Stefano Taiuti

We’re col­lab­o­rat­ing with BODIES tonight and proud to host STEFANO TAIUTI in Berghain Kan­tine with his piece


To ride red.
Like flesh like rage like heat like sex like war like fire like dance.
Holi­est than a Tem­ple is the dance­floor.
A place that inspires col­lec­tive rites.
Kinetic com­mu­nion, ener­getic upris­ing, spir­i­tual aware­ness.
Danc­ing on the verge of Butoh dance and Eurhyth­mie
I want to attempt to office this rite of trans­for­ma­tion of energies.

- con­cept and dance ste­fano taiuti, music and live Danilo LVM.

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Visual Artists

Look­ing for­ward to have these visual artists on board, they’ll be show­ing their work on Urban Spree wall dur­ing the week!


Andrea Fami­lari /// FAX  (Arbore­tum)
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Vj Chuu (Cozy Peo­ple United)
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Mar­tin Steb­bing (W33)

Fri­day & Saturday

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Fri­day & Saturday

by Jakub Pešek (cz, Lunch­meat visual label)
– gen­er­a­tive ani­ma­tion
Organic, dig­i­tally gen­er­ated objects slowly falling into obliv­ion. End­less and sur­pris­ing — as well as our thoughts — each of them unique — flash­ing for atten­tion before dis­ap­pear­ing in the unconscious.

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Mahir Duman aka Vj Pop­kins
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Patch­wrestling: two men — two sys­tems — one fight! The “ana­log” ver­sus “dig­i­tal” bat­tle continues!

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The incred­i­ble Wire­man” play­ing on ana­log Euro­rack will bat­tle “Gen­eral Elek­trick” play­ing on the dig­i­tal Clavia G2.  The moment of truth is com­ing! Ref­eree “Fist van Odor” is a retired patch­wrestler him­self and is going to mod­er­ate this dra­matic encounter.
In Patch­wrestling the player has 5 min­utes to con­nect Sound-modules in order to cre­ate a playable Instru­ment or a self play­ing com­po­si­tion or a com­bi­na­tion of both. Then he is impro­vis­ing 5 min­utes on that build instru­ment, while the other player is patch­ing his instru­ment. There are fixed dis­ci­plines like “rhyth­mi­cal patch” or “drone” the wrestlers has to fin­ish dur­ing the fight.


An instal­la­tion fea­tur­ing 10 motor­ized pen­du­lums includ­ing 10 loud­speak­ers at their ends to dis­cover the struc­ture and spa­tial impact of dynamic waves within an audio­vi­sual area.

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Exhib­ited from Wednes­day onwards only.


This French artist liv­ing in Tasmania/Australia cre­ates choco­late records with hits from dead musi­cians, which can be heard and eaten by the audience.

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Per­form­ing on Tues­day day­time and Sat­ur­day night only.


You are invited to expe­ri­ence a sur­real club sit­u­a­tion and become part of a seem­ingly social sit­u­a­tion, which won’t develop as expected.

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Since the instal­la­tion can only be entered alone, please expect wait­ing time.

Per­form­ing on Fri­day day­time only.

Artists involved:

Beata Kapluk
Danilo Andres Sepul­veda
Luisa Schöfer
Susanne Eder
Robert Logan
Lind­say Hop­kins
Mał­gorzata Gajdem­ska
Mar­tina Gar­belli
Laura Sig­noriello
Fran­cisco Bejarano Montes de Oca


Arístides Job Gar­cía Hernán­dez::
Born 1976 in Tener­ife (Spain), cur­rently liv­ing in Berlin work­ing as a free­lance graphic pro­gram­mer and com­puter artist in the frame of gen­er­a­tive interactive design.

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In the last time, he has devel­oped audio­vi­sual sequencers, inspired on the abstrac­tion “The Sound of the Geom­e­try”, para­met­ric design tools to pro­duce paper art­works, and pub­lic inter­ac­tive installations.

This inter­ac­tive map­ping sculp­ture is based on geom­e­try explo­ration, and how using this path can dis­rupt our per­cep­tion. Graph­i­cal pat­terns, visual illu­sions, dynamic geom­e­try tes­se­la­tions are algo­rith­mi­cally gen­er­ated in real­time by the sys­tem with the help of the observer. 103 paper pyra­mids as a can­vas to play with, chang­ing the shape con­stantly like in an illu­sory meta­mor­phic dream.

Exhib­ited from Wednes­day onwards only.


The Italian-born artist Fed­er­ica Dauri is a young exper­i­men­tal artist with a strong focus on the body as a mul­ti­func­tional tool, and an unyield­ing inter­est in visu­als and installations.

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Dauri has a solid dance and per­for­mance back­ground, hav­ing stud­ied clas­si­cal, con­tem­po­rary and Butoh dance, as well as eurythmy.

