with sound and light information that connects parts of the brain rarely accessed. At times sound is converted directly into light geometry and at others the image itself is sonified so you hear the mechanics of the light drawing. The experience is ecstatic for both performer and audience and will be presented for the first time in Berlin.
Raime are Joe Andrews and Tom Halstead, a London-based duo seeking to re-establish electronic composition as a physical and emotionally inquisitive force. Since the turn of the decade, via a stunning debut album, three sold-out EPs and a string of imperious live outings, Raime have honed an aesthetic all of their own. The music of their new release, Tooth, is is wide-open and exposed. Raime return from three years of deep, dedicated studio research with a bold and original new music: staunch, rude, and way out in front.
Imaginary Softwoods is the fabled and rarely heard kosmische/drone synthesiser project from John Elliott, a former member of Emeralds and one half of the duo Outer Space, as well as the label head of the highly-regarded Spectrum Spools imprint. His rare live appearances (including a legendary show at Labyrinths in Japan in 2013) are the stuff of electric dreams and have the power of reducing humans to bare, unthinking, but infinitely sensitive awareness.
Berlin Atonal presents one of the most exciting new collaborations of the year. One of the most highly respected acts in both techno and industrial circles, Orphx have been developing their signature fusion of hypnotic rhythms and experimental noise for the past twenty years. Using modular and analog synthesizers, software, location recordings and feedback circuits, Rich Oddie and Christina Sealey draw upon the darker, psychedelic fringes of techno and combine these elements with the experimental aesthetics and themes of early industrial music. Justin K. Broadrick’s output is an intimidating one. His earliest venture began, aged 15, with the recording of his first—and last—record with Napalm Death. From there he formed pioneering industrial metal group Godflesh, who released a slew of seminal albums on Earache throughout the ’90s. In the meantime he’d met Kevin Martin, AKA The Bug, and began experimenting with everything from dub and techno to hip-hop, breakbeat and rowdy ambience as Techno Animal. JK Flesh debuted proper in 2012 with the album ‘Posthuman’ on 3BY3. Together these two inimitable pillars of the dark experimental techno scene premiere their one-off live project at Atonal
Few DJs and producers are as widely and universally acclaimed in techno circles as Donato Dozzy, but Lory D is a name that is criminally under-known, except of course, to the heads. As important to the 90s electronic music scene as Jeff Mills or Aphex Twin (for whom he released music for on Rephlex) Lory D is a true legend at a time where that moniker is often overused. In this very special 4 hour double performance, these two heroes of hypnotic techno take us on a deep, dark, trip to the very limits of electronic music.
The live show Telluric Lines is the first action in a monumental project concieved by Jonas Kopp. For this special live performance, Kopp has engaged award-winning multimedia and video artist Rainer Kohlberger, who will provide live visuals to accompany Kopp’s sonic experimentations. The performance aims to represent – through sound and light – the energy of Mount Shasta in California, an inactive vulcano, where some spiritual devotees claim that the ground-based frequency evident at precisely that spot offers a secret key to open the chakras of the body and expand the consciousness.
Coming out from behind his much lauded Deadbeat alias for the first time Scott Monteith will be debuting his new project Qawwali Quatsch at this years Atonal Festival. Based on the Sufi devotional music of northern India and Pakistan the new project sees Monteith skirting the edges of ambient, noise and drone aesthetics to create an emotive study of raw sonic power quite like anything else in his catalog. The 36 minute album version which features contributions from Sophie Trudeau of Godspeed You Black Emperor! fame will be available via Amsterdam’s Field Records in October.
Russell Haswell is a restlessly forward-thinking, multi-disciplinary artist, performer and curator born in Coventry and currently based in London, England. With a background steeped in computer music, black metal, noise, techno, free-style and solo improvisation, his practice is renowned for broaching the extremities of visual and sonic arts.
UF is the to-date Atonal exclusive project that unites techno trouble-maker Samuel Kerridge and OAKE. In a darkly soulful first return to the Kraftwerk main stage since their incredible performance in 2014, they mutually explore the more distorted dimensions of harmony, rhythm and sound design.
Second Woman is a new collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of Telefon Tel Aviv. Josh and Turk have been friends for over 17 years, having met in New Orleans in the late ’90s through mutual friend and future collaborator, Charlie Cooper. The duo have been working on music together on and off since that time, be it working on their own projects, video game scores, or tracks with other contemporaries. The concept of Second Woman began with the idea of taking tropes from footwork, dub, house, and techno, and twisting these ideas into something kaleidoscopically liberated from the grid, tweaking the perception of time and space within the audio field into something ASMR-inducing and ultimately satisfying to listen to. Both Josh and Turk experience ASMR in response to certain rhythms and sounds, and effort was made to incorporate these triggers into the music, hopefully for other people to experience as well. Atonal festival provides the venue for their debut live performance, with visual accompaniment by Berlin-based design and motion graphics studio Pfadfinderei.
