G.A.M.S. – dto.

Format: 180gr LP / download

Release date: september 27th 2019

The first album of the new duo G.A.M.S. (ANDI STECHER / drums and GUIDO MÖBIUS / feedback) with special appearances by MICK HARRIS (EX NAPALM DEATH, PAINKILLER, SCORN a.o.) and YUKO MATSUYAMA (HULA HUT & THE SEVEN SEAS).

Feedback leads a life of it’s own. It is an uncontrollable sonic accident, usually ear-numbingly loud but sometimes also delicately ethereal. The essence of feedback is being released from bonds, its path is always one of intensification and escape. Its a physical phenomenon and hard to predict.
The duo G.A.M.S. makes music on the edge of losing control. A restless drummer works his way through waves of feedback, which span the full spectrum of frequencies from pumping bass to the highest tones. With the pulse of the feedback ANDI STECHER’s drumming, at times feverish and driven, then distanced and abstract, creates polyrhythmic structures. What comes into being is a maelstrom of sound and rhythm – music beyond every style, the power of which lies in its rawness.
STECHER and MÖBIUS switch the roles of desired and undesired sound and thereby create pieces like archaic sculptures. Their music is raw and powerful, but can also be soft and etheric. Sometimes it feels like a delicate organic painting. But here’s one thing that G.A.M.S. music certainly isn’t – predictable. The duo uses freely improvised spaces and reacts to unplanned sonic events. And despite all it’s seeming randomness, G.A.M.S. still manage to compose clearly structured pieces and to reconstruct these in their live program.
Through a cut-up technique patterns of feedback sound fragments are juxtaposed and interlocked in varied combinations. These hypnotic loops move between rhythm and melodies, a web that is carried along by a driving drum set, accents of sub-bass and layers of feedback drones.
The playful drum style of ANDI STECHER is far from conventional rock drumming. Instead he experiments with various materials – for instance by preparing his cymbals with chains or putting different objects on the skin of his drums. He makes offbeat meters and complicated grooves sound easy and light. The same goes for changes in timing or dense textures comprising ghost notes. On the other hand he plays straight forward beats dynamically and with power.
STECHER’s partner in G.A.M.S. is GUIDO MÖBIUS who (with the help of a guitar amp, a microphone and effects) creates live feedbacks which can be massive and noisy but also fragile and gentle. Fleeting and concrete sounds join into dense textures. Feedback is never static rather always in a process of change.
Musical guests on the album are ex-NAPALM DEATH drummer and eletronic producer MICK HARRIS (SCORN, FRET) contributing drones and field recordings and the versatile singer YUKO MATSUYAMA (HULA HUT & THE SEVEN SEAS). 

all music played, produced and mixed by G.A.M.S.
G.A.M.S. are Andi Stecher (drums / percussion) & Guido Möbius (feedbacks)
cover artwork by Bruno Ferro Xavier da Silva
layout & design by kaidoh
drums recorded by Dirk Dresselhaus at ZONE, Berlin
mastered & cut by Rashad Becker at D&M, Berlin

Konstrukt + Ken Vandermark – Kozmik Bazaar

Format: 180gr LP

Release date: september 27th 2019

Turkish free jazzers KONSTRUKT continue their series of exciting collaborations with KEN VANDERMARK, one of the key figures of Chicago’s vivid jazz scene.

After 2 critically acclaimed albums with the Japanese avantgarde / noise icon KEIJI HAINO, KONSTRUKT return with a new inspiring collaborative mind: KEN VANDERMARK, who for three decades now has been a highly prolific musician in contemporary jazz and free
improvisation. With various groups like NRG ENSEMBLE, SPACEWAYS INC., THE VANDERMARK 5, MADE TO BREAK and his latest project MARKER or the PETER BRÖTZMANN CHICAGO TENTET (to name just a few) and various spontaneous collaborations the saxophone / clarinet player has created an impressive catalogue and performed / recorded with the who-is-who of today’s jazz / improv scene: PAAL NILSSEN-LOVE, HAMID DRAKE, FRED ANDERSON, PAUL LYTTON, JOE MORRIS THE EX, AXEL DÖRNER, MATS GUSTAFSSON, JOE MCPHEE, ZU, PETER BRÖTZMANN, PAUL LOVENS, LASSE MARHAUG, YAKUZA, KEVIN DRUMM, and many more. VANDERMARK’s enduring exploration and development of new paths in (free) jazz and improvisation not only made him a key figure of the vivid Chicago scene (since the days of AACM a hotspot for musical creativity), but also gained the him the reputated MAC ARTHUR FELLOWSHIP in 1999. In november 2018, KONSTRUKT (who themselves can look back on a long list of class A collaborators like JOE McPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, THURSTON MOORE or ALEXANDER HAWKINS) met VANDERMARK in their homebase ISTANBUL for a recording session – a match made in heaven that all musicians involved are extremely happy with. The resulting album „Kozmik Bazaar“ starts with a reference to Ornette COLEMAN before turning more and more into a psychedelic trip that gpes way beyond the „jazz idiom“. But what else to expect from such a stellar constellation?