Dauri’s cur­rent work in progress ‘Dis­so­nanze’ grows from the var­i­ous ele­ments of her back­ground — from clas­si­cal dance to per­for­mance and Butoh, mov­ing from these points to explore meth­ods of move­ment and expres­sion bet­ter expressed in per­for­ma­tive actions. Her lat­est work exam­ines aes­thet­i­cal fea­tures that go against West­ern arche­types of per­fec­tion and beauty. In this per­for­mance, as in many of Dauri’s endeav­ors, the ugly becomes beau­ti­ful, the unusual becomes nor­mal, the deformed takes on har­mony. For her, it is only a mat­ter of one’s per­spec­tive. Staged with highly charged eroti­cism, the visual world cre­ated is at the same time per­verse and ugly yet seduc­tive and sen­sual. As Dauri strug­gles with the unde­fined being (a giant squid?) she seems to be simul­ta­ne­ously part of/becoming the crea­ture and fight­ing against being com­pletely devoured by the being. In a dark­ened set­ting a meta­mor­pho­sis takes place as she becomes one with the writhing crea­ture. Is this some­thing that has been torn from her womb or some­thing that will even­tu­ally con­sume her?

Dis­so­nanze per­for­mance by Fed­er­ica Dauri
sound com­po­si­tion: LVM ( Danilo Colonna)
sculpture-prop: Moran Sanderovich


(photo by alvin Poiana)


Night­jars is the name of an infa­mous duo of  pro­duc­ers who has cho­sen to not reveal their identity. 

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They have released a sem­i­nal twelve inches on Vae Vic­tis Records and remix for Third Side on Restora­tion in 2012 and a split ep on Marieu’s own Enlight­ened Wax at the begin­ning of 2015.    Their ‘ware­house garage’  sound at the edge of indus­trial techno and proto-dubstep has gained an influ­en­tial role on many UK young­sters from the post bass scene (such as Blawan and Ben Ufo).  Their work is hard­ware ori­ented and per­me­ated with cyber­punk cin­e­matic sam­ples,  bro­ken beats and sub­ter­ann­ian fre­quen­cies.  Their appear­ance around Europe have been restricted to very few sub­ur­ban loca­tions  because of their rejec­tion of the main­ground club politics.



Rooted in a “neo-tribal” approach by reduc­ing elec­tron­ics to the hyp­notic rhythm core, James Dean Brown founded Hyp­nobeat in 1983.

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  Affected by the emo­tional impact of polyrhyth­mic energy, the collective’s live sets were mostly machine impro­vi­sa­tions using a wide range of ana­log gear which, besides a TB-303, included up to six syn­chro­nized rhythm machines – with a focus on the inim­itable sound of the Roland TR-808. Accord­ingly, Hyp­nobeat con­ceived an early form of con­tem­po­rary club music, some­where within the scope of clas­si­cal Elec­tro Funk and pro­to­type Techno, and with a Proto Acid flavour​.In 1995, evolv­ing from Hyp­nobeat, JDB estab­lished Nar­cotic Syn­tax (Per­lon), a band he reboosted together with Yapacc in 2003. After all, Hyp­nobeat retrans­formed from this suc­ces­sor project with an exclu­sive solo live per­for­mance by James Dean Brown in Paris, 2012, and finally, one year later saw the excit­ing new evo­lu­tion of Hyp­nobeat with Helena Hauff join­ing the project. The duo’s per­for­mance is based on impro­vi­sa­tion, exhaust­ing the power of an untamed Roland horde which is unique on stage: 1 x TR-707 + 3 x TR-808 + 2x TB-303 + an array of effects = provoca­tive per­cus­sion, voodoo pas­sion, rit­ual ecstasy, hypn­odelic temp­ta­tion, psycho-exotic magic, and a quan­tum of dan­ger under a crypto-bohemian approach. Active con­trib­u­tors to the cas­sette scene of the 80es, two ret­ro­spec­tive Hyp­nobeat vinyl albums are planned for release on Serendip and Dark Entries. While cur­rent pro­duc­tions may soon be expected for release on sev­eral inter­na­tional labels.

Face­book | Sound­cloud | RA

(photo by marco microbi)



Dara Smith’s lat­est musi­cal incar­na­tion is “Arad”. In tan­dem with his work in LAKKER , Arad is giv­ing voice to Smith’s solo tastes and musi­cal adven­tures that have been brew­ing for the last ten years.

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The sounds are pol­ished, arbi­trary and using a mix of syn­the­sis and field record­ings, yet have a dis­tinc­tive cohe­sive sound that is recog­nis­able. About his first release “Haon” Ep on Elec­tric Deluxe in 2015 , smith says “I’m really enjoy­ing the writ­ing process, just keep­ing it loose and flow­ing and hav­ing a bit of fun with it”. The Arad show is a DJ/Live hybrid that is about keep­ing the feet mov­ing and the brain stimulated.

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MFOC = Music for our Chil­dren, Mother Fuck­ers of Cal­i­fo­nia or Musik Fetis­chis­ten Ohren Charak­ter. For 20 years, every Sun­day night at Hamburg’s Golden Pudel Club, MFOC is com­ing to Berlin’s Krake Festival!

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Alex Sol­man, best post­card painter since the war, and Ralf Köster, a tooth­less E-Musik-monster will bring their arm­chair techno, deep-flying drones and senile insom­nia all night long. Might be good or spe­cial. Or not.

