Electroacoustic music from four different continents on its way to Berlin: During nine days REFLUX presents the international avant-garde of electroacoustic music in direct confrontation with one classic per evening. In the mixture of composition commissions, world premieres, already existing works and unusual classics, rare guests are also expected.

The program will be adapted to the acoustic and spatial peculiarities of the nine festival destinations or composed specifically for these venues.

Program at the Delphi:

Lawrence English: »A Mirror Holds The Sky«
»A Mirror Holds The Sky« is a diffusion work that was recorded in the Amazon during the summer of 2008. It is an act of acoustic and temporal compression, condensing over 50 hours of field recordings into an intensely dynamic and deep sound field.

Roland Kayn »Tanar» (1984) Diffusion: Henrik von Coler
Roland Kayn’s glacial, otherworld¬ly electronic landscapes have always been somewhat at odds with the world of contemporary composition his background and training located him within. His rejection of compositional dogma and traditional musical structures eventually led him to discover a source of endless inspiration in the cybernetic generation of material, and the curatorial act of listening itself.Perhaps this is why Kayn’s rec-ognition is only approaching its zenith today: his work is far from the passive, unobtrusive world of “ambient”, but its embrace of extended duration, drone-like textures, and the exploration of space as timbre are undeniable shared attributes. Today’s most forward-looking musical prac¬titioners – many of whom cite Kayn as a direct influence – have perhaps discovered asimilar territory, at the threshold point where mindblowing complexity approaches the overwhelming sensation of true immersion.
(Source: Soundohm

Diane Labrosse: »Elements of Choreography« (2022)
Improvisation has been very present in my life. I find risk-taking, uncertain outcomes and unexpected encounters a great satisfaction. Elements of Choreography is an improvised, slow-evolving sound scape.
I have created many soundtracks for choreographers in the last 25 years. But when the dance has lived its sometimes-short life, the gesture is forgotten and the music falls into silence. With Elements of Choreography, I will be revisiting some of these soundtracks, deconstructing them into musical events, and remixing them along with textures and synthetic sounds, omnipresent in my work.

The complete program and other festival venues can be found at www.zangimusic.wordpress.com.

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LAWRENCE ENGLISH is composer, artist and curator based in Australia. Working across an eclectic array of aesthetic investigations, English’s work prompts questions of field, perception and memory. He investigates the politics of perception, through live performance and installation, to create works that ponder subtle transformations of space and ask audiences to become aware of that which exists at the edge of perception.

ROLAND KAYN (1933-2011) When it comes to creative genius, Roland Kayn, born in Reutlingen (Germany) in 1933, might be the most unjustly neglected figure in contemporary music. From 1952 to 1955 he studied organ and composition at Stuttgart’s Staatliche Hochschule fur Musik, as well as scientific theory at the Technische Hochschule, undertaking further composition and analysis studies in Berlin with Boris Blacher and Josef Rufer from 1956 to 1958. In that year he won the Best Foreign Work prize at the Kairazuwa Festival in Tokyo, and further awards followed in Italy in 1962 and 1964 for his orchestral compositions Vectors I and Schwingungen. Kayn’s discovery of electroacoustic sound synthesis occurred in 1953 at the mythic Westdeutscher Rundfunk Studios in Cologne, and by 1959 he’d had firsthand experience of studio work in Warsaw, Munich, Milan, Brussels and Utrecht. He freelanced in various radio stations from 1959 to 1963, when he was nominated director of New Music at Hamburg’s Norddeutscher Rundfunk.
In 1964 he was one of the co-founders, with Aldo Clementi and Franco Evangelisti, of the Gruppo Internazionale Nuova Consonanza, one of the first European ensembles mixing improvisation and live electronics, and in 1967 organised a simultaneous concert of works by 13 composers that included electronic, concrete, electro-instrumental, computer and cybernetic music, an event that reached its definitive form in Hamburg in 1970.

HENRIK VON COLER is a composer, performer and researcher in the field of Electronic and Elec¬troacoustic Music. He lives and works in Berlin, where is director of the TU Studio for Electronic Music since 2015. In his work he focuses on spatial aspects of fixed media and live electronics, such as algorithms for spatial sound synthesis, novel control devices and artistic practices for solo performance and ensembles.

Keyboardist and sampler artist DIANE LABROSSE is a core member of the Montreal avant-garde music collective Ambiances Magnétiques. In the 1980s, she took part in a string of avant-pop feminist groups. Later, she switched from keyboards to the sampler and from rock to electronica improv. Although she has released solo albums, her best-known works have been with collaborators Ikue Mori and Martin Tétreault. She also appears on numerous albums by other Ambiances Magnétiques artists, especially Jean Derome, Joane Hétu, and Michel F. Côté. She is co-founder and artistic co-director of the Montreal-based concert production company Productions SuperMémé.