After two years of lockdown, CTM Festival is finally returning to its usual format, simultaneously unfolding a diverse range of IRL activities across Berlin from January 27 to February 5. Launched in 1999, it is still one of the main happenings in the electronic and experimental music field, audiovisual and sound art, as well as club culture. The current 24th festival edition is dedicated to the special theme »Portals«. Invited artists will explore the ‘fundamental function of sound and music as a gateway to other realities’ and world-building practices.

With a series of avant-garde concerts and live performances, bubbling club nights, panels, workshops, film screenings, and installations, there is so much to see. Among our highlights is multimedia artist Merche Blasco‘s live improvisation, FAUNA, in which she uses a set of custom instruments to process field recordings, body movement, and exploration of material textures. Or Maryanne Amacher’s work GLIA, performed by ensembles Contrechamps and Zwischentöne. Amacher (1938–2009) was a sound art pioneer interested in ways of hearing, aural architecture, perception, and spatialization of sound. She is also well known for her “ear tone” music (otoacoustic-based). ‘The performance at CTM forms part of the continuing collective interpretive re-presentation of Amacher’s practice,’ according to the festival announcement.

With a new release, Poised at the Edge of Structure, Ana Fosca will take CTM-goers through experimental music’s most visceral and noisy territories. Using synths, field recordings, feedback loops and distortion, the artist writes a dark, sometimes even eerie, but incredibly captivating story where the existential is intertwined with a powerful expression.

Η συνέχεια εδώ.