Just open the win­dow and try out! (Brian Eno)



Vinilette’s musi­cal story begins in Barcelona at her early 20´s as she started col­lab­o­rat­ing as a radio pre­sen­ter in the noto­ri­ous pirate radio sta­tion, Radio P.I.C.A,

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nour­ished by many music gen­res such as Punk, Rock, New Wave, Disco and more. While elec­tronic music emerged she started com­bin­ing it in her selec­tion and began to take part in an elec­tronic music radio show. She devel­oped her own way of DJing and formed her back­ground base with a unique and diverse style — never com­mit­ted to one genre and with a cer­tain approach for the deeper, raw and old school sounds. Vinilette con­tin­ued her quest for music work­ing in record shops and gain­ing high pro­file as a radio pre­sen­ter at Catalunya national radio sta­tion (icatfm), as well as writ­ing for Span­ish mag­a­zines like GoMag or Lam­ono, and organ­is­ing the “Femelek Fes­ti­val”, pro­mot­ing female elec­tronic music com­posers.
In 2010 she moved to Berlin look­ing for new chal­lenges, she is res­i­dent and co-creator of the exploratory club night called The Hum and an active mem­ber of female:pressure’s inter­na­tional net­work, orga­niz­ing par­ties and fes­ti­vals.
She also pro­duces her own tracks and remixes for other artists and has released on the labels: Blaq and Monika Enterprise.

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Hail­ing from Lyon fruit­ful rave scene of the 90’s, Umwelt never let out of his way by the gleam­ing neon lights of the compromise.

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Trac­ing its way under the Techno Rave and Elec­tro patron­age of Drex­ciya, and armed with its analogs machines for friends only, the French was care­ful enough not to kill the fire of the first men. Umwelt con­tin­ues indeed the work of pio­neers, namely pro­duc­ing a fash­ion wild trans­porta­tion, direct, able to take the lis­tener into the under­ground worlds as well as the infi­nite space.Owner of two labels (New Flesh and Rave Or Die), author of three albums and twenty EP’s on infa­mous labels such like Ship­wrec, Satamile, Dri­ve­com or Kom­mando 6, the pro­ducer never took a rest and has always fol­lowed his instinc­tive pre­scrip­tion: to cre­ate again and again, not by desire but by need. Umwelt is rare, his music is unique.

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Hav­ing stud­ied clas­si­cal piano and com­po­si­tion since a stag­ger­ingly young age, Karter quickly began show­ing an inter­est in con­tem­po­rary exper­i­men­tal music.

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His com­pe­tence around tech­nol­ogy and musi­cal equip­ment in par­tic­u­lar drew him to work as a DJ and Pro­ducer, yet his inter­est in the avant-garde has also seen Karter explore less fre­quently char­tered ter­ri­to­ries. He has worked as a sound designer and sound engi­neer, work­ing closely with a range of music tech­nol­ogy com­pa­nies. This has in turn fed back into his own music, influ­enc­ing new ways of approach­ing com­po­si­tion. Through his music Karter endeav­ours to cre­ate sonic exper­i­ments based on his inter­ests in math­e­mat­ics, numerol­ogy and cryp­tog­ra­phy, trans­lat­ing numer­i­cal sequences in sounds, fre­quen­cies and har­monic struc­tures. Inspired by cryp­to­graphic codes, he man­ages to inter­pret these com­plex sequences in har­mony and rhythm. His fas­ci­na­tion with this idea began after study­ing the math­e­mati­cian Mar­cus du Sautoy, accord­ing to whom every­thing can be explained through num­bers. In this way Karter’s music sees har­monies, num­bers and math­e­mat­i­cal code melt together to cre­ate new lan­guages, draw­ing equally on his expe­ri­ence of the world, and the peo­ple around him. This is Karter’s unique way of view­ing real­ity, reveal­ing the unseen and the unsaid; a world where art meets sci­ence, where chaos is arranged by the clin­i­cal order of num­bers; a line which links the log­i­cal with the emo­tional, the con­fu­sion of noise with the depth of silence.

Sound­cloud | RA



Robot Army is Techno from Berlin in its raw form. A col­lec­tive which truly knows how to rock a floor. All for­mer Tre­sor residents,

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these guys will bring their punk atti­tude and base­ment techno to our festival.

Robot Army are: Baeks / Kriek / Mack / Herr Schnei­der /  Ancient Meth­ods
Mis­sion: The Sonic Dom­i­nance On Planet Earth Is Our Mission.

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Inner8 is Daniele Antezza, a multi-faceted thinker and elec­tronic music pro­ducer, mem­ber of Dadub duo, co-founder of Arte­facts Mas­ter­ing Stu­dio and Undog­ma­tisch label manager,

