You are currently viewing 07.-08.02.2015 — Geräuschwelten festival 2015

07.-08.02.2015 — Geräuschwelten festival 2015


aufabwegen präsentiert:
— Geräuschwelten Festival 2015 —

07.02.2015, ab 20.00h
Konzerte von:
Compound Eye (US/UK)
Elodie [Timo van Luijk + Andrew Chalk] (B/UK)
Artificial Memory Trace (CZ)

08.02.2015, ab 18.00h
Konzerte von:
:zoviet*france: (UK)
Giuseppe Ielasi (I)
Marc Behrens (D)

price per night: 12,00 EUR, 2-day festival ticket: 20,00 EUR
concert venue:
Black Box/cuba-cultur, Achtermannstr. 12, 48143 Münster, Germany
Tickets an der Abendkasse oder im Vorverkauf unter

07.02.2015, 15.00h und 08.02.2015, 12.00h
Münster Sound Walks – Hörspaziergänge durch Münster
Kuratiert von Ross Parfitt & Jennifer Iker
Treffpunkt für die Soundwalks: An der Skulptur ‚BIT.REFLECTION‘ von Julius Popp, Warendorfer Str. 2, 48145 Münster
Teilnahme kostenlos, begrenzte Teilnehmerzahl, Anmeldung erforderlich.
Anmeldung unter: oder: 0177-8251684 (Till Kniola)

Klanginstallation von Kallabris
Cuba-Cultur-Foyer, Achtermannstr. 12, 48143 Münster
Geöffnet 07.-13.02.2015, 10-21 Uhr




Compound Eye is Drew McDowall (formerly of Coil) and Tres Warren (Psychic Ills and Messages).
‚Journey From Anywhere‘ is their second long-player release following ‚Origin of Silence‘, an art edition LP on The Spring Press label.  This double lp features 4 sides of improvised electronics that lead the listener into the dark recesses of the duo’s subterranean explorations.  Each of these works move at a slow and considered pace, gradually unfolding into a transportive blur of dark psychedelic minimalism.
Like elements of Coil long form works this is a music which has the potential to melt time, open space and create a flowing web of liquid memory.
A sublime record for those who like music that encourages travel.
Drew McDowall was born 28th January 1961 in Paisley, Scotland. He worked with Coil regularly for several years, becoming an official member of the band in 1995. He worked solo as Screwtape (no relation to the Andrew McIntosh project of the same name) and is now a member of the group Compound Eye and Captain Sons & Daughters. He co-created The Poems (with then wife Rose McDowall) in the late 1970s, was a member of Psychic TV in 1980s and tour-managed The Shamen. Drew currently resides in Brooklyn, NY and is active within the modular electronic world. Tres Warren is a member of the group Psychic Ills who release music on the influential Sacred Bones label.
Foto: Compound Eye
Konzert 07.02.2015 BlackBox/cuba-cultur


ELODIE (= Timo van Luyk + Andrew Chalk, B/UK)