Credits:
Korhan Futacı: alto saxophone, instant loops, vocal
Umut Çağlar: electric guitar, synthesizer, gralla, guimbri
Apostolos Sideris: double bass
Berkan Tilavel: drums, electronic percussion
+
Ken Vandermark: tenor saxophone, clarinet
Recorded by Ozan Öner at Pür Recording Studio, Istanbul
Mixed by Korhan Futacı and Umut Çağlar
Mastered & cut by Rashad Becker at D&M, Berlin
Cover painting “Explosion” by Artur Trojanowski  

zeitkratzer – zeitkratzer performs songs from „Kraftwerk 2“ and „Kraftwerk“

Format: 180gr LP incl. insert

Release date: july 19th 2019

2nd volume of „modern composition supergroup“ (The Wire) ZEITKRATZER’s re-interpretations of early compositions by electronic pioneers KRAFTWERK.

In more than two decades ZEITKRATZER has created an astonishing broad catalogue from the obligatory (20th century avant-garde composers like CAGE or STOCKHAUSEN) to the unexpected (electronic artists such as CARSTEN NICOLAI, TERRE THAEMLITZ or underground experimentalists like THROBBING GRISTLE and KEIJI HAINO) – but hardly anyone was prepared for the ensemble’s choice of early KRAFTWERK pieces! When volume 1 was released in 2017, ZEITKRATZER founder and director REINHOLD FRIEDL announced that there’ll be a volume 2 of course – and here it is::
from the opening drony horns of „Harmonika“ to the subtle guitar of the album closer „Wellenlänge“, the 4 tracks own all the interpretatory and aesthetic acerbity the ensemble is known and praised for.
The first album made it immediately into “The Wire office ambience” playlist and to the
“Best of Bandcamp Contemporary Classical Releases”: “ZEITKRATZER’s interpretations are bouncy, horn-driven motorik grooves, static explorations of pointillistic overtones, breathy Zen-like meditations, and rollicking rhythms.” The Spanish Rockdelux concluded: “Keep close and be happy to get more!” Sonic Seducer attested ZEITKRATZER to “uncover unexpected potential. It’s a blessing that the next KRAFTWERK is already announced!”

And here it is! Now you can listen to all the music of the first two KRAFTWERK albums “as gloriously played as one could ever desire” (Vital Weekly).
Recorded live at HELLERAU – European Centre for the Arts, Dresden in january 2019, „zeitkratzer performs songs from the albums „Kraftwerk 2“ and „Kraftwerk“ “ delivers the compositions that were still missing to complete zeitkratzer’s stunning take on the early, hybrid kraut-esque electronic avantgarde albums “Kraftwerk” and “Kraftwerk 2”. Mission accomplished! A must-have. As German radio SWR agreed: “ZEITKRATZER is serious music turned from stiff to joy!” 

HÜMA UTKU – Gnosis

Format: 180gr LP / / download

Release date: july 5th 2019

Following last year‘s “Şeb-i Yelda” EP under the R.A.N. moniker, HÜMA UTKU delivers her debut full-length album under her own name „Gnosis“: a blend of abstract electronics and ritualistic throbbing beats with field recordings and ambience, available as LP and DL.

With “Şeb-i Yelda” (2018) HÜMA UTKU introduced her musical style to a broader audience – storytelling through elements of industrial, techno and abstract electronics, blending in field recordings and traditional instruments from the middle east. A sonic journey that now continues on „Gnosis“ that owns the signature sounds of the Istanbul born / Berlin based electronic artist and pushes them further. The Greek word „Gnosis“ meaning „knowledge reached through intuition and individual experience“ has been used throughout history by various schools of esotericism and thought, to signify gaining insight on workings of the universe. Coherently the album follows the hermit-like, truth-seeking traveller on a path through various times and geographies, through different forms of human experience. Merging field recordings that UTKU did in Greece, Egypt and Turkey with ambient soundscapes, abstract electronics and ritualistic throbbing beats, „Gnosis“ is an intense sonic travelogue where the storyline exceeds the borders any specific musical genre.