Croatian Amor is the solo work of Copenhagen based Loke Rahbek, known for his involvement in running the Danish record label Posh Isolation as well as his numerous projects including Damien Dubrovnik, Lust for Youth, Vår and most recently-formed the electronic quintet Body Sculptures. The work of Croatian Amor mixes textures of post industrial with an underlying pop sensibility. For Berlin Atonal Rahbek premieres his newest iteration of the project in a full audio-visual show under the name Love Means Taking Action.
It’s safe to say that Felix K’s reputation as one of electronic music’s most enigmatic characters is up there with the likes of Shackleton and Shed. Ena is an visionary producer based in Tokyo, Japan. He produces music at the very boundaries of early drum & bass and abstract hip hop. In their recorded output they both invariably search for new sounds and endeavours and develop new rhythmic frontiers. Both artists are noted for highly experimental and leftfield electronic music, and both are rooted in drum & bass. Felix K releases under a variety of aliases for labels like Alpha Cutauri, 31 Records and Blackest Ever Black, in addition to his steady Hidden Hawaii output, while Ena is probably best known for his releases on Samurai. They join for a special live A/V show at Berlin Atonal.
Ectomorph occupy an unique and strange place within Detroit techno history. Founded in 1994 as a reaction to DBX, Basic Channel, Robert Hood and Drexciya, they released their first singles in 1995 as an attempt to make Detroit music for Detroit itself, not exclusively for export. Their live shows are legendary for their ability to fluidly incorporate improvisational techniques into their synthesized music (and for the sheer amount of analog equipment that they incorporate).
Farmersmanual is the legendary electronic music and visual art group, founded in Vienna in the beginning of the 1990s. The core members of the collective are Mathias Gmachl, Stefan Possert, Oswald Berthold, Gert Brantner, and Nik Gaffney. Part of the very lively Viennese electronic music scene of the 1990s, Farmers Manual were successfully crossing the boundaries between electronic music, live visuals, experimental graphics, and web design for Zeta Industries. They play a special comeback three hour show at Berlin Atonal curated by Russell Haswell as part of his Recapitulate programme.
The latest project from Swedish producer Andreas Tilliander – best known for his output under the name Mokira – is a tribute of sorts to the x0x series, based entirely around sounds generated by two 202s, four 303s, two 606s, a 707 and an 808 and released under the pseudonym TM404 (a nod to the rumour that Roland avoided producing a ‘404’ model in the original x0x series because the number four is considered unlucky in Japanese culture). TM404 builds on the classic sounds and tropes of house and techno without falling into the cliches – a style which has seen Tilliander’s recent music described as ‘Detroit techno without the techno’. Andreas himself has described it as ‘somnolent acid’.
PITA ushers now the next phase of his sonic experimentation, returning as a solo act after almost ten years of silence. His approach to music hasn’t changed much though – it’s the ongoing search of a radical maniac that is driving us to the shores of experimental electronics, maybe best to be described as visceral synthesis, fishing in the ambient depths of techno. He is fusing distorted electricity with abstract beat patterns and glitches to some form of extreme computer music, exploring the outer reaches of the frequency range and pays attention to a sonic momentum. He plays Berlin Atonal as part of Russell Haswell’s curated Recapitulate programme.
Marcus Schmickler is a key figure in German contemporary experimental music. While rooted in electronic music, Schmickler has a background in contemporary composition, having studied under prominent Stockhausen collaborator Johannes Fritsch in Cologne. Since then has worked in the most diverse fields of composed and improvised music. He has won numerous prizes and honours and is closely associated with the Cologne label a-Musik, as well as with editions Mego and Mille Plateaux. As a composer along with his many works of electronic music, he works with Pluramon as well as his works have been performed by the ensemble recherche, musikFabrik, Paragon Ensemble, Ensemble zeitkratzer amongst many more. As a musician he works with musicians such as John Tilbury, Thomas Lehn, Julee Cruise and MIMEO. His discography so far consists of over 50 titles, and he has been performing on the world’s stages and at international festivals for years.
