22 JUN 2019

#12
June 22nd 2019

Jimi Tenor
(Warp / Helsinki)

Méryll Ampe
(Audiotalaia / Paris)

Alireza Mehdizadeh
Pejram Tahmasbi
(Berlin, Iran)

Acre
(Creative Sources / Rome)

Light Design / Projections
Alexander Trattler, Artur Musalimov & Maximilian Mittermeier / elektropastete

Easily transcending all current trends and hypes. The work of Finnish musician and composer Jimi Tenor combines the finest elements of afro-american music, spontaneous silliness and shameless glamour in a style all his own. “Jimi Tenor’s mind will travel where his body can’t go. Living in isolation in east-Helsinki suburb he picks mushrooms and has exotic musical fantasiesin the calmness of the endless.“ Releases on Philophon, Herakles Records, Kindred Spirits and Warp speak a clear and distinct language of stylistic diversity. What instruments will Jimi play this time? Flute? Saxophone? Drummachines? His own voice? Just about any sound source is possible with this man and some of them might get wrecked in the act.

In herwork composer and sound designer Méryll Ampe establishes a fine link between two performative practices, the visual and the auditive: “I develop my sound through electronic field recordings and experimental music. I establish links between my musical practice and my visual practice, using techniques directly linked to sculpture – to cut in to mass, to model, and to chisel using acoustic sound, digital sound processing and analogue tools. These allow me to generate echo, tensions, breaks and punctuation. I conceive of improvisation as an uninterrupted sequence, revealing the immersive composition of space.”

Alireza Mehdizadeh plays the Kamancheh, a classical persian string instrument with a delicate and expressive sound. His meticulously modulated melodies and movements contains microtonal scales from the Dastgah tonal system, the improvisational elements of persian music and Sufism’s insight and meditativeness. Alirezah is a member of the renowned Mastan Ensemble and toured Europa, the U.S and Canada. He will be accompanied by the classical Setar player Pejram Tahmasbi.

The Rome based improvisation trio Acre is working on diverse forms of images and places of music and listening. The group’s sound is made up of some recognizable music influences, and focuses on the way these influences are dealt with, letting them interfere: The trio combines the free subchambers of instrumental jazz with the unpredictability of digital instruments, thus creating an exciting unitarian sound with detailed, fragile struktures, contrary timbres and surprising experiments.

Photos by Philipp Schewe

16 MAR 2019

#11
March 16th 2019

 
(Sub Rosa, Tzadik / France)
 
(Marsken Records / Denmark, Berlin)
 
 
DJ
 
Light Design / Projections
Alexander Trattler & Artur Musalimov
 
Bérangère Maximin creates multi-layered electro-acoustical music that lets the origins of her sound sources blur out with astonishing effects. Live practice first came to Berangere through John Zorn and his Tzadik label (USA) who gave her acousmatic work a warm welcome. The french composer has since released several albums on labels like Sub Rosa and Crammed Discs’ Made To Measure. In 2018 Bérangère Maximin performed a solo concert at Hamburg Elbphilharmonie’s ePhil series in February, and has been playing live from London up to Tokyo.
 
Using analoge synthesizers and instruments like guitars together with found sound material Andrew Pekler collages vivid spectral tableaus, both melodic and obscure. His live performance examines the peculiar tension between the organic and the synthetic. In this sense his recent work “Phantom Islands – A Sonic Atlas” is an interactive online map that takes listeners on an imaginary acoustic journey into now lost islands. He has released several albums on labels like Kranky, Entr’acte or Jan Jelinek’s Faitiche output,
 
The Jazz trio The Home of Easy Credit is led by Louise Dam Eckardt Jensen, a Danish-American saxophonist, vocalist and composer, who describes herself to be „thriving simultaneously in the dense and claustrophobic environment of New York City and the idyll of the southern Danish countryside.“ Complemented by bassist Tom Blancarte and drummer Jim Black the trio explores a dystopic, post-apocalyptic Free Jazz approach, where melodic fragments and soloistic moments are counterbalanced with rhythmic noises from Metal and Drone.
 
Felix Kubin and Mark Boombastik should be no strangers to you due to their many collaborative works, both in Hamburg’s local underground music scene as well as in a national and international experimental and academic music discourse. Felix Kubin, a true virtuoso on keys, keeps his setup in constant change around his centerpiece, the Korg MS20 synthesizer. Mark Boombastik, putting beat-boxing under eperimental tension, uses filters together with analogue effects and synthesizers to form a thunderstorm of speech chaos. The duo’s performance combines disharmonic pop, industrial noise and 20th century avantgarde music.
 
Part of Trans-European SHAPE network, composer and journalist Lucia Udvardyova curates workshops, soundwalks and radio art on topics of regional and outer-national music, electronics and gender. At 4fakultät #11 she will contribute a muically most diverse DJ set.
 
