log_2024_03_29 // I Am All Ears #3
March 29, 2024

For Oscar Wilde’s play Bunbury – The Importance of Being Earnest, I was commissioned not only to take care of the electroacoustic composition around the play, but also to do a bit of music supervision by selecting and exploring the theme of Glam Rock. A genre that was popular in the United Kingdom in the 1970s. David Bowie’s musical output and visual aesthetics are probably the most famous offspring of that time. But it was also in the context of glam rock that social norms were challenged and the boundaries of gender and sexuality were questioned. It was a challenging and exciting journey into a genre that I had attributed to being the soundtrack of my mother’s youth, but never really appreciated.
Still, I had to stretch the traditional definition of glam rock a bit to include a list of exciting and important artists like Jobriath, Fanny, Suzie Quatro, New York Dolls, and Klaus Nomi.

Enjoy the ride and listen to it as you dress up for a night out!

log_2024_02_29 // I Am All Ears #2
February 28, 2024

𝙄 A𝙢 𝘼𝙡𝙡 𝙀𝙖𝙧𝙨 Episode Nr. 2 this time with three good reasons to dust off your tape deck, a poem, one little story about the capabilities of sound, a book recommendation and some more music.

𝙁𝙖𝙧𝙞𝙙𝙖 𝘼𝙢𝙖𝙙𝙤𝙪 & 𝙋𝙖𝙫𝙚𝙡 𝙏𝙘𝙝𝙞𝙠𝙤𝙫 – 𝙈𝘼𝙇 𝘿𝙀 𝙏𝙀𝙍𝙍𝙀 (𝙏𝙧𝙤𝙪𝙗𝙡𝙚 𝙄𝙣 𝙈𝙞𝙣𝙙)
Farida Amadou performed with Aquiles Navarro at the closing of this year’s Transmediale. I got a ticket for this performance without knowing what to expect. It was one of the most honest performances I have seen in a long time. There is no recording available, but you can get an idea of how Amadou plays the bass by listening to the MAL DE TERRE tape, which is also available for streaming.

𝙎𝙪𝙝𝙚𝙞𝙧 𝙃𝙖𝙢𝙢𝙖𝙙 – 𝙒𝙝𝙖𝙩 𝙄 𝙒𝙞𝙡𝙡 (𝘿𝙚𝙛 𝙋𝙤𝙚𝙩𝙧𝙮 𝙅𝙖𝙢)
Suheir Hammad is an American poet, author and political activist, and the daughter of Palestinian refugees. I heard this poem 14 years ago and it was an anchor in a confusion about the perspectives of the left-wing Anti-Deutsche movement, which was an integral part of Bremen’s subcultural community. I still don’t know how to deal with this confusion, growing up as a German citizen but with the knowledge passed on by a father who immigrated from Lebanon. These days I am glad to be able to listen to this poem again. And perhaps it could be an anchor or even a starting point for someone else.

𝘿𝙤𝙣𝙖𝙩𝙤 𝘿𝙤𝙯𝙯𝙮 – 𝙈𝙖𝙜𝙙𝙖 (𝙎𝙥𝙖𝙯𝙞𝙤 𝘿𝙞𝙨𝙥𝙤𝙣𝙞𝙗𝙞𝙡𝙚)
It took me quite a while to grasp the LP, and it helped a lot to give the album space. Rather than listening to it with earplugs, it helped to listen to it through speakers that fill the room with hazy arpeggios, linear arrangements and a hidden layer of rhythmic structures. It’s strange, somehow we don’t hear anything we haven’t heard before, but maybe that’s the point. And Dozzy asks us to listen to what is there already instead of constantly searching for something new? The album is dedicated to his Aunt Magda.