Mutant-techno-maniacs Marshstepper are the most radical incarnation of Ascetic House, the collective and publishing house based in the desert city of Tempe, Arizona. Marshstepper’s dark techno ritualism is performative, violent, unusual, shocking, unpredicable and raw. Be prepared and good luck.
Quietly kicking around the New York City underground since the late nineties, Ron Morelli started the L.I.E.S. label in 2010 as an outlet to release the music of a tight knit group of friends who were making tracks around the city. What started as a small project to release his own music and those of local producers, has evolved as more people came out of the woodwork with their contributions. His own live show is an amalgamation of his rugged deconstructed electronic soundscapes culled from the fringes. Primarily a beatless experience, this will not be dancefloor fodder, but rather an immersive sound experience with a punk attitude and tense edge evoking an uncertainty as to what sonic experience is around the next corner.
Headless Horseman is one of the most enigmatic figures in the techno world, albeit one whose mystery hasn’t dented his/her/its ascent to becoming one of the most exciting live acts on the scene. Dark, raw and metallic rhythms came together on the main stage during the festival in 2014, now he/she/it returns to the dark, raw and metallic vault in Tresor for a special reprise.
30 years on from conception, The Chi Factory is born. With few fixed members besides Hanyo van Oosterom, Jacobus Derwort and Michel Banabila, it is an ongoing and fluid studio and live collaboration between some of the most forward-thinking artists from Rotterdam and beyond. Having re-released their 1984 Original Recordings on Astral Industries earlier this year to critical acclaim, they will be featuring music from the past, present and future as they gear up for their next release on the same label – The Bamboo Recordings.
This new collaboration unites Jealous God artist-in-chief Silent Servant and New York via Berlin artist Phase Fatale. Fusing post-punk to darker, harder and industrial-influenced techno, this collaboration combines rigid drumming, cold synths and bleak samples – the image of future war.
Upper Glossa is a new commision for Berlin Atonal consisting of Caterina Barbieri and Kali Malone, with visual design by Doron Sadja. Developed between Sweden and Italy, their new piece “Fundament” unites two of the most exciting young musicians working between abstract composition, synthesis and sound design. Fundament is piece for electric guitars and analog synthesisers inspired by additive patterns, canon and overtone-centered harmony. It’s vigorous and minimalist dexterity exudes a severe and tragic sound hailing from the pythagorean region of the harmonic spectrum. Caterina Barbieri (Bologna, IT) is a Berlin based artist whose work engages with pattern permutation, emerging machine intelligence and object oriented perception in sound, with past and upcoming releases on Important Records. Kali Malone (Colorado, US) is a Stockholm based artist making music for justly tuned buchla synthesiser and string instruments, co-operating the small tape label XKatedral and releasing music under various projects with Bleak Environment, Ascetic House and Fylkingen Records.
MM/KM is the sonic result of various roadtrips by musical auteurs Mix Mup & Kassem Mosse. Together they go on journey to engage in experiments with wider perspectives, as they slide across scales, inching towards mileage. In their work as MM/KM they look at each others’ ideas and strategies, taking their music beyond their solo work. Their first release was a minialbum on will bankhead’s label TTT (The Trilogy Tapes) with 7 tracks of great variety, followed by another release for PALACE/TTT in 2015. Both have collaborated extensively in the past on radioshows and podcasts, as well as their chill-out project “Chilling the Do” – by now they have come to know each others do’s and dont’s rather well and every once in a while one of them finds a way to push the other to some adventure on the edge, as witnesses will attest to at this live performance at Berlin Atonal.
∑ (Summe) is a small group of Berlin-based artists (including musicians, sound engineers, event/sound technicians, filmmakers, promoters, audiovisual media, DJs etc). They try to challenge themselves by finding ways to combine all (or most) of their skills to make memorable sets, showcases, installations and/or events. They believe that in doing so they are involved in shaping spaces of social encounter. Therefore, they hope to make it possible for themselves and others to become aware of their interconnection with one another, their surroundings, the sounds and the images that are being presented to them in these spaces.
Yves De Mey’s musical path consists of many different roads. During the second half of the 90’s, his releases were clearly rooted in breakbeats and UK drum’n’bass. Soon after that, through working for theater and dance performances and doing large scale sound installations, his interest in experimental sound design found its way into his music.
Rose Kallal is a NYC based artist working with installation, sound and performance. Her immersive multiple 16mm film loop installations are created using a wide range of technical processes, such as traditional animation techniques, video synthesis/feedback, and computer animation, in conjunction with Kallal’s own trance like sound work. The 16mm film loops cycle at varying speeds, to create a hypnotic nonlinear flow of repeating patterns both visually and sonically.
