10 JUL 2021

July 10th 2021


Following up on our internationally acclaimed streaming show with a special collaboration between 4fakultät and Kunsthaus Hamburg. A spectrally diverse line up of interactive light installation, performative sound art, experimental instrument building, and of course ‒ multi genre live improvisation.


Michela Pelusio
(Light/Sound Object; IT)

Hacklander / Hatam
(Drums, Light Installation; GER)

Ioana Vreme Moser
(DIY Modular Synth, Objects, Performance; GER)

Pierre Bastien
(Perpetual Sound Machines, Electronics, Trumpet; FR)

Live Visuals
Alexander Trattler, Artur Musalimov / elektropastete

Graphic Design
Bureau Est

Michela Pelusio‘s sculptural works are audiovisual experiences of space, light, material and sound. Using seemingly minimal effort, she creates impressive, expansive sculptures based on psychoacoustic research. Her work literally moves between performance and installation, merging art and science into one large Gesamtkunstwerk. A bit like mixing sound, art and quantum physics.

Avant-garde in concept and highly impulsive in performance. The drumming duo Hacklander / Hatam explores the interface between electronic sound art and conceptual drumming. In doing so, sound becomes the medium where the duo explores the space and includes the people present herein. Farahnaz Hatam and Colin Hacklander live and work as part of Berlin’s avant-garde music scene and have presented their work at international festivals and renowned institutions such as the Gropius Bau and the Berlin Atonal Festival.

Berlin-based musician Ioana Vreme Moser sees herself as a sound artist and transmedia storyteller. From electromechanical instruments to sound sculptures to graphic recordings, Moser performatively uses and explores the variety of materials that weave together into an overall narrative in her stories. In doing so, she draws on organic material, found objects, or even trash to realize her audiovisual ideas – which often engage in a contemporary feminist discourse.

To call Pierre Bastien a tinkerer falls far too short. However, it describes well the unique approach of the Netherlands-based musician, in whose works self-built instruments play a central role. Bastian’s fascination with the mechanical is vividly apparent to listeners: The shadow play of the musical apparatuses is projected into the room via video projections that show in detail the finely tuned construction of the machines. The impression of this enigmatic music cinema is reinforced and complemented by Bastian’s playing on conventional instruments, such as the trumpet.

Funded by Behörde für Kultur und Medien Hamburg, Claussen-Simon-Stiftung, Hamburgische Kulturstiftung; In media partnership with ByteFM, URSSS, Das Filter, Vision Tools, Each Film, KaputMag

Photo: Maik Gräf


14 MAR 2021

March 14th 2021 / LIVE 7pm 🎥

We are back with a new edition this year! Experimental Jazz, Ambient Electronics and explosive Guitar-Noise once again in the sonic chambers of resonanzraum Hamburg.


Sky Walking
(Dial, Bureau B, Mule Electronic)

Ale Hop
(Buh Records)

(Magda Mayas, Tony Buck / Creative Sources, Fish Of Milk)

Jasmine Guffond
(Editions Mego)

Live Visuals
Alexander Trattler, Artur Musalimov / elektropastete

Graphic Design
Lynn Lehmann, Dennis Gärtner / ZEBU


Berlin-residing artist and musician Alejandra Luciana Cardenas is most prolific under her Ale Hop alias. On distorted guitars and real-time sampling she creates a dense sound between noise, pop, avantgarde and ambient. Ale Hop has presented her work at festivals such as MUTEK in Montreal or CTM in Berlin and took New York with an electrifying live-set at Boiler Room. Alejandra will add a playfully rough edge to this 4fakultät edition that we are most eager to hear and see for ourselves.

A long awaited visit: Christian Naujoks, Peter M. Kersten and Richard Von Der Schulenburg will join as Sky Walking. As a trio these three key figures of electronic underground in Hamburg play for a musical way into the open. Their sound blends instrumental jazz with carefully modulated electronics. On synthesizer, organ, vibes and percussions they interweave filigrane patterns with hypnotic echoes and thereby open up room for multi-layered improvisations.