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whose reg­u­lar invo­ca­tion of the term praxis begins to hint at his cre­ative aims: a pri­mary syn­the­sis of con­tem­pla­tion and action that, in turn, encour­ages a sec­ondary and entirely unpre­dictable set of syn­the­ses depen­dent upon the listener’s unique inter­pre­ta­tion. Though the Inner8 moniker has been in exis­tence for 7 years as a pri­vate nick­name for, as Antezza puts it, his “exper­i­men­tal anar­chist sounds,” a full-length LP is just now sur­fac­ing which will reveal just how much this project has to com­mu­ni­cate. Like many trans­plants to Berlin’s pul­sat­ing sonic under­ground (Antezza moved there from Italy in 2009), his past work seems to com­mu­ni­cate traces of the ecsta­tic with the argot of tech­ni­cal pre­ci­sion and / or sci­en­tific rigour. How­ever, Antezza is not what one would call a ‘Berlin artist’ despite shar­ing these traits in com­mon with the city’s most vision­ary pro­duc­ers: his work gives off an impres­sion of rest­less nomadism that has lit­tle to do with rep­re­sent­ing a local­ized scene. Rather than car­ry­ing on the ter­ri­to­r­ial / parochial projects of rein­forc­ing an arts scene’s geo­graphic bound­aries (or even redefin­ing the bound­aries of a musi­cal genre), Inner8 is more con­cerned with a holis­tic “decon­struc­tive approach” through which “it’s pos­si­ble to reveal the para­doxes of the dom­i­nant thought, the para­doxes behind the sta­tus quo.” His fas­ci­na­tion with con­cepts as diverse as asymp­totes and par­ti­cle physics, though often trendy among those look­ing for a seat at the table of the avant-garde, is a heart­felt fas­ci­na­tion — more­over, these inter­ests merge per­fectly with his relent­less theroet­i­cal quest­ing. Antezza’s rela­tion­ship with that city’s Stro­bo­scopic Arte­facts techno label has been a par­tic­u­larly fruit­ful one, to the point where his sound work prior to Inner8 is almost syn­ony­mous with SA’s own devel­op­ment. As one half of the psy­cho­naut duo Dadub along with Gio­vanni Conti, Antezza has sculpted deep and immense tracks that mes­mer­ize with their har­mo­nious inter­play of force and ambi­gu­ity. These fea­tures can be heard on stand­out releases such as the full-length You Are Eter­nity, their unti­tled SA EP, and also their grow­ing body of remixes for other artists. This same part­ner­ship also acts as Stro­bo­scopic Arte­facts’ in-house mas­ter­ing unit Arte­facts Mas­ter­ing, where Antezza lends his sonic sig­na­ture to an eclec­tic vari­ety of elec­tronic record­ings. That sig­na­ture can be iden­ti­fied by its hyper­real sense of pres­ence and imme­di­acy, qual­i­ties that have become cru­cial to the pre­sen­ta­tion of a music that gen­er­ally relies on only a few sonic ele­ments per track to com­mu­ni­cate its mes­sage. Antezza also takes pride in the rit­u­al­is­tic qual­ity of Inner8’s live sets; a mobile lab­o­ra­tory of dynamic ten­sion in which his the­o­ries man­i­fest as mas­sive phys­i­cal vibra­tions (here we can also see / hear / feel just how well Daniele has absorbed the lessons of the dub “sound sys­tem” aes­thetic.) A sim­i­lar approach also informs his recent sound instal­la­tions, par­tic­u­larly one show­cased at Berlin Atonal fes­ti­val, “Ilya Machine” (real­ized in col­lab­o­ra­tion with Daniele De San­tis and Gio­vanni Conti): a mes­mer­iz­ing sys­tem of four feed­back gen­er­a­tors com­prised of eight 18″ speaker cones.

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A house­hold name in the Athen­ian elec­tronic scene and a co-founder of the experimental/techno label “Modal Analysis”,

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Kon­dak­tor has been play­ing music as a DJ for over a decade. His DJ sets vary from deep techno and dark sound­scapes to funky beats and Chicago house tunes. In 2012 he debuted as a pro­ducer for Seattle’s “Fur­ther Records”. At the same time, he is part of the pro­duc­tion team that orga­nizes the “Reform” par­ties in Greece.

Face­book | Sound­cloud | RA


No space for pos­ing or atti­tude — it’s all about music!
Berlin based AXIOM started play­ing elec­tronic music in the 90s. The biggest impact on him in that time after a still rooted Hip Hop period was Techno and Electro.

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        In the early 00’s, exper­i­men­tal sounds became the grav­i­ta­tional point of his musi­cal inter­ests. Elec­tron­ica, IDM and Ambi­ent, stun­ning new grooves and feel­ings for har­mon­ics took place in his approach for bring­ing high-quality-dancemusic to the audi­ence. In 2006 he wanted to widen his view of what music is, espe­cially the exper­i­men­tal electronic-music-scene by pro­vid­ing inter­est­ing music with­out putting it under pres­sure of the all-digesting and redi­ges­tive music mar­ket. So he launched with HURON the Cre­ative Commons-based net­la­bel CRAZY LANGUAGE for con­tem­po­rary elec­tronic music such as Ambi­ent, IDM, Elec­tron­ica, Glitch etc. After the first release fea­tur­ing his buddy HURON, almost 40 EPs and Albums were pub­lished for free down­load, con­tain­ing out­stand­ing artists like RANDOMFORM, ATMOGAT, PLEQ, FM CONTROL, FRANCISCO GODIKINHO aka XZICD and many more. Beyond his label and his spinning-records deals, he is work­ing with KILLEKILL BERLIN, help­ing to run par­ties, espe­cially on the gen­res he grew to love, show­cas­ing this way, the other side of the self-imposed min­i­mal style Berlin had for many years. Alter­na­tive music expe­ri­ence to the masses!

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Pro­ducer, singer, song­writer, DJ, com­poser; Emika is an artist who defies con­ven­tion and nar­row categorization.

