log_2023_12_13 // Berlin 2013-2023
December 13, 2023

I moved to Berlin in 2013 and recently had a moment of 10 years reminiscence while going through the digital archives on my hard drive. Dancefloors, BPM and diversity have changed over the years – the latter mostly for the better! My haircut though – still the same! Music and working in clubs has always been a way for me to connect with amazing people and experiences. In the last few years my ears have been pretty busy with different responsibilities, but slowly I am enjoying music again like I did before the pandemic.

For those who are interested, I have uploaded a few DJ sets and mixes from a time before I put my records in boxes. I look forward to unpacking and rediscovering them in the coming months…
Expect some hidden gems, some nostalgic memories and a bit of Robert Ashley in there.
The playlist contains recordings from my glorious DJ days, a love mix, a demo I submitted to Herrensauna and recordings from Nachtdigital Festival.
Most mixes come with track lists, for those who don’t: drop me a line if you have any questions or are curious about certain track IDs!

log_2023_10_03 Eurorack Console
October 3, 2023

Eurorack modular synthesizers became my instrument of choice 10 years ago. During this time I have used Doepfer cases, a portable Sub:Modular Shadow case and a Make Noise Skiff for the road. While the Doepfer cases gave me clean power for my analogue filters and oscillators, their vertical orientation was not my preferred way of playing the instrument. Over the years, I have found that the way I set up my portable cases is the way I like to perform movements, but the power provided caused humming and module malfunctions. Norwegian console maker Tore Seem‘s design and Sam Barker’s tutorial on building a custom console inspired me to build one myself for my studio.

It has two isolated power inputs – one for my analogue modules, powered by Doepfer’s linear PSU2, and it’s successor PSU3 for the digital modules. It has 168hp rails from Gietec, laser cut aluminium sides and I cut the plywood myself. If you have any questions about this build, feel free to get in touch.

log_2023_03_23 REVOLUTION
March 23, 2023

Tonight is the premiere of Viktor Martinowitsch’s Revolution at Münchner Volkstehater.
The fifth collaboration with Philipp Arnold, which is also my longest and most cinematic work for theatre I have been writing/recording so far by using mainly signal generators and colorful noises set to frequencies based on intonational relationships processed through various resonator- and feedback chains.
Oh, and special thanks to Michi and Daniel the adorable sound technicians being super supportive by bringing positive energy to every day of final rehearsals! ❤️

Photos by Gabriela Neeb (@gabrielaneeb) courtesy of @volkstheater München

Director: Philipp Arnold, Costume and stage design: Belle Santos
Video: Sebastian Pircher, Playwright: Rose Reiter

Ensemble: Steffen Link; Lorenz Hochhuth; Elke Petri; Pascal Fligg;
Maral Keshavarz; Jakob Immervoll; Anton Nürnberg

January 21, 2023

I won’t be in town, but you can catch some electromagnetic fields, my awesome classmates of Klasse New Media and a lecture by Prof. Dr. Byung-Chul Han during the opening of our class’ exhibition PRESENT IM/POSSIBILITIES hosted at Designtransfer as part of this year’s Vorspiel (Transmediale / CTM Festival)
Starting on 31th of January at 18:00 followed by lectures and workshops until 10th of February 2023.

log_2023_01_12 (💅)
January 13, 2023

That was two years ago, but my experience as a student talking openly about not being able to participate as much as other students because I had the responsibility of a child at a time when most of us were still waiting for the first shot of COVID-19 vaccine, and asking for alternatives to handing in course evaluations, was met with the response that there was no time for that. I ended up not being accepted into a certain department of the university. I don’t want to point a finger at anyone – it was a difficult time for everyone – but since then I’ve been really quiet about sharing private priorities, obstacles and problems with people who are evaluating someone and making decisions about who to ‘let in’. This makes me sad, because there is a lot we can learn from each other’s experiences, and being confronted with this in the structures of an art university makes me wonder what you take away from such an environment.
Luckily, there are a loooooooot of other great people educating us in this place, but at times, when one would like to address some issues and difficulties, I am reminded of this.

log_2022_04_29 (Le Misanthrope)
April 29, 2022

Today is the premiere of Philipp Arnold’s interpretation of Molière’s ‘Le Misanthrope’ at Münchner Volkstheater. Inspired by Éliane Radigue’s approach of composing music with slow modulation and gradual changes I mainly used signal generators and filters with high feedback settings for creating the soundscape of this show. Once again – thank you Philipp, for putting trust into my sonic experiments and approaches of sound becoming part of the play.