A unique approach of course is most welcomed at 4fakultät: Jasmine Guffond uses electronic textures and harsh beats to sonify inaudible processes. The artist born in Sydney creates sound from the data traces each and everyone of us leaves by using technologies such as internet cookies and facial recognition algorithms. The resulting soundscape is at the same time abstractual abyssal and energetic.

Immensly excited to welcome this special duo with us. Spill ist the joint project of pianist Magda Mayas and „The Necks“-drummer Tony Buck. Since almost 20 years they are exploring the interplay of rhythm and melody with a highly individual approach. Mayas utilises a prepared grand piano as a percussion instrument and sound laboratory, as Buck focuses on his own melodic-lyrical way of drumming.

Photo: Maik Gräf

26 Sep 2020

September 26th 2020

We are back!

On September 26th, we call 4fakultät back to life, together with resonanzraum Hamburg. A best-of underground jazz, ambient electronics, noise pop and electroacoustic experiment. Of course as usual in a unique setup of cross genre improvisation.

>> SOLD OUT <<

(Eget Værelse / Kopenhagen, DK)

Jan Jelinek
(faitiche / Berlin, GER)

Rieko Okuda
(Creative Sources / Berlin, GER)

(Bengans / Göteborg, SWE)

Live Visuals
Alexander TrattlerArtur Musalimov / elektropastete

poster design
Studio Laurens Bauer & David Benski


The Danish all-female quartet Selvhenter mixes free jazz and noise, minimalist compositions and extensive improvisations. The hardness and rawness of rock can be heard clearly heard in their music. In the foreground is a drifting, enigmatic play with atmosphere and rhythm. With their playfulness and uncompromising desire for new sound routes the four women loudly reject the genre clichés. The quartet definitely belongs to the most exciting experimental bands of jazz. “Inyourface and without compromises!” – Mats Gustafsson

Rieko Okuda began her musical career as a classical pianist and found her way to improvisation and jazz through her university studies. In the USA Okuda played with greats like Marshall Allen and Elliott Levine. Her work combines electronic and electroacoustic approaches and is characterized by concentrated repetition, a straightforward minimalism and a wide emotional landscape. At 4fakultät, Okuda will show the impressive range of her work with two contrasting sets.

The Berlin-based musician, producer and label owner Jan Jelinek has been working on various areas of electronic music for decades. His releases under the names Farben, or Gramm are based on electronic dance music, while as Jan Jelinek he takes a more experimental approach. The central elementfor Jelinek is sampling. While avoiding traditional musical instruments, Jelinek constructs collages with tiny sound fragments from a variety of recording devices: tape recorders, digital samplers and various media players. The recordings are processed into loops that reduce the original to its essentials. His work shaped and defined electronic minimalism to a great extent. “Jelinek’s lustrously bare tracks helped define nineties-into-two-thousands minimal techno. – The New Yorker

“I work with a pop mind in the noise” says Klara Andersson, the Swedish mastermind behind the noise pop project Fågelle where layers of noise and fragile constructions of concrete sounds meet pop melodies, exploration of rhythms and the subject of power. With her elaborate array of pedals, synthesizers and samplers, she dives into the sounds and textures, experimenting and tinkering until she finds what will come together with poetry to create a compelling song. She is a producer who sees herself in the middle ground between sound art and pop, which leads to wonderful creative latitude while also generating the conundrum of not fitting in with one particular scene – again being a perfect fit for 4fakultät’s idea of cross genre improvisation instead.

Photo: Maik Gräf

29 NOV 2019

November 29th 2019

Closing the season with a special collaboration between 4fakultät and resonanzraum Hamburg we are nothing short of exhilaration, about this best-of-lineup combining Neue Musik, Experimental Jazz, Voice and Avantgarde Electronics.