𝙈𝙖𝙩𝙩𝙝𝙞𝙖𝙨 𝙍𝙪𝙩𝙝𝙚𝙣𝙗𝙚𝙧𝙜 – 𝙋𝙄𝙀𝘾𝙀𝙎 𝘾 – 𝙘”’ / 𝘿 – 𝙙”’ (𝙍𝙀𝙑𝙀𝙍𝘽 & 𝙍𝙀𝙐𝙀)
For this release, Matthias Ruthenberg began working with single note elements that he received from friends. Between 2020 and 2023 he asked them to record takes of different voices and instruments using telephones, tape- and field recorders.
The way in which the pieces are composed and edited refers to structural elements on urn-tombs (columbaria) in cemeteries as well as sound systems at raves.
A beautiful, textural collage of multiple timbres and, above all, a manifestation of friendship.

𝙆𝙖𝙡𝙞 𝙈𝙖𝙡𝙤𝙣𝙚 – 𝘼𝙡𝙡 𝙇𝙞𝙛𝙚 𝙇𝙤𝙣𝙜 (𝙄𝙙𝙚𝙤𝙡𝙤𝙜𝙞𝙘 𝙊𝙧𝙜𝙖𝙣)
I played one of her NTS shows a dozen times for our newborn child. Choral compositions and resonating bells were sometimes the only thing that made them fall asleep. Witnessing the capabilities of sound and frequency have been one of the most mesmerizing experiences as a parent. A fussy child soothed by the first choral tones, which at a certain moment turned into a profound cry every time. Followed by deep slumber as soon as the bell plates came in.
Kali Malone’s latest release reminds of this time when physical touch, whether bodily or auditory, is the simplest but most immanent form of communication.

𝙊𝙢𝙚𝙣 – 𝙒𝙞𝙡𝙙 𝙎𝙡𝙚𝙚𝙥 (𝙆𝙖𝙨𝙝𝙪𝙖𝙡 𝙋𝙡𝙖𝙨𝙩𝙞𝙠)
Sparse sound collages of minimal synth layers, field recordings of the urban Berlin soundscape, voice memos and whispered songs. Wild Sleep feels like an intimate play on a small stage and is the third reason to fix your tape recorder this month.

𝙎𝙥𝙚𝙘𝙩𝙧𝙚𝙨 𝙄𝙄𝙄 – 𝙂𝙝𝙤𝙨𝙩𝙨 𝙄𝙣 𝙏𝙝𝙚 𝙈𝙖𝙘𝙝𝙞𝙣𝙚 (𝙎𝙝𝙚𝙡𝙩𝙚𝙧 𝙋𝙧𝙚𝙨𝙨)
This issue of Spectres is a collection of different approaches to computational and algorithmic composition, cybernetics and neural networks. Coming from a background in landscaping, I was really intrigued by Émilie Gillet’s (founder of Mutable Instruments) process of sound search and its depiction through garden paths.

SPECTRES III at Shelter Press

𝙄𝙡𝙡𝙪𝙣 – 𝙏𝙝𝙚 𝘼𝙣𝙘𝙚𝙨𝙩𝙧𝙖𝙡 (𝙁𝙖𝙨𝙩 𝘿𝙧𝙞𝙫𝙚)
The label describes the release “as a personal confrontation with intergenerational trauma. Decades of ignorance and damaging patterns can only be repaired through active intervention, eventually leading to self-acceptance and renewal through confrontation with pain and suffering.” A journey worth a listen! Comes with a mixed bag of remixes. Though The Sugar N CreaMix by Victoria Messor is definitely something I would drop if I were DJing again.
Can’t wait to hear what comes next!

𝙏𝙝𝙚 𝙁𝙪𝙩𝙪𝙧𝙚 𝙎𝙤𝙪𝙣𝙙 𝙤𝙛 𝙇𝙤𝙣𝙙𝙤𝙣 – 𝙋𝙧𝙚𝙨𝙚𝙣𝙩𝙨 𝙋𝙪𝙡𝙨𝙚 𝙁𝙞𝙫𝙚 (𝘿𝙚:𝙏𝙪𝙣𝙚𝙙)
These are recordings by the infamous Papua New Guinea producers The Future Sound Of London. Revisited DAT material from the 90s, so nostalgic, yet timeless. And this is a reminder for you to make backups of your music recordings! Or share with your friends! Or Me.