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The Anglo-Czech tal­ent was clas­si­cally trained in her youth, later dis­cov­er­ing the lim­it­less world of elec­tronic com­po­si­tion that would pro­vide the yin to her for­ma­tive yang. Study­ing sound design at uni­ver­sity, she soaked up the sounds of Bristol’s bur­geon­ing dub­step– era bass cul­ture before migrat­ing to Berlin and immers­ing her­self in the world of techno. Spend­ing four years as a sound designer at Native Instru­ments’ head­quar­ters in the city, she set up about estab­lish­ing her­self as a mul­ti­far­i­ous artist — sign­ing to Ninja Tune and deliv­er­ing two acclaimed albums, DVA and Emika. Her rela­tion­ship with Ninja Tune saw her sup­port the leg­endary Amon Tobin across North Amer­ica on his ISAM tour, and she has since taken her mes­meric live show and DJ sets across the world — per­form­ing through­out Europe and in Rus­sia and China. She also per­formed a live set for Boiler Room Berlin in 2012. Emika has worked on many col­lab­o­ra­tive projects aside from her res­olutely per­sonal solo mate­r­ial — includ­ing along­side Brandt Brauer Frick Ensem­ble, Mar­cel Dettmann, Pinch, Jimmy Edgar, Tommy Four Seven and MyMy. She was respon­si­ble for gath­er­ing the field record­ings of the sounds of Berghain for their Fünf com­pi­la­tion and cre­ated a track for the col­lec­tion her­self. She has also recorded with the City of Prague Phil­har­monic Orches­tra and Czech soprano Michaela Soprano, and has been shot by pho­tog­ra­phers includ­ing Bet­tina Rheims and Madi­son. Her music has been used at the Lon­don 2012 Olympics, in adverts by Gucci and McLaren, and by NBC — whose use of her Chris Isaak Wicked Game cover saw the track rocket to iTunes’ No. 1 in Canada and No. 2 in the US. She was also sam­pled by The Weeknd on his track Pro­fes­sional and increas­ingly con­tributes music to film sound­tracks — includ­ing a trailer for Mis­sion: Impos­si­ble — Ghost Pro­to­col. She launched her own label Emika Records in 2014 in search of “free­dom and independence”with the Melan­cho­lia Eupho­ria 12”, fol­low­ing it in quick suc­ces­sion with her lauded piano opus Klavirni and her third full stu­dio album DREI. “I’m a free­dom seeker, try­ing to cre­ate and invent new space for myself and my work to exist” she says. “I hope one day this space will be big enough to accom­mo­date other artists and their own ideas and directions.”

Face­book | Sound­cloud | RA


rRox­y­more, Hermione Frank began pro­duc­ing music back in Mont­pel­lier together with a friend in a dis­used garage — a start­ing point that can still be traced within the atmos­phere of her music.

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Her music main­tains a raw, almost dirty qual­ity, which merges uniquely together with deeply stir­ring and psy­che­delic energy. Back in the garage where Frank made her first musi­cal steps, she was using the Akai 950 and Cubase on Atari — these two instru­ments allowed her to dig deep into sam­ple cul­ture. In these early days, Frank was also DJing in and around Mont­pel­lier, mix­ing organic jazz and funk with elec­tronic grooves. She released her epic 10 minute debut “Wheel of For­tune“ in the sum­mer of 2012, which came via a split 12” along­side Planningtorock’s ‘Patri­archy Over & Out” (Human Level / DFA Records). After diverse appear­ances this year, for the last Comème’s com­pi­la­tion and for Paula Temple’s Noise Man­i­festo , her forth­com­ing EP will be released on Macro Record­ings end of the Sum­mer 2015.

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Huron is the syn­onym for elec­tronic music pro­duc­tions by Stef­fen Schröder from Berlin. His inter­ests for elec­tronic music emerged very early in the age of 14.

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He began to do mixes through the use of two stereo-cassette-recording-machines. The pas­sion for mix­ing grows and since 1990 he is estab­lished as proffes­sional Dj under dif­fer­ent syn­onyms [Shrotty / N.G.S.].  Today, Hurons music is very detailed and clearly embed in an Elec­tron­ica robe. Huron cre­ates gor­geous spaces through high qual­ity sound­ing tex­tures and beats. Nice dsp-influenced tech­niques and glitches plus beau­ti­ful sound­scapes which usu­ally express melan­choly com­bined with a slight and sub­lim­i­nal touch of dark­ness are typ­i­cal for his music. As co-founder of Crazy Lan­guage a net­la­bel with the main focus on exper­i­men­tal audio like IDM, Glitch, Elec­tron­ica, etc. Huron under­lines his pas­sion for advanced elec­tronic music and art.

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Sarge of the Gra(fx) coor­di­nates the pix­els and vec­tors. He is the visual ele­ment of the net­la­bel Crazy Lan­guage and has cre­ated most of the label’s releases art­work and videos. Besides of that he is involved in many other projects e.g. with Roel Funcken from Funckarma and Syl Kogai. His art has a com­plex idea of exper­i­men­tal, artis­ti­cal, beau­ty­ful and philo­soph­i­cal ele­ments that attracts you straight away, while you find more and more details the longer you con­tem­plate his work.