Pyrolator (from legendary post-punk band D.A.F. and co-founder of Ata Tak) reworks material from legendary composer and concept artist Conrad Schnitzler (Tangerine Dream, Kluster). He utilises unreleased footage for a premiere audio-visual show that emphasises the darker, technoid side to Schnitzler’s output and reinterprets him as the leading pioneer of classic Berlin techno.
Hailing from the hallowed turf of Lakewood, Ohio, Prostitutes specialises in future primitive technology and is a strident advocate of the no trends movement. Releases on Spectrum Spools, Night School, Mira, Diagonal, Digitalis, Opal Tapes enshine him in the pantheon of advanced hardcore. Live, Prostitutes is one man’s public interaction with living breathing human beings via alkaline and AC powered machines. The music is a rough minimalist version of avant hardcore and austere techno best suited for people with the zeal for being confronted with volume and wonderment.
Veronica Vasicka has managed to take a lifelong love of electronically modulated sounds, along with a ardor for playing recorded versions of said sounds, and transform that passion into an impressive, intriguing cottage industry. The Minimal Wave boss and bone-fide tastemaker Veronicka Vasicka is currently one of the world’s most in-form DJ’s. She plays the best of old, obscure, spare and often dark proto-techno, EBM and more.
Hailing from Finland, Aleksi Perälä’s career in electronic music began in the mid-80s when discovered the wonders of acid-house. His first epiphany came later in 1993 when he first heard the music of Richard D. James aka Aphex Twin whilst in Michigan, USA, as an exchange student. More recently, his music has been influenced by the ‘discovery’ of the Colundi tuning pattern. The custom musical scale is an alternative to the standard musical scales most music is composed from. Rather than dividing the keyboard into octaves with semitones, the pair chose specific frequencies to work with, making a scale of 128 resonant frequencies. These frequencies were selected through a variety of methods, including experimentation and taking from ideas on philosophy, psychology, science, human bio-resonance and mysticism. This new musical idea informs all of Perälä’s recent outpuut.
Pinch is an irreplaceable figure in the bass music scene since its inception and glory days. The sound of Pinch in 2016 is a heady mix of deep, dark broken-beat-techno rhythms, seismic UK-dubstep, grime, dancehall, and future-dub: deep bashment vibes. 100% acetate and vinyl DJ sets that always bubble to boiling point.
Andrea Parker is a British electronic music producer, record label proprietor and DJ who has remixed many of the world’s electronic pioneers including Steve Reich, Phillip Glass, Ryuichi Sakamoto, Depeche Mode, Daphne Oram and The Orb. In 2002 Parker formed Touchin’ Bass, an independent label which has become one of the UK’s most exciting imprints.
DJ Sotofett (Sex Tags Mania) from Moss – Norway, comes to Berlin Atonal 2016 play a 3 hour exclusive set of only unreleased self-produced music from 5 unreleased albums, remixes yet-to-come and other archive material.
Cologne based musician and DJ Lena Willikens has for more than five years been in charge of the long and sweaty Friday night parties at Düsseldorf’s free-spirited club Salon Des Amateurs. When she spins records Lena likes to let her self go in the name of dance and free thought. Her unforeseeable selections are pooling obscure proto-techno, jacking spirits, industrial boogie, synthesized disco, raw house and other outernational rhythms.
A life-long devotee of electronic and experimental music, Karl P.
Meier discovered Chicago House and Detroit Techno in the early
nineties, and the rest, as they say, is boring. Determined to prove
that dance music could be a serious art form, and more than just
escapist fare, he developed a DJing style that looks to the future
while being influenced by the music of the past, exploring the grey
area between the physical and the cerebral and focusing on dynamism,
subversion, and re-contextualization. Karl’s current project, a
collaboration with Jonathan Krohn under the name Talker, record for
Karl “Regis” O’Connor’s esteemed Downwards imprint. Past gigs have
included Berghain, Tresor, and (with Talker) Berlin
Atonal, to which he now returns.
Conceived by Bristol-based producers Adam Winchester and Chris Jarman, Dot Product is a project which draws upon considered lines of sonic investigation in search of heavy-load-bearing compositions that sport equal amounts of soundsystem pressure and abstract textures. This project is based around sounds derived from frequencies and anomalies commonly inaudible to the human ear. From all manner of commonly discarded sound sources, Winchester and Jarman have sought out tones and frequencies and shaped them into sharp-edged, rough-hewn tracks that celebrate the eerie mood of industrial music without resorting to the hackneyed clang of sheet metal and machinery.