Robert Lippok
(Raster / Berlin)

Tomat Petrella
(!K7 / Turin)

Martin Brandlmayr
Maja Osojnik
John Eckhardt
(Thrill Jockey / Vienna, Hamburg)

Sylvia Hinz
Justin Caulley
(XelmYa / Berlin, Hamburg)

Perila and mxdr
(radio.syg.ma / Berlin, Russia)

Live Visuals
Alexander TrattlerArtur Musalimov / elektropastete

Born in 1966, Robert Lippok studied stage design at Kunsthochschule Weißensee Berlin, before forming legendary To Rococo Rot with his brother Ronald Lippok and Stefan Schneider in 1995. After two decades performing with this genre defining trio, Lippoks’s work now centres around creating installations, stage design for interdisciplinary performances, as well as a steady output of ambient techno experimentations. Since 2001 Lippok’s solo work has been published on Raster.

Vienna based Martin Brandlmayr is considered one of the „most distinctive-sounding drummers on the planet.” With his unique style Brandlmayr creates a beautifully complex auditory texture, craftfully combining manual repetition and sampling his own sounds. For 4fakultät Brandlmayr forms a special trio with Slovenian singer, flutist and composer Maja Osojnik and Hamburg based double bass experimentalist John Eckhardt. Osojnik made a name for herself in different musical fields, such as experimental Jazz, free improvisation and sound art, mostly using her own voice, together with field recordings, and other lo-fi electronic devices such as toys, trash and found objects. The duo will be joined by the double bass player John Eckhardt. Driven by curiosity and passion for different styles, Eckhardt keeps drawing new connections and expands a bass cosmos of unusual dimensions.

Davide Tomat and Gianluca Petrella form a duo of Jazz and electronics which is quite of it’s own kind. Tomat is a producer, musician and sound designer from Turin focused on space drone ambient sounds and psychedelic electronic music. He produces music for art performances and installations, theatre, contemporary dance acts and soundtracks for films and documentary. His tracks has been remixed by International artists such as Animal Collective, Liars, Fennesz, Acid Pauli and Gonjasufi. Petrella on the other hand is a renown trombonist, with releases on genre defining labels like ECM Records. Melding these two spheres Tomat Petrella create a captivating sound, blasting with the energy of a Stanley Kubrick movie. The duo’s latest release ‚Kepler‘ has been published by Berlin based !K7 label.

Praised for her equally fierce and bold dramatic performance style, Sylvia Hinz is one of the leading recorder players worldwide, specialised in contemporary music and improvisation. For 4fakultät Hinz forms a duo with Justin Caulley on the viola, who is part of the ensemble resonanz. Based on their extensive experience in interpreting they will combine contemporary compositions with their individual approach of improvisation.

DJ Perila and mxdr are prolific members of (now discontinued) Berlin Community Radio and Russia based radio.syg.ma. The duo will provide a lucid and emoitively engaging sound / atmosphere mix before and after the concert. Expanding in a collaborative feature between 4fakultät and radio.syg.ma the concert will also be broadcasted live on the website of the radio.syg.ma platform on the day of the event.

Photo: Maik Gräf

14 SEP 2019

September 14th 2019

Mike Cooper
(Room40 / Rome)

(Oramics / Warsaw)

Yves de Mey
(Entr’acte / Antwerp)

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

Live Visuals
Alexander TrattlerArtur Musalimov / elektropastete

Paulina Allamah

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.

Photo: Philipp Schewe

22 JUN 2019

June 22nd 2019

Jimi Tenor
(Warp / Helsinki)

Méryll Ampe
(Audiotalaia / Paris)

Alireza Mehdizadeh
Pejram Tahmasbi
(Berlin, Iran)

(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.

Photo: Philipp Schewe

16 MAR 2019

March 16th 2019

(Sub Rosa, Tzadik / France)
(Marsken Records / Denmark, Berlin)
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.

Photo: Philipp Schewe

24 Nov 2018

Nov. 24th 2018


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

(ILK Music / Sweden, Estonia)

(Springstoff / Berlin)

(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


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.

Photo: Phil Struck