𝙈𝙄𝙉𝙌 – 𝙈𝙖𝙧𝙙𝙞 𝙂𝙧𝙖𝙨 𝙎𝙥𝙚𝙘𝙞𝙖𝙡 (𝙍𝙚𝙛𝙪𝙜𝙚 𝙒𝙤𝙧𝙡𝙙𝙬𝙞𝙙𝙚 𝙍𝙖𝙙𝙞𝙤)
I heard this as I was returning from an amazing CTM weekend in Stockholm.
Mardi Gras is over now, but I let me land softly.

log_2024_02_12 // ZUCKER CLUB† (2012 | DJ SET)
February 12, 2024

This is a recording of my very last time spinning records at ZUCKER Club in June 10, 2012. The first DJ gig I had there was in November 2009, followed by an intense and nurturing time as member of the collective.

ZUCKER had to close its doors a few weeks later in summer 2012 and since then an amazing community of people are still working on reopening this place at another location – a former bunker in Bremen. Being this dedicated and taking the ongoing support of the cities community in consideration reveals this place still means a lot for people in Bremen. Currently they are located at p.ara.

The mix is a personal compilation of my favourite productions from that time and a tribute to the moments that made this place special. A place where you would find yourself on the dance floor, excited about the next record to be mixed in. Knowing that the night would last at least one track longer, while the sunlight was already streaming through small cracks in the wall and slipping through the doors and covered windows. Moments like this, when the night manager sends the security staff home, closes the door and joins the crowd themself, have led to many magical communal gatherings of wholehearted individuals.

I can get quite nostalgic as I spent almost all my weekends and weekdays in this place. Either behind the bar, at the entrance, behind the booth, on the dance floor or in the office. It was the first place where I finally felt safe, surrounded by like-minded people, dancing the way I wanted to, far away from heteronormative norms and aggressive behaviour caused by masculine insecurities and toxicity. It was the place where I learned that people choose their own pronouns. Thank you Kriz for everything you have made possible for all of us.
The house rules were written on the wall at the entrance. Simple and now part of almost every event invitation: NO room for homophobia, racism, sexism, ableism and anti-Semitism!

Reflecting back, while I have many wonderful memories, the danger of nostalgia is to forget the time and energy we had to invest in discussions to address various issues. Despite the common ground we shared, there was a lot of work to be done on issues such as gender representation, door policies and, unfortunately, drug abuse and alcoholism. The latter was an occasional source of conflict. The line-ups were mostly male, although trans/female DJ workshops were facilitated and rules for curating a line-up were established.
These were not the reasons for closing the venue. Problems with the landlord, a lack of alternative locations and funding put an end to ZUCKER.


Mokira – Time Track (Silent Servant Remix) – KM018.1
Magic Mountain High – Untitled – WORKSHOP XX
Dominik Eulberg – Daten-Übertragungs-Küsschen (Minilogue’s Belledub Mix) – TRAUM V121
Sterac Electronics – Keep On Running – MM106
O/V/R – Post-Traumatic Son (Wave Mix) – BP030.1
Untold – Motion The Dance – HEK016i
Nick Dunton – Between Worlds (Sandwell District’s For Rich Mix) – SF BSF 002
Adel Akram – Untitled (A2) – ZCKR05
L.B. Dub Corp – It’s What You Feel – o-ton39
Emeralds – Does It Look Like I’m Here? (Daphni Mixes) (JIAOLONG002)
Ripperton – At Peace (I:Cube Tape Mix) – GREEN 09.2
Juho Kahilainen – Prophet Without A Vision EP – PRG002
Blackbelt Andersen – Tyrkisk Pepper – FP028
Martyn – We Are You In The Future (Redshape Remix) – BF028
The Field – The Deal – KOMPAKT 154
Agoria – Magnolia – IF2021
Nathan Fake – Coheed – TRAUM V056
1866 – Sisyphus – WT-08
Peter Van Hoesen – Axis Mundi – o-ton51
Luke Abbott – Holkham Drones – 30BCLP
Donnacha Costello – Waltz For Chet – LNG1
Sandwell District – Falling The Same Way (Reality Or Nothing Extended) – SDSMP3.1
Oni Aihun – Untitled – OAR003
Tin Man – Nonneo – ASD015
Shed – Hello Bleep! – OSTGUTLP06
Link – The Augur – EVOSYM 001
Shed – Leave Things – OSTGUTLP06

log_2024_02_07 // Latent Possibilities, Latent Responsibilities, Latent Spaces
February 7, 2024