All tracks written and produced by Hüma Utku.
Tracks 2, 3 and 5 include samples of field recordings done by Hüma Utku.
Mastered by Rashad Becker at D&M, Berlin
Artwork & design by Cynthia-ël Hasbani

ERNSTALBRECHT STIEBLER / V.A. – Reworks

Format: 180gram LP incl. DL-code / download

Release date: may 24th 2019

FRANK BRETSCHNEIDER, BÉRANGÈRE MAXIMIN, JASMINE GUFFOND, PHONOSPHERE and KAMMERFLIMMER KOLLEKTIEF celebrate ERNSTALBRECHT STIEBLER’s 85th birthday with exclusive reworks of compositions by the German miminalist composer.

ERNSTALBRECHT STIEBLER (born march 29th 1934) is one of the first German composers involved with minimalism and ranks among the pioneers of reductive, repetitive, sound-oriented music. Although honored with several prizes (e.g. the “Bach-Preis der Freien und Hansestadt Hamburg”), up to the current day only true connoisseurs of contemporary music are familiar with his oeuvre. On the occasion of his 85th anniversary this year, KARLRECORDS launches a series of albums with original pieces by STIEBLER who besides his compositional work served as director for new music at Hessischer Rundfunk for over 25 years (where he supervised recordings of MORTON FELDMAN, JOHN CAGE, ALVIN LUCIER, GIACINTO SCELSI a.o.) and published numerous essays in Musik-Konzepte, MusikTexte and other music journals. The new STIEBLER series, however, kicks off with “Reworks” – five artists from different musical backgrounds present their approach to and understanding of STIEBLER’s minimalist aesthetics for which he cites “sonority, rhythm, and duration“ as his three principal compositional concerns.

Tracklist & credits:

A1 FRANK BRETSCHNEIDER : Re-Mitteltoene
a re-interpretation of „Mitteltöne“ by Ernstalbrecht Stiebler
recorded 22. and 30.10.2018 in Berlin

A2 BÉRANGÈRE MAXIMIN : Innocence (for and after Ernstalbrecht Stiebler)
rework composed and mixed by B.M. at Home Sweet Home Studio, Paris, 2019.

B1 JASMINE GUFFOND : Remix Algorithm
recorded and produced by Jasmine Guffond and her MaxMSP patch, 2018

B2 PHONOSPHERE : Mit der Zeit im Atem schwebend
mixed by Werner Durand & Jens Strüver
at Haveli Studio, Berlin, fall 2018

B3 KAMMERFLIMMER KOLLEKTIEF : Morendo
Ernstalbrecht Stiebler, Sehr Langsam (2005 – 2006), Bozzini Quartet
expanded and edited by Thomas Weber
Studio Kinda Cloudy, Karlsruhe, december 2018
synthesizer: Heike Aumüller
drums: Christopher Brunner
double bass: Johannes Frisch 

mastered & cut by Rashad Becker at D&M, Berlin
cover photo by Thomas Herbst
layout & design by kaidoh

BRIAN HARNETTY – Shawnee, Ohio

Format: DVD-size digipak CD + 20pp booklet / download

Release date: april 26th 2019

“Shawnee, Ohio”, the first album by sonic ethnographer BRIAN HARNETTY on Karl, is an intriguing blend of archive recordings of interviews with residents of that small town and melancholic chamber-folk, performed by his ensemble which features a.o. ANNA ROBERTS-GEVALT (ANNA AND ELIZABETH) and PAUL DE JONG (THE BOOKS).

