Kategorie: uncategorized

Out now on attenuation circuit! Bruital Voyage

A single uninterrupted transmission from bruitkasten @ Ebertplatz Cologne during a concert in September 2025.

Anja Kreysing (accordion & electronics) and Stefan Strasser (guitar & electronics) navigate dense sonic geographies of abstract texture and harmonic traces, where signals erode, tonal fragments emerge and disappear, and noise moves like weather across concrete structures. 

This soundtrack is shaped through realtime compositional interaction rooted in radical listening. Cinematic in scope and associative in form, the music of Stefan and Anja unfolds like an acoustic film without images – a voyage through unstable sonic landscapes that trigger a vivid cinema of the mind.

mastered live recording from #bruitkasten #Cologne, Impakt / Gemeinde Köln, Ebertplatz 9/17/2025 https://emerge.bandcamp.com/album/bruital-voyage

6.2.-22.2.2026 MOVE IT Videoperspektiven, 35Blumen e.V., Krefeld

A Video Exhibition with invited artists and an open call. I am invited with Angel – woven by water, GULF/Borders, DryStorm9 (Mopomoso TV Edition) and Tidal Interferences. Tidal Interferences is currently also part of Ebba Jahn’s Video-Art Pavillon at the international, independent and decentralized Media-Art Festival „The Wrong Biennale“.

https://35blumen.org/

ORTentvined

ORTentvined is originally a quadrophonic fixed-media composition developed from recordings made at a former Nazi-era military complex, the ORT. This is a careful stereo-mixdown of the composition. 

The work constructs an acoustic architecture from entirely site-derived materials: brittle footsteps through overgrown blackberry vines, resonances of abandoned wooden and concrete floors, metallic fragments of domestic debris, and the shifting pressure of the surrounding landscape – the piece develops a spatialized aural architecture grounded in forensic listening. Through granular micro-processing and controlled diffusion techniques, these materials are transformed while retaining their latent physical and historical identities.

The composition unfolds across a seven-minute spatial trajectory in which exterior and interior sound zones gradually intersect and contaminate one another. Vines appear unexpectedly inside the spatial field, concrete resonances drift toward the front, and domestic shards punctuate the quadrophonic plane. A sustained electric-guitar drone plus a short accordion-shiver operates not as a musical gesture but as structural pressure, articulating the latent tensions embedded in the site.

Rather than reconstructing historical events, ORTentwined treats the location as an active acoustic witness. Its surfaces, materials, and resonant cavities reveal traces of the architecture’s past through sound alone. The listener encounters a sequence of tectonic shifts in density, texture, and spatial orientation. These shifts foreground listening as a method for approaching contested spaces and ecologies marked by abandonment, overgrowth, and unresolved historical presence.

ORTentvined positions sound as a primary mode of spatial and historical inquiry. It belongs to a contemporary lineage of post-cinematic, site-responsive sound works that privilege raw materiality, perceptual attention, and the unstable boundaries between ecology, architecture, and memory.

ORT entvined was premiered at 7th December 2025 in Uppsala, Sweden at LJUDBIO XI quadrophonia festival, SLOTTSBIOGRAFEN by Girilal Baars http://www.slottsbio.se/ljudbio/om_kompositorerna/om_ljudbioXI/

Thanks for having me with ORTentvined!

Canticle Of The Sun, composition & concert for Hartung I Trenz, Visualia Festival Pula HR

Canticle of the sun, the famous text by brother Francis from Assisi. The installation takes place in the Franciscan Monastery in Pula, 13th century, during the Visualia Festival. The text is based on the croation version of Canticle of the Sun. All verses have been animated separately, combined and projected as an immersive installation in the cloister church.

The sound is specially composed by Anja Kreysing and she did on 2 evenings of the festival several concerts playing live in addition to the original soundtrack.

https://www.hartung-trenz.de/project/pjesma-sunca

walking on the noisy side – „raumbehandlung“ as a rework from emerges field recordings out of an old gastank in Augsburg / Germany:

The whole release is highly recommended:

V.A. – raumforderungen
https://emerge.bandcamp.com/album/raumforderungen
attenuation circuit ° ACPA 1005 ° 2024
attenuationcircuit.de ° attenuation-circuit@web.de
field recordings and design by EMERGE

With: Stefan Strasser , Jesús Alfaro , Siegfried Kärcher , Anja Kreysing , Julien Ash , Daniel Prendiville , Thomas Jackson Park , Wolfgang Wilholm , Sábila Orbe and Mist Spectra, LR Friberg and many more

Anja Kreysing: accordion, electronics
Philippe Neau: fieldrecordings, electronics
Hans Castrup: electronics, piano
Mixed by Philippe Neau

noDarp is an acoustic journey through a shimmering city of sound. From street to street our ears get an insight in differing backyards –
cordial invitation come around and listen!

released June 23, 2024 

„“r | e” used to be the logo of the re:flexions sound-art festival, organised anually by attenuation circuit at their Augsburg homebase from 2016 to 2021. Every edition of the festival was accompanied by a CD compilation. The idea behind the festival was to bring together experimental musicians from all sorts of genres who had never collaborated before to create new material for the CD – and to play a live set at the festival. The festival no longer exists, but “r | e” continues as a compilation series that features exclusive new compositions. 

This new edition of “r | e” is yet another powerful expression of the collaborative spirit of the international experimental underground network. With more trio than duo collaborations, the album also features what is probably the widest range of acoustic instruments – including trombone and other brass, accordion, mbira, assorted percussion, a bicycle bell, and whispering, groaning voices – on any “r | e” CD so far (or at any edition of the re:flexions sound-art festival, for that matter). Throughout the first half of the album, ritualistic, quasi-”tribal” rhythms make themselves heard, which underscore the feel that we are listening to a complex ecosystem of sounds akin to a musical rainforest, only to end in a massive distorted “throw-back” (or “throw-up”, as the title of the last track has it) into post-industrial urban desolation. „

credits

from r I ɘ (2024), released June 23, 2024