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Dat Pol­i­tics is an electro-synth-pop band cre­ated in 1999. Their incred­i­ble energy on stage explains the cult like enthu­si­asm that sur­rounds the combo

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as they’ve toured the world exten­sively since their incep­tion. Both found­ing mem­bers Claude and Gae­tan (also known for their side projects Tone Rec, Skipp, Mazza Vision…) are also involved in pho­tog­ra­phy and graphic design which leads them to cre­ate most of their own cov­ers, web­sites, posters, t-shirts etc…Dat Pol­i­tics’ music is often clas­si­fied under the electro-pop genre and described as catchy, melodic and emi­nently dance­able. They’ve have col­lab­o­rated and shared the stage with exper­i­men­tal artists such as Mat­mos, Mouse On Mars, Dan Dea­con, Black Dice, Aphex Twins, Square­pusher, Pan Sonic, Felix Kubin, Kid 606, Chris­t­ian Fennesz…

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The Same­heads e.V. is defined by its unique blend of cre­ative per­spec­tives and fiercely inde­pen­dent pro­duc­tion val­ues. Based in Berlin since 2006,

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Same­heads pro­vide a set­ting where artists with back­grounds in Fash­ion, Art, Music, Film and Media con­verge, col­lab­o­rate and influ­ence each oth­ers cre­ative approach. Devel­op­ing exist­ing skills, pass­ing on knowl­edge, expos­ing their par­tic­u­lar medium to new audi­ences. Edgy, exper­i­men­tal cross-pollination with one eye on the role art can play in cul­tural exchange and integration.

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Berlin Based UK pro­ducer Ben Williams, aka Gatto Fritto, makes exploratory, down­right jammy elec­tronic music. He has the sound of some­one min­ing every nook and cranny of his influ­ences for a few really spe­cific sounds: the weird warmth of Kraftwerk, Gior­gio Moroder’s chintzy propul­sion, Detroit techno’s stal­wart inten­sity, and the goof­ball sprawl of soundtrack-era Tan­ger­ine Dream. His lengthy DJ sets are a musi­cal odyssey and some­thing to behold. As well as releas­ing his acclaimed self enti­tled album and hav­ing releases on var­i­ous labels includ­ing Inter­na­tional Fell and Dissident, He has also done remixes for Sub­way, Franz Fer­di­nand, Al Usher and Rocha. Invis­i­ble col­lege being a big favourite of Dj Har­vey at the Sar­cas­tic par­ties In La.

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Skism will pro­vide us with a rare set of unlikely com­bi­na­tions of Italo-disco, Krautrock, psy­che­delia, and some kind of far­dled funk shit that sounds like a bunch of hip­pies locked in a stu­dio with a Moog, a mess of per­cus­sion instru­ments, and about a hun­dred tabs of acid. Sure to be a high­light dur­ing the early hours.….

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The band is a new project between three well known, yet under­ground pro­duc­ers. The lim­ited amount of shows they have played so far have caused quite a stir, and it feels cer­tain that you will be hear­ing a lot more of this band in the near future. Born out of an idea of Alexan­der Arpeg­gio aka spAcelex (Syn­the­sizer) together with Andrea Noce (Voice, Syn­the­sizer) the duo got a new mem­ber Julian S. aka KoolMis­terDJ (Syn­the­sizer, Rhythmus-Box) to the band in the begin­ning of 2015. Their sound takes them over bor­ders that cross over min­i­mal wave, exper­i­men­tal elec­tronic, synth-wave and lo-fi pop. The live set will be played by hand, using ana­log syn­the­siz­ers and drum machines, adding a cer­tain unique­ness and warmth to their stage performance.

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As part of Berlin-Neukölln col­lec­tive O.H.I.D DJ and Pro­moter Sören Miehe is fly­ing the flag for the open-minded free-for-all approach of the city’s noto­ri­ous under­ground scene.

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Born and raised in Bre­men, Sören orga­nized his first par­ties in the Rhine Main region. Inspired heav­ily by the sounds and selec­tions fea­tured at clubs like Robert John­son his sets were devoted first and fore­most to all kinds of twists to the house for­mula, injected with a healthy dose of disco and psy­che­delic garage rock. After mov­ing to Berlin he even­tu­ally got in touch with the enclave around the ille­gal club Raum. He joined the ranks of O.H.I.D (Our Hobby Is Dif­fer­ent) and has been a res­i­dent DJ at their par­ties and inte­gral part of the book­ing team ever since. He is reg­u­larly invited into the guest slots of par­ties like Horse Meat Disco and plays DJ sets all over the country.




ELECTRIC INDIGO, DJ, com­poser, musi­cian, has per­formed in 38 coun­tries across Europe, Asia, and the Americas.

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Her name stands for the intel­li­gent and dis­tin­guished inter­pre­ta­tion of techno and elec­tronic music. Her DJ-sets are char­ac­ter­ized by a wide vari­ety with a clar­ity of vision and a depth that comes from a deep under­stand­ing of the music and the art of DJing. We are proud to present her coop­er­a­tion with the Aus­trian visual artist THOMAS WAGENSOMMERER, a sub­tle piece explor­ing the pos­si­bil­i­ties of organic growth and change in elec­tronic music.