Andrew Chalk and Timo van Luijk made their first firm steps as a duo with 2011’s ‚Echos Pastoraux‘ (La Scie Doree). A collection of short fragments, the album had the sentiments of a homely sketchbook memory, and though still very much present as producer Chalk displayed a growing affinity with the use of largely untreated acoustic instrumentation; no doubt allowed to flourish under the encouragement of van Luijk who is known for his skills as an instrumentalist, drawing from a vast array of traditionally musical and non-musical instruments / objects in his frequent solo and group appearances. In the same year the duo issued ‚La Lumiere Parfumee‘ (Faraway Press) which displayed an even more elaborate repertoire of delicate acoustic and electronic sounds, weaving a rich tapestry of impressionistic pastel shades and shimmering opalescent rays.
In concert Chalk and van Luijk focus their attention on one or two chosen instruments and naturally employ a more reductionist approach, allowing slow phrases to intertwine and repeat through the duration. Performing almost yearly as a duo, last year Elodie were joined by Jean-Noel Rebilly (clarinet) and Tom James Scott (piano) in Leuven (Belgium) for their first concert together as a quartet, and it is in this setting that they return to Cafe Oto following a duo performance in February 2012.
Born in Finland, but living in Belgium, Timo has been an active participant in experimental sound activities in his current home. Originally a member of Noise-Maker’s Fifes, he later split off and started his own solo project, Af Ursin. In recent years he also been active collaborating with others such as Raymond Dijkstra (in the duo Asra), Kris Vanderstraeten, Christoph Heemann (in the duo In Camera (2)) and Andrew Chalk (in the duo Elodie (4)). His latest groups are Nivritti Marga with Raymond Dijkstra and Frédérique Bruyas and La Poupée Vivante with Arlette Aubin and Frédérique Bruyas. Though his music has appeared on several labels, he also has his own label, La Scie Dorée. In 2007, he – together with the 2 other members of Onde – started the Metaphon (2) organisation.
Andrew Chalk has been active since 1985 as Ferial Confine and has worked with many associates over the years, such as David Jackman (in Organum), Vortex Campaign, New Blockaders, The, Darren Tate (2) (in Ora), Giancarlo Toniutti, Jonathan Coleclough, and Christoph Heemann (in Mirror). He has now released a number of releases under his own name which have won widespread acclaim, on labels such as Robot Records, Siren Records, Christoph Heemann’s Streamline label and his own Faraway Press label. The Mirror project released a steady string of stunnng, highly sought-after records in limited quantites and Chalk’s releases on Faraway Press have followed this aesthetic. /
Foto: Scott McMillan
Konzert 07.02.2015 BlackBox/cuba-cultur



Slavek Kwi is a sound-artist, composer and researcher interested in the phenomena of perception as the fundamental determinant of relations with reality. He has a longstanding fascination with sound-environments, developing what he terms ‘electroacoustic sound-paintings’ that oscillate between sound only works and interdisciplinary works exploring social, spatial and temporal processes. These complex audio-based situations are created mainly from site specific recordings, resulting in subjective reports for radio broadcast, ‘cinema for ears’ for multi-channel playback, sound installations integrated into the environment and performances. From the early nineties Slavek has operated under the name Artificial Memory Trace. He facilitates experimental sound workshops with autistic children and those with learning disabilities. The workshop technique emphasises extensive listening and the stimulation of creativity through observation and the support of natural tendencies. Slavek was born in former Czechoslovakia, lived 14 years in Belgium and has been based in Ireland since 2000.
Foto: Slavek Kwi
Konzert 07.02.2015 BlackBox/cuba-cultur


:zoviet*france: (UK)

Zoviet France is an idiosyncratic collective of anonymous postindustrialists, dronologists, and pseudo-ethnomusicologists. Their investigations have taken them into fictional cultures where nothing is easily located and reality often slips into the hypnagogic. Having secluded themselves in Newcastle, England since their inception in 1980, Zoviet France have developed a radical relationship with the cheap technologies of old-fashioned tape recorders, homemade acoustic instruments, primitive looping and sampling devices, and basic dub trickery. From these machines, the collective has crafted a distinctly unique vocabulary of postindustrial sonic hypnosis. Just as Zoviet France’s sound was alchemic reconfigurations of inexpensive technologies, their vinyl packaging literally covered their sounds with aluminum, roofing shingles and porcelain.
Foto: :zoviet*france:
Konzert 08.02.2015 BlackBox/cuba-cultur



Born in 1974, lives near Milan since 1990. Started playing guitar in 1988, and worked for many years in the area of ‘improvised music’ (long term collaborations with Renato Rinaldi in the duo Oreledigneur, Thomas Ankersmit, Michel Doneda, Ingar Zach, Dean Roberts). Between 1997 and 2006 he has performed live with Taku Sugimoto, Jerome Noetinger, Mark Wastell, Martin Siewert, Nmperign, Brandon Labelle, Nikos Veliotis, Alessandro Bosetti, Gert-Jan Prins, Phill Niblock, Oren Ambarchi, and many others. From 2007 on, his main interest has been in site-specific solo performances, still using guitars as primary sound sources but integrating microphones and multi-channel speaker systems in order to create complex networks for sound diffusion in relationship to space. He recently started a collaboration with Austrian video artist Michaela Grill (US tour in 2007, participations at the Rotterdam Film Festival, Evolution Festival in Leed, FilmSoundFilm in Marfa,TX) and is more and more involved in performances and installations with Renato Rinaldi and Armin Linke (ZKM Karlsruhe, Villa Romana Florence, Kunsthalle Berlin, Festival della Scienza Genova). In 1998 he founded the “Fringes recordings” label, closed in 2005, and co-founded “Schoolmap Records” in 2006.
Foto: Giuseppe Ielasi
Konzert 08.02.2015 BlackBox/cuba-cultur