 
 
 
 

Photos by Philipp Schewe

14 SEP 2019

#13
September 14th 2019

Mike Cooper
(Room40 / Rome)

FOQL
(Oramics / Warsaw)

Yves de Mey
(Entr’acte / Antwerp)

Eva Zöllner & Goran Lazarević
(Wergo / Hamburg, Serbia)

Light Design / Projections
Alexander TrattlerArtur Musalimov / elektropastete

Classic in his own genre of Hawaiian Futurism, Mike Cooper masters a most unique and intoxicating take on lap-steel guitar exotica. Expect a hat-shadowed face, a well worn Hawaiian shirt and a steel guitar wired into a table of electronic business … and you are only half way there. Cooper’s rich and evocative music is best experienced in his utterly flawless live performance.

Over the last few years Justyna Banaszczyk aka FOQL has released an impressive amount of music on different types of media, and on various labels such as New York Haunted and Pointless Geometry. Her hypnotic and unconventional style stems from her industrial and dark roots, and thanks to her soft spot for experiments, heaviness and the most innovative corners of dance music, she avoids the obvious, especially when playing live.

Antwerp-based producer Yves De Mey has his roots in sound design and scoring for performing arts, film and installations. His main tools are an ever-growing modular analog rig and some vintage synths, combined with an avid interest in audio manipulation. In his enigmatic live concerts De Mey alludes to a rave past, a history of repetitive and nervous patterns, all melded together in an increidibly versatile live performance technique.

Eva Zöllner was educated as classical accordionist at the Academy of Music in Cologne and at the Royal Danish Academy of Music in Copenhagen. She is considered as one of the most active accordionists of her generation. For 4fakultät Eva will perform in a duo with Hamburg based accordionist Goran Lazarević. Goran‘s main spheres of music practice lay in live-electronics, microtonal and computer music, and free improvisation Eva’s and Goran’s exploration of the accordion will be paying attention to the offshore sound potential of their instrument.

Sept 14th
9pm / doors 8pm
15,-

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Supported by
Musikfonds e.V.
Behörde für Kultur und Medien Hamburg
Hamburgische Kulturstiftung

Presented by
ByteFM
Ask Helmut

Graphic design by Al White

24 Nov 2018

#10
Nov. 24th 2018

⚡ 10th ANNIVERSARY EDITION ⚡

Kate NV
(Rvng Intl, Orange Milk Records / Moscow) 

Shitney
(ILK Music / Sweden, Estonia)

JBXDR
(Springstoff / Berlin)

A.K.Klosowski
(Gagarin Records / Hamburg)

DJ Nina
(V I S, Golden Pudel Club / Hamburg)

Light Design / Projections
Alexander Trattler & Artur Musalimov

Graphic Design
Keep it, Love it, Call it George

ANNIVERSARY EDITION
3 YEARS — 10 SHOWS — 60 ARTISTS

We celebrate three fantastically diverse musical years to thank all artists, listeners and supportive minds. For it’s 10th issue 4fakultät once again invites four highly prolific contemporary artists to share the stage. And, as you know, ‘sharing’ is no cliché phrase with 4fakultät’s defining concept of cross genre improvisation.

Kate Shilonosova alias Kate NV transfigures her minimalistic compositions in a playfully enigmatic live performance. Using found objects and electronics alongside her own voice, Kate NV creates musical fragments hovering between contemporary Pop, Electronic and Classical Music. With her internationally acclaimed album ‘для FOR’ (Rvng Intl, 2018) the Moscow based musician is described as one of the ‘most vital breaking artists around right now’ (FACT Magazine, Pitchfork.com).

Maria Faust and Qarin Wikström alias Shitney see their hyperbolic, highly evocative take on contemporary Noise Jazz as ‘the female rule of Sun Ra’s Saturn colony’. With Saxophone, voice and electronica the duo creates an intense acoustical soundscape, mercilessly cutting short on all genre predominats: ‘Witty feminist criticism of masculine-muscular free jazz!’ Both musicians collaborate with multiple international Jazz ensembles and received various musical prizes and recognitions (Danish Music Award, Estonian Jazz Award).

Berlin based electronic Jazz drummer Jörn Bielefeldt alias JBXDR is titled as ‘one of the most potent new voices in Germany’s electronic underground’ (Clash Magazine). Using a specially designed rhythm setup of acoustic and electronic drumming instruments JBXDR carefully re/constructs his own compositions, creating a colorful and energetic Jazz experience that bends the styles. Every sonic element in each composition is performed live: you won’t find edits, loops, or backing tracks. “I slice music with my drums.”

A.K.Klosowski who has worked with Fehlfarben among others, surprises with haunting lo-fi-tape-sounds made from bits and pieces of obscure origin. Playing live he remodels his various tape recordings with the help of a ‘deus ex machina’-like walkman organ where he pulls the strings with his inimitable rhythmical feel. While operating this carefully designed and manually crafted ‘Kassetteninstrument’ A.K.Klosowski takes a playful comment on contemporary debates about sampled music. The early 80ties experimental spirit of his music seems like a sonic detour to today’s digitalism. Doing such he has proven to be a perfect fit for Felix Kubin’s time bending ‘Gagarin Records’ output.