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CASSEGRAIN & TIN MAN, a coop­er­a­tion between the Greek/ British/ Turkish/ Asian duo Cassegrain and Tin Man from Vienna,

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who in their col­labs have com­bined both their dis­tinc­tive sounds — clas­sic con­nois­seur, acid and mod­ern techno — to prove how fer­tile this com­bi­na­tion can be. With out­stand­ing releases on Killekill, Ostgut Ton as well as Function’s and Ed Davenport’s Infra­struc­ture New York lately, the trio has made their way into fame, and we are glad to present one of their rare live shows.

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Bin­tus makes dance music that con­fuses and amuses in equal mea­sure; a machine-funk sucker-punch with an irre­sistible sense of fun.

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By no means Milo Smee’s first musi­cal project, how­ever it’s with Bin­tus he employs a fero­cious con­ci­sion while ref­er­enc­ing sev­eral of dance music’s moments of futur­ist rup­ture — first gen­er­a­tion elec­tro, vin­tage acid house and early 90s hard­core — in a man­ner which feels utterly contemporary.

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Peter van Hoe­sen and Yves de Mey moniker is an exam­ple of a coop­er­a­tion which leads both parts involved into totally new fields, lead­ing into some­thing which can hardly be

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traced back to the involved artists’ origins. Sendai com­bines De Mey’s skill­ful extrac­tion of deep and dynamic sounds from his mod­u­lar syn­the­sizer sys­tem with Van Hoesen’s keen sense of dig­i­tal com­po­si­tion and sound design. Expect some dark-as-can-be-electronica from them!

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KAMIKAZE SPACE PROGRAMME is a true sonic rene­gade, a gen­uine music experimenter.

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Some­where between a clas­sic Musique Concrète and mod­ern elec­tronic approach, KSP’s music is made up of myr­iad sam­ples and found sounds from real world sit­u­a­tions, it lends the stuff a very real tex­ture and aes­thetic that links it to the here and now, the every­day, in a very real way. The sound of an old truck, the hiss of a ket­tle or the clunk­ing of a door are all fair game for KSP, who then takes his strange sound sources and weaves them into infec­tious sonic tapes­tries and intri­cate rhythms.!

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Paul Régim­beau  likes deep con­trasts as much as nuance, and allows him­self to develop rad­i­cal techno sounds as well as melodic anthems with a cin­e­mato­graphic dimension.

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With The Nicest Way EP (Perc Trax), and mem­o­rable per­for­mances as a DJ in clubs like Berghain and Cor­sica Stu­dios, this year has seen Mond­kopf per­fect­ing his cathar­tic approach to dance music. Also get­ting on his own terms and start­ing his own imprint In Par­adisum with Guil­laume Heuguet, he has united a team of artists all pretty much stand­ing apart in the French scene and led by the same rest­less­ness and ideals. The oper­a­tion quickly con­nected to a flour­ish­ing inter­na­tional scene of forward-thinking techno and house, and is now allow­ing him to express his musi­cal goals further.

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Jack Dunning’s pro­duc­tion work as Untold has rein­vig­o­rated the cli­mate of dance­floors around the globe.

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First releas­ing music on Hessle Audio, where his ‘King­dom’ sin­gle housed two slices of unset­tlingly bril­liant atmos­pheric bass weight, the North Lon­doner has gone on to release numer­ous scene steal­ing EPs as well as form two labels, Pen­ny­royal and Hem­lock Record­ings. He now stands proudly as a tastemaker in his own right.

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MR-808 inter­ac­tive is an inter­ac­tive robot instal­la­tion fea­tur­ing the over­sized robotic drum machine “MR-808” – pro­grammed live by the audience!

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The 3.3 m x 1.7m hugh robot instal­la­tion is con­trolled via com­puter tablets.
The audi­ence can pro­gram the drum robot in a col­lab­o­ra­tive process and lis­ten to and see the emerg­ing of the sound. At the exhi­bi­tion site, the audi­ence can stand in front of the robot, access­ing the music struc­tures via inter­faces.
The drum robot instal­la­tion MR-808 is expos­able for a col­lab­o­ra­tive music cre­ation process by the audi­ence which turns from a pas­sive spec­ta­tor to an active player, visu­al­iz­ing the ongo­ing bond of mobile dig­i­tal inter­faces and phys­i­cal actions.

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Eomac is one half of Dublin based duo Lakker, but is also a DJ and pro­ducer in his own right.

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His eclec­tic style is reflected in both his pro­duc­tions and his DJ sets – expect any­thing from blis­ter­ing techno, haunt­ing 2-step and hip-hop to the dark­est depths of dub­step and back again. He has released on a num­ber of labels, includ­ing his ‘Spoock’ EP on Killekill Records, ‘Hither Pappy’ on Will Bankhead’s acclaimed Tril­ogy Tapes, ‘Monad XVII’ on Stro­bo­scopic Arte­facts and last year’s crit­i­cally acclaimed album ‘Spec­tre’ on Killekill, which FACT Mag called it ‘a bit of a clas­sic’. Along­side this have been numer­ous mixes, live and dj sets and a side project under the ‘EeOo’ moniker, which saw it’s debut on Unknown to the Unknown with the Work­out EP. All of this has gar­nered sup­port and atten­tion from far afield and Eomac can now count the likes of Thom Yorke, Sur­geon, Nina Kraviz, Ron Morelli, Lau­rel Halo and Aphex Twin among his many fans.

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The 29novfilms is a duo of video artists, that has been mak­ing videos for almost every sin­gle rel­e­vant techno artist releas­ing in the last years.