Geboren 1970 in Darmstadt.
Marc Behrens arbeitet auf mehreren geistigen und physikalischen Ebenen.
Seine Arbeiten bestehen hauptsächlich aus konkreter elektronischer Musik, Installationen, gelegentlichen Foto- und Videoarbeiten. Aktivitäten der jüngeren Zeit schließen Feldaufnahmen im entlegenen Westchina und im Amazonas-Regenwald, die Gründung einer Aktiengesellschaft als soziales Kunstwerk und die Inszenierung eines Übergangsritus für einen Investmentbanker ein.
Behrens hat quer über sechs Kontinente ausgestellt und Konzerte gegeben. Kollaborationen u.a. mit Atom™, Jeremy Bernstein, Miguel Carvalhais, Ana Carvalho, Bernhard Günter, Nikolaus Heyduck, Francisco López, Paulo Raposo, Pedro Tudela und Achim Wollscheid.
2006–2010 war Marc Behrens Lehrbeauftragter an der Hochschule der Bildenden Künste Saar in Saarbrücken, 2007–2009 an der Hochschule Darmstadt-Dieburg.
Er ist Mitglied der Deutschen Gesellschaft für Elektroakustische Musik (DEGEM) und von Granular (Lissabon), Subscriber der Electronic Music Foundation (EMF) sowie Bürger des Königreichs Elgaland-Vargaland. 2003–2007 war er Co-Direktor des portugiesischen Musiklabels Sirr.
Foto: Nelson Campos Ros
Konzert 08.02.2015 BlackBox/cuba-cultur



Kallabris is the project of Michael Anacker. Active since 1986, its work has been described as ‘electro-acoustic chamber music’ — a description which should be taken literally. Anacker’s main interest is a reflection on the electro-mechanical conditions of sound recording presented in everyday recording devices such as cheap home computers, dictaphones and answering machines.
Thus, he is not interested in the limits of musical styles but in the limitations of sound (re)production.
Since the mid 80s Kallabris has been musically active, at least from time to time. However, most of the time it was rather passive – or active only in a very casual sense of ‚active.‘ Its music has been described as electro-acoustic chamber music, which should be taken literally and not as an art-tag. Neither art nor tags are part of Kallabris‘ interest. Even though Kallabris‘ interest has changed through the active and passive years, there has always been one corner-stone: simplicity. Unfortunately, ’simplicity‘ is a term not easily defined. Simple ontologies may ask for complex theories, and simple theories usually require complex ontologies. But even worse: the simplest solution very often means hard work and good craftsmanship. Attributes, no-one in his right mind would dare to predicate to Kallabris, even though Kallabris believes in the completeness of first-order logic (including existence) and, thus, is fully aware that attributions of this kind are justifiable.
Kallabris has sometimes been identified with a person called Michael Anacker. No entity without identity, says scholastic metaphysics. But Kallabris is no entity, nor is Kallabris a person. Thus, we conclude, this identification is only a marketing trick.
Foto: Dr. Ariane Eckregen
Klanginstallation: 07.-13.02.2015, Cuba-Cultur-Foyer



Ross Parfitt plays percussion music as a way of examining physical material, such as objects, movement and environments. Performances have focused on non-musical actions, such as simply setting up and taking apart percussion instruments, gradually tipping a drumkit onto the floor and hanging a pile of drums from the ceiling. By emphasising accidents and typically-overlooked events within music, he points at the critical creative role of attention. Sheffield’s Singing Knives label described him as „a musician dedicated to exploring minimal compositional devices to maximal conclusions.“
Jennifer Iker is an observer. Through playing with movement and time, her photographs spread and examine light. Her second musical composition is for performers overlooking a train station. Her first is still completely unexplained.
Parfitt and Iker have been based in Münster for the last 2 years, where they organise concerts under the name Sudden Cricket. Although they often point out to each other everyday sounds, changes in light and textures on walls, this is the first soundwalk they have created.
Foto: Ross Parfitt
Soundwalks: 07. & 08.02.2015, Münster Innenstadt