BRIAN HARNETTY (b. 1973) is an interdisciplinary artist working between music composition, sound, and socially engaged art. Rooted in sound archives and the communities connected to them, his body of work contends that the simple act of listening –– to people, places, and their pasts –– can transform our futures.
Both a 2018 A Blade of Grass Fellow for Contemplative Practice and a recipient of the 2016 Creative Capital Performing Arts Award, HARNETTY is deeply involved with local issues of Appalachia and the Midwest. He connects sound archives with performance, ecology, and place – an approach for which he was labelled a “sonic ethnographer”. Many of his pieces transform archival material –– including field recordings, transcriptions, and historic recordings –– into newly re-contextualized sound collages. For more than a decade, this has led to projects with archives such as the Berea College Appalachian Sound Archives in Kentucky, the Sun Ra / El Saturn Archives in Chicago, and the Anne Grimes Collection in the Library of Congress. HARNETTY has released four internationally acclaimed albums: “American Winter” (2007), “Silent City” (2009), “The Star-Faced One” (2013, MOJO Magazine’s Underground Album of the Year!), and “Rawhead & Bloodybones” (2015) on Dust-to-Digital, Atavistic, and Scioto Records, and collaborated with reputated musicians like WILL OLDHAM, ANNA ROBERTS-GEVALT (ANNA & ELIZABETH), FRED LONBERG-HOLM, and PAUL DE JONG (THE BOOKS).

In the words of BRIAN HARNETTY himself:

„Shawnee, Ohio“ is a sonic portrait––past and present, real and imagined––of a small Appalachian town in the United States. Shawnee emerged as a coal mining town in the 1870s. A century of decline forced businesses and people to leave, and today local residents fight to hold their buildings and community up amid a new “fracking” boom. Despite an uncertain future, these residents continue to work for environmental, economic, and cultural enrichment. Since 2010, I have been visiting and working in Shawnee. I have also been retracing the footsteps of my family, who immigrated there as Welsh coal miners in the nineteenth century.
“Shawnee, Ohio” focuses on eleven portraits of local residents recounting their lives, work, friendships, and deeds. They talk and sing of mining, disasters, underground fires, social life, protest, and hope. They include women and men, are black and white, and are across generations and centuries. Working directly with community members, I use archival samples of their voices and weave them together with my own ensemble, which features PAUL DE JONG (THE BOOKS) and ANNA ROBERTS-GEVALT (ANNA AND ELIZABETH). Past and present are tangled together in a haunting world of music, stories, and images.“ 

AROVANE + PORYA HATAMI – C.H.R.O.N.O.S.

Format: 180gr LP / download

Release date: april 26th 2019

On “C.H.R.O.N.O.S”, their 3rd album on KARL, AROVANE and PORYA HATAMI deliver five delicate ambient pieces, rich in textures and zen-like atmospheres.

After “Organism” (2017) and the musique concrete influenced “Organism_evolution” (2018) UWE ZAHN alias AROVANE and PORYA HATAMI continue their sonic explorations with “C.H.R.O.N.O.S.”, the fifth collaborational album by the German electronic producer and the Iranian sound artist. While the duo’s last album was a collection of 23 mostly short tracks, each an acribic examination of sounds that treated by techniques like modular synthesis, granular synthesis, spectral processing, granular synthesis, resynthesis and resonator / modal synthesis, ““C.H.R.O.N.O.S.” consists of five longer compositions that focus on creating a contemplative, zen-like atmosphere of subtle beauty. Rich in details, carefully sound-designed, AROVANE and PORYA HATAMI prove once more their top notch skills when it’s about creating state of the art contemporary ambient.

Quotes on previous albums:

# Organism (2017)

“an album of fleet, subtle beauty.” The Wire

“some of the subtlest, elusive material in either’s catalogue.” Boomkat

“a dark, mysterious, but extremely detailed sound – as alive and moving as nature’s finest organisms.” Ambientblog.net

# Organism_evolution (2018)

“Hypnotique.“ Silenceandsound.me

“a soulful high flight, as meaningful as the best works of Biosphere or Oval” Musiquemachine.com

LABRECQUE / BARAKAT – Terminal Desert

Format: LP  / download

Release date: march 15th 2019

PAUL LABRECQUE (SUNBURNED HAND OF THE MAN) and GHAZI BARAKAT (PHAROAH CHROMIUM) present two epic cosmic, dystopian tracks where guitars, synths and traditional instruments blend into an anarchic sound system.

