Foto: Clara Wildberger
Lain Inwakura: Empty Street
Lain Iwakura (a.k.a. DeRayling, Ezili-i Sabbah, Bill B. Wintermute, DiVersion) is a political activist, writer, lecturer, DJ, and sound artist. Over several years, they made use of the spaces of the notorious Institute for Comparative Irrelevance (IvI, Frankfurt am Main) to organize events, initiate collective artistic practices, and engage in theoretical discourse.
At IvI, self-organized artists and activists came together, engaging with queer theory, critical theory, and the Situationist International, united under the motto “theory, practice, party.”
In 2019, they relocated to Graz and co-founded O-collective, a group composed of IEM students as well as non-academic DJs and artists. The collective organizes events that both provide a platform for IEM students and build bridges between punk/noise scenes, rave culture, and contemporary music.
In Lain Iwakura’s artistic practice, socio-philosophical questions are intertwined with conceptual art. At the same time, studies of polytemporal and polyrhythmic structures, as well as feedback systems, are brought into dialogue with the aesthetics of techno.
Foto: Laurent Orseau
Caroline Profanter: Tricky Traps #4
Tricky Traps #4 – ist ein fortlaufendes Werk, das hier in einer Stereoversion für Akusmonium präsentiert wird. Ausgangsmaterialien sind Rythmen von Wasser in seinen unterschiedlichen Formen und Klänge aus dem ultrasonischen Spektrum, Diese erzeugen instabile Muster, die sich verdichten und sich fortlaufend verwandeln, wie durch Nebel hindurch in andere Räume eintauchen. Sich ständig erneuernde Zyklen enthüllen eine traumähnliche Erzählung, bei der immer wieder schemenhaft Erkennbares auftaucht und sich wieder auflöst in dem polyphonen Klangstrom.
Foto: Pablo Lauf
Dominik Lekavski:
Danach Dazwischen
The title sets two words at odds with their own placement. *Danach*, after, stands at the front, where nothing has yet come before it; *dazwischen*, in between, stands at the end, with nothing left to come between. What should mark sequence, dislocates it. The piece inhabits that dislocation without settling it: not quite an after, never only a between, and in the end neither, as the ground for the question dissolves.
Roman Gavryliuk: Itchy Things in the Barn (2026)
”… walk into the old barn, filled with scrap metal and old, broken objects. Outside, it’s a quiet summer evening; insects are singing, and birds are buzzing. The floor is creaky, the air is dusty, every move knocks into things lying around, tickling the ears with tiny sounds. Single step to the side, and the old rake falls—falls right into the pile of scrap metal. The pile begins to crumble, at first just a little, then faster, louder, creakier, scratchier, ticklier, itchier. No way back now, not for the pile, the whole barn is singing along with the insects, buzzing with the birds outside…”
Foto: Pablo Lauf
Dominik Lekavski: Berry Harvest Along the Desire Path
Berry Harvest Along The Desire Path is an acousmatic work whose sound world is built almost entirely from physical modelling, used not to imitate the world but to abstract from it. The models keep the behaviour of sounding bodies and discard the bodies, so that every sound proposes a cause, a material, a gesture, that is withheld and cannot be located. What the ear takes for real is present only as conduct, never as substance.
A desire path is worn into the ground by those who leave the designed route for the one they intend, a trace left by intention rather than by plan. The piece is made along such a line. Synthesis processes are set to vary under chance operations and run again and again; what surfaces off the planned route is heard, weighed, and kept. The selection is the harvest, and the work is gathered as much as it is composed.
Foto: Ronja Elina Kappl
Leonie Strecker: peripher (2025)
peripher untersucht das Verhältnis zwischen einer realen Orgel und ihrem elektronischen Modell. Ausgangspunkt ist ein deutlich körperlich verankerter Klang: Luft, Mechanik, instabile Teiltöne und die Räumlichkeit des Instruments treten in den Vordergrund. Die Orgel erscheint dabei als Schwellenobjekt, bereits selbst zwischen Atem, Material und Synthese angesiedelt.
Im Verlauf des Stücks werden Unterschiede, Annäherungen und Übergänge zwischen akustischem und synthetischem Klang ausgelotet. Verstimmungen, Luftgeräusche und fragile Klangzustände verdichten sich allmählich zu einer zunehmenden Abstraktion, bis die materielle Präsenz der Orgel nahezu unmerklich in ein elektronisches Klangmodell übergeht.
Émile Zener: Topeng Rangda
"One day, when it's safe, when there's no personal downside to calling a thing what it is, when it's too late to hold anyone accountable, everyone will have always been against this." - Omar El Akkad
The album Sumatra Method, that Topeng Rangda is a part of, sees Émile Zener (otherwise known as Gunnar Haslam) returning to the more explicitly political work he previously focused on with Quaderno Rosso.
Martin Simpson: Humid Organ (live)
Humid Organ invites water vapour into minimal analog electronic organ circuits, letting condensation and evaporation conduct swelling “organ” tones. Water completes the sounding circuit, forming connections with a resistance that varies according to moisture content. The humid organist (and keen listener) becomes attuned to the water vapour touching the organ, as it is water vapour which conducts the signal.
Mahtab Miandehi: Alumynn
Alumynn is conceived around the intrinsic vitality of aluminum cylinders, with all sonic material recorded from them directly, exposing their acoustic qualities through harmonic resonance, fragmented articulations and raw noise.
Drawing on Jane Bennett’s concept of vibrant matter, the piece embraces the Thing-power of materials and their capacity for action. Aluminum here is understood as a form of agency and a co-creator in the artistic process.
Foto Bernhard Holub
Klaus Hollinetz: Fasanenschatten, Schildkrötenorakel (2026)
>Wirf den Panzer einer (toten) Schildkröte ins Feuer, und folge den Sprüngen, die sich beim langsamen Brennen zeigen. Wege, Zukünfte, Entscheidungen, Rätsel. Dann streift dich ein flüchtiger Schatten, nur in den Augenwinkeln.<
>Schleppend kommt mein Gang voran, die fernen Berge rücken nicht näher. Stimmen, im Wind verwoben, begleiten jeden meiner Schritte.<
(frei nach dem Kyôun Shû des Ikkyu Sôjun, ca. 1470)
Stimmlaute, aufgefangen an unterschiedlichsten Zeiten und Orten, bilden die Basis für eine neue Arbeit, die meinem alten Prinzip von "soundscapes & sync points" folgt. Klänge, die aus dem Nichts zu stammen scheinen, fügen sich zu einem Strom, der Ferne und Nähe vereint.
(2026, 16 Kanal)
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