Bass frequencies and found sounds are recurring themes within Shelley Parker’s performance, installation and music production. As well as releasing the Power Station EP and Spurn Point on her own label Structure, her solo work and remixes have been released on various labels including Entr’acte, Opal Tapes and Comfortzone. She has contributed to the Wire Magazine’s Below the Radar series and her track Spectral appears on Boomkat’s 14tracks. Her music production has received wide support from artists such as Nic Bullen, Richard Norris, The Black Dog and Ancient Methods.
One of Bristol’s very own dubstep legends, Headhunter has written music that no one has quite heard anything like before. His live sets have received rave reviews and his DJ sets are renowned for getting the dancefloor hyped. His sound occupies a niche section of the dubstep scene, sitting comfortably between the ultra-heavy bass styles of Skream, Benga and his Tempa stable mates, and the deeper Berlin influenced techno side of the dubstep coin, favoured by the likes of Scuba, 2562 & Martyn.
Berlin based Alexey Volkov takes much of his inspiration from Industrial and 80’s EBM music as well as artists such as Robert Görl, Chrislo Haas and Karl O’Connor. He is focused on the raw intensity of sequencer based structures, which encompass the original rebellious, anti-authoritarian spirit of EBM. He released his first EP on The Hacker’s Zone records which caught the attention of French EBM/Techno titan Terence Fixmer, who signed Volkov to the respected Planete Rouge records.
Skee Mask is an unidentifiable producer from Munich. Influences from a variety of different types of music over the last years have made his productions pretty various. His influences mainly are from “old” techno labels like Chain Reaction, Warp Records or Counterbalance. In his DJ sets he tries to create a deep trip, constituted of organic grooves and diverse accompaniments – techno, ambient and mostly experimental, always forward thinking.
Low Jack has always been about crossing boundaries, challenging trends and appearing where you wouldn’t expect. His own tracks are typically built around a personal rhythmic frenzy, mostly designed for introspective and deep listening, drawing their magic from the master’s deep Central American roots. Obsessive rhythms, the rumbling sounds of an aircraft, venomous and helicoid frequencies: Low Jack’s music seems to have less to do with techno than a primitive and organic trance, where Afro-Cuban polyrhythms replace the metronomic beat. He has earned a reputation for his uniqueness, keeping one foot in club culture and the other in abstract experimentation.
Hailing from rural Missouri by way of New York and LA, Alvin Aronson is a musician and DJ rooted in experimental sound design and future-primitive techno. The White Material Records affiliate’s first two EPs showed his sonic range and deep production skills. Through City EP’s primordial drones and jacking machine funk and High Rise’s saturated palette of metallic drums and vertiginous chords, Aronson was quickly labeled “a dangerous talent”. Each set is tailored to its context and have spanned a range of venues, from smokey warehouse parties to backwoods estates. Most recently he has recorded with fellow White Material labelmate Galcher Lustwerk recording under the name Studio OST. The pair’s latest LP, Scenes (2012–2015), compiles cinematic ambience alongside Rust Belt club cuts.
Since 2010 Taylor Burch and Joe Cocherell have propelled DVA into a curiously cool fixture for Karl O’Connor’s Downwards. Having released a number of singles and EPs; including Brand New Head (2011), Nightshade (2013), Wet Vision (2015) and Clear Cut (2016), the duo have continued an effortless progression from their DIY punk lineage to a forward facing “now” sound. While looking forward Burch and Cocherell have taken note from the dubwise, the tripped out and the driving. With tough, lean rhythms, heavy, subsonic bass and tongue-in-cheek wordplay, DVA DAMAS continue to present their clever “tech n’ roll” take on pop music.
After a half-decade of ever-more essential releases on only the most cultured labels, Chicago native Ike Release is now a revered producer and live performer. Whether working solo or as Innerspace Halflife with friend Hakim Murphy, Ike’s house and techno is a deeply emotive, individual and hugely textural affair. Built on the foundations of the Chicago sound, it draws on the soul of Detroit, the blissful moods of ambient and the spirit of various legends past, from Drexciya to LTJ Bukem.
Front De Cadeaux – Belgian disco mastermind DJ Athome +Italian killer DJ Hugosan – spin Italo wave & House in Brussels since the 90’s and together they expertly produced their own brand of “Supreme Rallentato”: they only play long vinyls session using 45 rpm slowed down at 33 rpm.