After excessive years in rock bands like THE GOLDEN SHOWERS or his solo project BOY FROM BRAZIL, time had come for the German-Palestinian artist GHAZI BARAKAT to develop a new aesthetic – the birth of his alias PHAROAH CHROMIUM where BARAKAT creates “meta-music for meta-people in a meta-world”, or in other words: a mutoid blend of post-krautrock, psychedelism, free jazz, ancient rituals, science fiction and electronics. So far the Berlin based sonic performer released a couple of solo albums on labels like GRAUTAG or TAPEWORM and a triple LP with krautrock legend GÜNTER SCHICKERT. For his latest output he decided to simply use his civilian name BARAKAT, as does PAUL LaBRECQUE (SUNBURNED HAND OF THE MAN) who contributes guitar and synthesizer to the two side-long tracks. “Jajouka Pipe Dream” is a clear reference to the MASTER MUSICIANS OF JAJOUKA, with lots of flutes and percussion, a very rhythmical, ritualistic track, while “Planet R-101” turns out a spacey trip with elements of krautrock and Kosmische Musik  / Berliner Schule.

What may sound contradictionary on paper functions perfectly on LP – freeform / free-floating music, absorbing and integrating a wide range of influences and inspirations, sounds and styles – and highly psychedelic!

Credits:

Ghazi Barakat: guembri, moog synthesizer, beats, Rauschpfeife

Paul LaBrecque: guitar, synthesizer

Mastered and cut by Rashad Becker at D&M, Berlin

Artwork + photography: Nicolas Moulin

HANS CASTRUP – Heterogeneous Cell Information

Format: LP  / download

Release date: march 15th 2019

On his 3^rd album for KARL, painter, musician, photographer and video artist HANS CASTRUP continues his explorations of analogue and digital sound sources, creating a dystopian soundtrack that melts dark ambience with electro-acoustic means. 

After “Shadowplay” (2013) and “Lizenzfreie Restwärme” (2016), “Heterogeneous Cell Information” is the 3^rd album (and first LP) by HANS CASTRUP on Karl. CASTRUP, born in 1957 and working as independent artist on the fields of painting, music, photography, video, graphics and text since graduating as MA at the University of Osnabrück, sticks with his working method of multi-layer compositions: various analogue and digital sound sources such as synthesizers, field recordings or tapes are being edited, manipulated and re-organized as abstract-reduced compositions meandering between melodiousness and experimental collages whose reference system ranges from new music and avantgarde to today’s electronics. But a simple, formulaic repetition of approved means wouldn’t satisfy CASTRUP’s artist soul, and so he invited CARLA WORGULL to contribute overtone singing and other advanced ways of vocalization which intensify the overall alien atmosphere of the eight compositions.

“Heterogeneous Cell Information” is available as download and an ultra-limited edition of 100 handnumbered items (clear transparent vinyl, silk-screened sleeve).

SABA ALIZADEH – Scattered Memories

Format: LP  / download

Release date: february 15th 2019

On his debut album “Scattered Memories”, the composer, musician and true master on the Iranian spike fiddle kamancheh SABA ALIZADEH blends his instrumental virtuosity with spherical electronics, samples of Persian music instruments and field recordings from his hometown Tehran. 

Born in Tehran in 1983 as son of the world renowned Tar and Setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH studied the Iranian spike fiddle with SAEED FARAJPOURY and KEYHAN KALHOR plus photography and later experimental sound art with MARK TRAYLE at the California Institute of the Arts, Los Angeles. His musical activities that lead him all around the globe for performances (a.o. at Carnegie Hall) branch into 2 different areas: on the one side ALIZADEH is a highly reputated virtuoso on his traditional instrument, on the other he likes to approach music from a more experimental / technological aspect in his electronic / electro-acoustic pieces. This not being enough, he founded Noise Works in 2014, a platform and label for organizing experimental concerts and for the transfer of knowledge of music technologies among young Iranian musicians which makes him a central figure at the forefront of the current, very vivid Persian music scene that gained a lot of attention through artists like SIAVASH AMINI, PORYA HATAMI and of course SOTE who included a track by ALIZADEH on the compilation “Girih: Iranian Sound Artists” that he had curated.

In 2018, ALIZADEH self-released his debut “Scattered Memories” on CD in Iran which now, in a reworked version, sees its deserved world-wide release as LP and DL. Over the course of 10 tracks ALIZADEH melts his 2 musical worlds into 1: tradition meets modernism, eastern sounds meet western production, folklore meets contemporary electronics. An album that will appeal to an open-minded “world music” audience as well as fans of current streams like ambient or drone in its most subtle forms.

BENJAMIN FINGER / JAMES PLOTKIN / MIA ZABELKA – Pleasure-Voltage

Format: LP  / download

Release date: february 15th 2019

BENJAMIN FINGER, JAMES PLOTKIN and MIA ZABELKA craft a mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory.