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They work with found footage mostly and are known for their extra­or­di­nary sen­si­tiv­ity in what to pick for a cer­tain sound and how to use it. They are an instant part of all Killekill work regard­ing labels and events and can be booked as visual artists.

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Born in the Nether­lands, based in Ger­man deep for­est cat­a­combs where he pro­duces music for well known under­ground labels like Panz­erkreuz, Berceuse Hero­ique, Abstract Forms and others.

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Not a lot to say about this guy apart that his pro­duc­tion speaks for him self.
Frosted coils ensnar­ing clipped beats, roam­ing bass lines kept in check by tight drum pat­terns.
Dis­tress is never far from Ekman’s work.

Sound­cloud | RA


Mul­ti­color laser instal­la­tion / per­for­mance
Pro­duced by Stu­dio Robert Henke

Sup­ported by LaserAn­i­ma­tion Sollinger, Berlin

A bright mul­ti­color laser beam points at a black reflec­tive sheet of plas­tic hang­ing freely from the ceil­ing. Most of the light is absorbed by the plate, turned into heat.

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A small part is reflected to a white screen on the oppo­site side of the room. The heat cre­ates defor­ma­tions and induces struc­tural changes of the sur­face of the plate, which leads to dynamic and com­plex reflec­tion pat­terns. The laser beam scans over the sur­face of the plate in slow ran­dom move­ments and leaves traces of destruc­tion. The light pat­terns on the pro­jec­tion screen make the process vis­i­ble.
The same tech­nique that cre­ates these spa­tial decom­po­si­tions of light also destroys them when the process is repeated too often. There is no strict sep­a­ra­tion between ‘writ­ing’ changes to the plate or ‘read­ing’ the defor­ma­tion. The obser­va­tion process is destructive.

By adding more and more imper­fec­tions to the sur­face of the plas­tic plate, the result­ing pat­terns become increas­ingly more inter­est­ing until a cer­tain thresh­old is reached after which the process seems to reverse. More destruc­tion leads to less inter­est­ing results, end­ing ulti­mately after a long time with just a dif­fuse reflec­tion of light. The instal­la­tion becomes blind.
Destruc­tive Obser­va­tion Field can also be performed.

The instal­la­tion behaves like a liv­ing organ­ism, it cre­ates expand­ing and con­tract­ing forms that have a semi-organic appear­ance. Dur­ing the course of the exhi­bi­tion the defor­ma­tions of the plate add up result­ing in a more and more com­plex sur­face struc­ture. The vis­i­ble shapes will get more detailed and frag­mented. The den­sity of the stored infor­ma­tion on the black plate increases.
The char­ac­ter­is­tic visual appear­ance of the instal­la­tion is the result of inter­fer­ence pat­terns, waves ampli­fy­ing and can­cel­ing each other out in space, leav­ing com­plex traces of light and darkness.

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Alien­ata is one of the per­sons who decided to live music when she was young.
DJ’ing is her ded­i­ca­tion since 2000. She met so many peo­ple who influ­enced her musi­cal expres­sion. She moved to Canada and worked there with the music scene, then went back to Spain where she was hail­ing from and now lives in Berlin where she started to pro­duce music. Her first remix was released in Autumn 2012 on Snuff Trax.

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Pure from her deep­est thoughts and feel­ings her musi­cal style needs more than the words: techno or house. You will always find your­self lost in: Obses­sive Anal­ogy, Microloops com­ing from any source (even includ­ing fridge’s plug), Acid,IDM, Dubby, Dark Disco, IDM, end­less Miles Davis songs, Jak­beat, Ana­logic Deep Tex­tures, Sex­ual Dark Exper­i­men­tal Hybrids,Cosmic rhythm and beau­ti­ful Aquatic Dark Elec­tro tracks.

She is cur­rently work­ing on a musi­cal project called Kat Chan­nel with Snuffo (50% of Snuff Crew).

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DJ Flush aka Nico Deuster has been a dj for 15 years now push­ing the bor­ders of elec­tronic music: from chicago jack and booty tracks to elec­tro, from dis­torted no future sounds to rather min­i­mal funk — dirty, freaky and often with a big drop of acid.

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DJ FLUSH played al most of the rel­e­vant clubs in Berlin as there are OstGut/Panoramabar, Tre­sor, Maria, WMF, Water­gate and with THE ELECTRIC FORCE, SWEAT & ERROR and FREAKED he has been pro­mot­ing party nights that are renowned for pre­sent­ing some of the fresh­est and most upfront music to the audi­ence every time. Daniel Bell, Cris­t­ian Vogel, Ark, Roman Flügel, Neil Land­strumm, Frankie and many oth­ers were play­ing there. Since June 2008 he has started the Killekill Club at Berghain Kan­tine which by now has become a Berlin leg­end. Strongly con­nected to the scene DJ FLUSH has also been rock­ing many non com­mer­cial under­ground loca­tions all over Berlin and Ger­many as well as inter­na­tional clubs in Poland, France, Swe­den, Nether­lands, Bel­gium, Turkey, Mex­ico and so on… With his own pro­duc­tions DJ FLUSH has also far con­tributed to some com­pi­la­tions on Shitkat­a­pult and Musick To Play In The Club.

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