Simo Cell just released two EPs on Livity Sound & Fragil musique. The French producer is a storied DJ playing electro, UK techno and experimental music, positioning himself in between forward thinking music and club requirements. He has previously played for Berlin Atonal at their quarterly New Codes parties.
51717 is the solo project of New Yorker Lili Schulder. She creates (for labels such as Opal Tapes and L.I.E.S) music which balances deep sensuality with restraint, in an attempt to process the indescribable, beauty and pain of our shared world.
Pan Daijing is a performance and sound artist born and raised in southwest China, currently based in Berlin. This year sees her doing residency at Foundazione Prada Venice, presenting commissioned piece at Shanghai’s Rockbund Museum and performing Berlin’s Volksbuehne. Music wise she is quickly rising with ecstatic power electronics-techno and a multiplying practice covering wide geographical and interdisciplinary range. As a live improviser, her sound performance is steeped in industrial noise, cinematic atmospherics and sexual charge, drifting into drone and giddy, twisted beats. Every work of hers is heavily themed and is a powerful combination of body and sound. Besides her solo music and art projects, Pan also collaborates with Werner Dafeldecker and Valerio Tricoli on sound performance. She plays as part of the N.K. curated Rahmenprogramme in OHM.
Mark Reeder is a musician, record producer and legend of the 70s and 80s Berlin underground subcultural music scene. He was instrumental in promoting the Factory Records bands in Europe and was one of the main conduits between the underground East Berlin music scene and the rest of the world. Recently he has featured as the main protagonist in documentary B-Movie, telling the story of West Berlin, as seen through Reeder’s eyes.
The collaborative project of cult label heads Dynamo Dreesen (of Acido) and SVN (of Sued), Dresvn specializes in tripped-out, percussive house and is frequently affiliated with Berlin’s Sex Tags crew.
The quality of December’s output can easily be judged by the labels he has released on: Blackest Ever Black, Jealous God, In Paradisum, Where to Now? – these names speak for themselves. He works within the spectre of EBM-ish techno, industrial atmospheres and haunting voices.
Positive Centre is the dark ambient project of Porto based artist, Mike Jefford. Using a collection of analog synthesizers, effects processors and tape machines: Positive Centre is an exploration into the possibilities of depth, width and texture reproduction through loud speakers. Being influenced by the GRM School Masters: Pierre Henry and Iannis Xenakis as well as more contemporary manipulators of sound (from King Tubby and Scientist to Marsen Jules and Aphex Twin). Positive Centre takes the exploration of sound reproduction and audio collage into rhythmic and hypnotic spirals of reverberated walls of sound, with an emphasis on subtle changes in repetition and low frequency sound.
The music of Imaginary Forces trends towards rhythmic noise and has been released on Entr’acte, Halcyon Veil, Type Recordings and his own label, Sleep Codes. Having begun entrenched in London’s underground dance scene, his recordings have now moved into a more freeform abstract compositional structure, drawing heavily from the early electronic masters as well as his background in pirate radio.
Nuel is an Italian Dj, live musician and producer who distills rhythm, groove and texture into powerful compositions that can be techno, ambient or trance inducing and wholly downtempo. He is focussed on mood, texture and atmosphere and manages to suck people into his supple, shadowy yet surprizing techno-scapes whenever he plays.
Sleep D are diverse and interesting artists with their on point DJ sets now complimented by an incredible live set that features a new age approach to working vintage synths and analogue gear. Their performances at Golden Plains, Melbourne Music Week, Inner Varnika were met with rave reviews while their inclusion in the Boiler Room Melbourne line up further cemented Sleep D as an exciting act to watch in Australia’s growing house and techno landscape.
Endlec is originally from Greece, born and raised in Thessaloniki. Combining influences from the ‘90s European techno world with the sound of the Detroit’s pioneers such as Jeff Mills, Robert Hood, Endlec is characterised by a sound that is raw, furious, full of energy and with no compromise at all. Those are the elements that define his style, from his productions to his DJ sets.
Mike Hentz is a musician, visual and polymedia artist, a mediaconsultant and also a teacher. He has appeared at documenta in 1986, at numerous international exhibitions and interventions and has been the subject of many gallery shows, exhibiting installations, pictures and sculpture.
Kerri LeBon is an artist and DJ currently based in Oakland, California. In her productions and remixes, she fuses a unique vocal delivery to techno experiments influenced by early industrial and post-punk; themes of loss and love are examined lyrically. Her DJ sets and mixes are a further expression of her passion for exploring the connections between those genres, seeking a reconciliation of obscure rhythms and emerging sounds. She is the resident DJ and host of Discipline, an intimate night of underground electronics.