Director: Philipp Arnold; Costume design by Julia Dietrich
Stage design by Viktor Reim; Playwright: Katja Friedrich

Ensemble: Anne Stein Carolin Hartmann; Janek Maudrich;
Jan Meeno Jürgens; Jakob Immervoll; Jonathan Müller;
Pola Jane O’Mara; Vincent Sauer

log_2022_01_14 (The Importance of being Earnest)
January 14, 2022

Today is the premiere of Philipp Arnold’s interpretation of Oscar Wilde’s ‘The Importance of being Earnest’ (Bunbury) at Münchner Volkstheater.
Not only from a musical perspective a challenging piece of work. But since there is not much to laugh about these days, why not at the theater at least? Thank you Philipp, for putting trust into my sonic experiments and approaches of sound becoming part of the play.

Photos 1-3 by Gabriela Neeb courtesy of Volkstheater München

Costume design by Julia Dietrich; Stage design by Victor Reim
Playwright: Bastian Boß; Light: David Jäkel

Ensemble: Carolin Hartmann; Lukas Darnstädt; Pascal Fligg;
Liv Stapelfeldt; Nina Steils; Ruth Bohsung

December 13, 2021

It has been two years we premiered Eduard Louis‘ „Wer hat meinen Vater umgebracht“ at Münchener Volkstheater. Just a few weeks later Covid hit and it was not clear if this piece will ever staged happen again. Thanks to the support of Kontraopunkt Sound and the permission of Muenchner Volkstheater I am happy to announce the release of „Music for Theater“ which includes music of this performance.
A limited edition of 100 tapes is available via Kontrapunkt’s Bandcamp page.
For those without a tape machine there are good news too: „Wer hat meinen Vater umgebracht“ will be finally performed again at the new home Münchener Volkstheater from 18th of December on.

All songs written and produced by Adel Akram Alameddine for the play “Wer hat meinen Vater Umgebracht” (Qui a tué mon père) by Édouard Louis. The recordings were made in Munich in November and December 2019.

Premiere at Volkstheater München on 13 December 2019.
Directed by Philipp Arnold
Stage and costume design by Belle Santos
Ensemble: Jonathan Hutter, Anne Stein, Janek Maudrich
Playwright: Katja Friedrich

Courtesy of Volkstheater München

Artwork: Stefanie Wittrisch
Mastering: Markus Broy, DTL-Mastering
Manufactured at r.a.n.d. muzik

log_2021_05_28 (MacBeth)
May 29, 2021

On May 28th we finally could premier Philipp Arnolds’s interpretation of Shakespeare’s Macbeth, after it got postponed for obvious reasons.
Thanks to the marvelous Philipp who directed this show and asked me to score this production for Münchener Volkstheater. Costume design by Julia Dietrich; Stage design by Victor Reim; Ensemble: Jakob Immervoll, Anne Stein, Henriette Nagel, Jan Meeno Jürgens, Jonathan Müller, Max Poerting; Playwright: Rose Reiter

log_2021_01_17 (FUTURE VOICES)
January 17, 2021

Future Voices / Zukunftsmusik” is launching today. A project by S4NTP (THE SOCIETY F4R NONTRIVIAL PURSUITS) – the amazing class for Computational Art at UdK Berlin.
We are inviting everyone from all over the world to give a voice to what you expect, hope, or fear for the future. The contributions will then be used as raw materials to construct the composition which will be streaming 24/7 throughout this year.
Everyone is invited to take part in our project, it will stay online via our website until the end of 2021, as part of the Radio Lab Kontinuum call by Deutschlandfunk Kultur and Transmediale Festival.
Help us decentralize the visions of the future!