“Pleasure-Voltage” was born in the mind (and studio) of BENJAMIN FINGER – a composer, electronic music producer, DJ, photographer and film-maker based in Oslo / Norway who in recent years has become quite a prolific artist, expanding his stylistic palette from piano miniatures and off-kilter pop experiments to lysergic, dream-like sound collages spiced with gentle warmth and sublime melody. These ingredients are also characteristic on this latest work where FINGER set the musical frame before passing it on to his inspired collaborators: MIA ZABELKA who for decades now has been involved in countless projects, be it as musician (violin / electronics), curator or founder of the international sound art centre klang.haus and who has worked with a.o. JOHN ZORN, FRED FRITH, ELECTRIC INDIGO, ROBIN RIMBAUD (SCANNER), DÄLEK or PHIL MINTON. And last but not least there’s JAMES PLOTKIN who entered the scene with his first band OLD LADY DRIVERS (or OLD) on EARACHE in 1987 and later was a member of KHANATE (with a.o. STEPHEN O’MALLEY) while also exploring the areas of dark ambient and electronics by working with or remixing SCORN / MICK HARRIS,  K.K: NULL and many more.

On “Pleasure-Voltage” which had its live-premiere at the REWIRE festival 2018, the trio crafts a mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory somewhere between ambient / drone / psychedelia.

Benjamin Finger: synthesizers, piano, field recordings, electronic devices, alien objects.

James Plotkin: electric guitar, granular synthesis

Mia Zabelka: E-violin, electronic devices, alien objects.

Mixed by James Plotkin

Mastered & vinyl cut by Rashad Becker at D&M, Berlin

Artwork by Caro Mikalef
Mastered and vinyl cut by Rashad Becker at D&M, Berlin

JASMINE GUFFOND – Degradation Loops

Format: LP (100 handnumbered items, clear vinyl) / download

Release date: october 26th 2018

Australian sound artist JASMINE GUFFOND presents “Degradation Loops”, initially a sixteen day process of sonic destruction created for an art exhibition.

Australian sound artist JASMINE GUFFOND’s “Degradation Loops” started out as a sixteen day long composition for an exhibition at Sydney gallery 55 in December 2016. Literally using the ‘degrade’ object from the MaxMSP programming software, “Degradation Loops” gradually and completely bit crushed her 2015 album ‘Yellow Bell’. A process of sonic destruction unfolded in response to a group show where visual artists destroyed and reassembled their work, to create new work, and to question the dominance of commercial imperatives within art. Here GUFFOND has especially created a thirty minute variation for the vinyl medium.

Engaging the process of bit crushing, in “Degradation Loops” the sampling rate and bit depth of the audio signal is step by step, gradually, and completely reduced. The algorithmic unraveling of these tracks renders them increasingly discordant and unpredictable as time passes. Using intricate and highly articulate audio loops from an existing authored work, sound gradually becomes noise. Beauty is broken down allowing another type of beauty to emerge. By deliberately deconstructing the audio signal of otherwise highly deliberative compositions, “Degradation Loops” speaks to a contemporary audio realm where principles of High Definition dominate, in an overall musicscape preconceived as uniform. An industry standard sampling rate of 44.1kHz, and a bit rate of 16 was established by Philips and Sony with the Compact Disc format in 1982. At the time this became an encoding standard by which to communicate, listen, and make music.

JASMINE GUFFOND is a composer and sound artist from Sydney, Australia, who lives and works in Berlin, Germany. Focused on electronic composition across music and sound art contexts, her practice spans live performance, recording and the capacity of sound installation to interrogate site. Through the sonification of data she addresses the potential of sound to engage with contemporary political questions. Her music draws upon influences from experimental electronic, drone, techno and avant-garde. Working with abstract sound as much as traditional musical forms to create a concordant relationship between a sound that holds emotive power and musicality, and a sensitive microscopic study of electro acoustic phenomena.

Jasmine has exhibited internationally including Akademie der Künste (DE), Deutsche Oper (DE) and the Museum of Contemporary Art (AU), performed live internationally at music and electronic art festivals, and recorded music for CD and 12inch vinyl releases with the Staubgold, Monika Enterprise and Sonic Pieces labels. She completed the Sound Studies, master in arts program at the Universität der Künste, Berlin Germany, 2015 and received the ‘Working Grant for New Music und Sound Art’ from the Berlin Senate in 2016.

mastered + cut by Rashad Becker at D&M, Berlin
artwork by Katorina Pling