The beat goes on, forward into the future, into the darkness. Ever in flux, yet simultaneously constant: the foundation of the night and the tracks, swept up in the wide-open planes. At the bow, a spray of fine melodies; the gull cry of the distorted sounds at the stern. Resom is your boat, your captain. Is the sea swell in your club rougher than usual? Are you being thrown back and forth by billowing bass lines as never before, spattered by the surf from the hi-hats and losing your orientation? Fear not. Trust your captain at the helm. Trust Resom, your woman behind the wheel.
Japanese avant synth duo formed by Tommi Tokyo (synthesizer, vocals, percussion) and Sayaka Botanic (violin, cassette tapes) in 2012. Their early shows came as a shock, non-stop waves of experimental noise, poetry readings and nude live-painting. While their mixture of synth heavy minimal wave, avant noise, striking visuals and performance art carried the very breath of early industrial pioneers such as Throbbing Gristle or Cabaret Voltaire, the duo has since evolved into a beast of its own. They DJ as part of the N.K. curated Rahmenprogramme in OHM.
Champagne Mirrors is Alex Barnett of Barnett + Coloccia and Oakeater. The project utilizes heavily effected vocals, drum machines, tape sounds, and synthesizers to emded sparse polyrhythms into ominous soundscapes. Compositions performed live include a meaty amount of improvisation.
Classy, sparse, original. These two festival favourites are veterans of Berlin Atonal events, having more than a few New Codes and festival appearances under their belts. There’s a reason why they keep getting invited back, their DJ sets have become the stuff of festival folklore.
In about three years, Paris based Latency Recordings established itself in the forefront of many people’s affection, releasing artists like Joey Anderson, Even Tuell or Madteo. Headed by Sidney Gerard and Suleiman Said, two young Parisian designers, Latency has also been noted for its strong aesthetic presence thanks to the care taken for visuals and cover designs.
Fluctuating between elegant Techno and refined Experimental, Latency is undoubtedly an emerging force in today’s electronic music landscape.
Joachim Nordwall (b 1975) started to experiment with sound at an early age in 1987, inspired by the industrial music scene at the time. Soon, his interest was narrowed to a deep interest in the power of sound, and to investigate how sound can affect your mind.
Mischa is a product of shifting technological landscapes. Nurtured by computerized machine music through radio waves from the hardcore continuum, he has developed a distinctly futurist vision for uncompromising techno music. Born in Berlin, he inevitably found Hard Wax as a main educator in taste, and has worked there since 2010.
PURE has been producing and DJing uncompromising electronic music since 1991. Playing vinyl-only DJ sets he draws on 20+ years of experience in merging industrial, acid, electro and broken techno in a relentless manner. He has over 30 releases on labels such as Editions Mego as PURE, BOLDER (with Martin Maischein), and ILSA GOLD, on Hinterzimmer with his electronic percussion duo PRSZR (with Rafal Iwanski), on Crónica, Praxis, Staalplaat, Drop Bass Network and many more. He plays as part of the N.K. curated Rahmenprogramme in OHM.
Virtuoso bass-clarinetist & multi-instrumentalist composer Yoni Silver presents the debut performance of his amplified bass clarinet set-up at Berlin Atonal. Typically utilizing a vast and impressive range of multi-phonics and extended techniques with an amazing control of the circular breathing technique in often subtle & low-volume performances, Yoni Silver cranks it up tonight by utilizing a special polymiking technique which is run through amplifiers. Yoni Silver is a long-time member of Iancu Dumitrescu & Ana-Maria Avram’s Hyperion Ensemble, and currently works with Sharon Gal, Steve Noble, Mark Sanders, Tom Wheatley, Grundik Kasyansky, Nava Frenkel, Ariel Ashbel and upcoming project LABOUR. He plays as part of the N.K. curated Rahmenprogramme in OHM.
HATAM is the experimental sound artist & composer Farahnaz Hatam. She is co-founder of N.K. Projekt— a space for the avant-garde, experimentation & criticism— where she organized hundreds of concerts, workshops, lectures, artist talks & film screenings in Berlin since 2008. Currently, she’s performing & composing solo, with Hacklander Hatam duo, and in the upcoming project LABOUR.
Benjamin Flesser is a media artist and musician. He works with modular synthesizers and manipulated or self built electronics. In one of his earlier performances „Verlust von Aufnahmefähigkeit“, he used a amplified diamond saw to cut a running microphone in half. He lives and works in Berlin. He plays as part of the N.K. curated Rahmenprogramme in OHM.
Kim Bergstrand and Hysteria are half of Patterns of Perception, a sensory journey through techno’s hypnotic depths. Through regular club nights and a podcast series, they provide a platform for artists to share their unique vision. Patterns of Perception embodies experimental textures and deep atmospheric sounds, inspired by the dissonance between the natural and the industrial.
Lag Os is an audiovisual project that incorporates viscous sounds from a mysterious swamp,moving in between viscous mud, watery abstract landscapes and acidic tonalities. For Berlin Atonal, it will be presented as a DJ set that combines several layers of slowed down club music with multiple layers of liquid sounds and own material from upcoming 12″ on Anòmia. Lag Os is the new solo project from Rubén Patiño (Barcelona, 1979), an artist working in the field of electronic music and visuals while exploring the limits of concert, public event and installation. He plays as part of the N.K. curated Rahmenprogramme in OHM.
Marta Zapporoli is a prolific Italian experimental sound artist, improviser, performer, and musician. She has worked and lived in Berlin since 2007. Her sonic work is developed by self recorded sound from the external world using a wide of devices and self-made microphones with out borders and many unconventional techniques and body experiences. She is interested in the boundaries and relations between acoustic ecology, vibration sound, noise pollution, natural radio, wireless communication and more. She plays as part of the N.K. curated Rahmenprogramme in OHM.
Native Instrument is a Berlin based sound collaboration bringing together the field recording archive of Felicity Mangan and the precise, minimal vocabulary of Stine Janvin Motland. Their music is built from electronic and vocal adaptations of animal and insect recordings originating mainly from the Australian and North European fauna. The organic mix of bug beats and atmospheric soundscapes creates a mellow yet driving sonic ambiguity between rural nature, electronics and the human voice.
Swiss-born German electronic music composer and artist Bernd Schurer investigates the perception of sound through a multitude of auditory perspectives and phenomenological methods. Based on foundations of the number as a common object of mathematics, sound, space and time, he explores extended techniques of perceptual aesthetics via means of digitally created sound-pieces. In Soliloquy Synthesis, elements of live-coding combine with pre-rendered sound materials to create a dramatic sound-study that deals with the synchronisation and self-organisation of periodic processes. He plays as part of the N.K. curated Rahmenprogramme in OHM.
Hong Kong and Berlin based artist Carla Chan will present her large video installation – The Melting Black – as part of Berlin Atonal 2016’s Projektionsraum programme. Her work focuses on the ambiguity in nature. Bridging natural transformation and unpredictable computer algorithms, her work is consolidated with a cohesive dynamic between form, means and content.
Luis Sanz is a Peruvian artist, born in 1984, who lives and works in Bern, Switzerland. Sanz’s works take multiple forms such as audiovisual performances, installations and music, His work is primarily influenced by surrealism, abstraction and randomness. Sanz experiments with acoustics, space-time, perception and visual imagery seeking to understand the essence of human activity and its relationship to the environment.
Rainer Kohlberger is an Austrian born freelance visual artist / film maker living in Berlin. His work is primarily based on algorithmic compositions with reductionistic aesthetics influenced by flatness, drones and interference. Within his works there always lies a layer of noise, which fascinates as a sense of the infinite, which is both the ultimate abstraction and inveterately fuzzy. His films, installations and live performances have been shown internationally at festivals, in galleries and other art spaces.
Recent Arts is a duo formed by Chilean visual artist Valentina Berthelon and German musician Tobias Freund. The audiovisual installation entitled, “And so on to Infinity” highlights the beauty and simplicity of low-fidelity material by using images created without the technological tools available nowadays but also gives a look into the future by combining this material with contemporary concepts of theoretical physics.
American-based, Chinese Born artist Yuxi.Cao’s MACROCOSM is a live sound visualization performing system. It is based around self-generative software that directly generates digitial artefacts that survive and evolve from simple to complex organic creatures based on their own immanent laws of interaction. This type of visual generation involves huge amounts of data processing and is shown for the first time in its current form at Berlin Atonal 2016.
Berlin Atonal’s permanent home is an abandoned power plant in central Berlin which has been turned into a darkly majestic industrial complex for the duration of the festival. This multi-leveled, multi-staged cathedral is host to every performance, installation, screening and aftershow party in the Berlin Atonal program.
Kraftwerk Berlin is found at Köpenicker Strasse 70, in Mitte. The closest subway station (2 minutes walk) to the venue is at U Heinrich-Heine-Str. (U8).