I have been writing an essay about the metaphorical connection between queerness and the output of altered generative adversarial networks by exploring the capabilities of technology to visualise speculative horizons and imaginations. For this I draw from José Esteban Muñoz’s definition of ‘queer’ and Sara Ahmed’s queer phenomenology. With these possibilities in mind, I introduce text-to-image generators which are based on diffusion-networks and highlight their potential pitfalls when applied to the creation of photo-realistic images of members of the disabled and queer community. The poster campaign for the 2023 KRAKE Festival serves as a case study to analyse the ethical considerations and challenges associated with this technology. I relate the practice of prompt engineering to Judith Butler’s concept of performativity and argue how this technology can appropriate the visual identity of drag culture.

I added it to the Methods area. I appreciate if you want share your thoughts, ideas and feedback with me.
It is pretty quiet sometimes while writing.

log_2024_02_06 // ZCKR CDR0111 (2011 | Mix)
February 6, 2024

A mixtape I hid inside of Zucker Club as little souvenir for the keen eyes and ears. In the beginning I had some fun playing 45RPM recorords at 33RPM. Pretty slow for todays standards, but nice to listen back to that time. Listen on Soundcloud

log_2024_01_31 // I Am All Ears #1
January 31, 2024

Welcome to the first edition of my monthly gathering of sonic worlds and oddities that I have enjoyed throughout the month.

𝙄 𝙖𝙢 𝘼𝙡𝙡 𝙀𝙖𝙧𝙨 is not strictly bound to a medium, trend or linear idea of time. You may (re)discover new music, thoughts and methods. I encourage you to send me music, readings or other media you are enjoying or working on. I am curious!

𝗗𝗼𝗿𝗻𝗶𝗸𝗮 – 𝗪𝗼𝗿𝗸𝗮𝗵𝗼𝗹𝗶𝗰 (𝗦𝗶𝗻𝗴𝗹𝗲 𝟮𝟬𝟮𝟰)
Dornika’s work is heavily influenced by her activism, tackling issues of body autonomy, sexism, inequality and mental health. This is just a teaser and I am really looking forward to all the good things that will happen in 2024!

𝙁𝙧𝙞𝙙𝙖𝙮 𝘿𝙪𝙣𝙖𝙧𝙙 – 𝙍𝙝𝙚𝙣𝙪𝙨 𝘼𝙚𝙩𝙚𝙧𝙣𝙪𝙨 (𝙇𝙋, 2023)
Over the last few years I have been following Friedemann Dupelius’ radio features and sound papers on various German radio stations and other platforms. Somehow his recent release Rhenus Aeternus on Barnt’s label Magazine did not pass through the algorithmic structures of my social media feed and I just stumbled upon it via Zweikommasieben Magazin. Transcendente Momente der Trance I would call it in German. You get the idea.

𝘾𝘾𝙇 – 𝘼 𝙉𝙞𝙜𝙝𝙩 𝙞𝙣 𝙩𝙝𝙚 𝙎𝙠𝙪𝙡𝙡 𝘿𝙞𝙨𝙘𝙤𝙩𝙝𝙚𝙦𝙪𝙚 (𝙈𝙞𝙭, 2024)
I caught a glimpse of them on a 3024 compilation a few years ago, RA’s The Art of DJing put them back on my radar and it was such a multi-dimensional and thoughtful read.
‘𝘈𝘯 𝘪𝘮𝘮𝘦𝘳𝘴𝘪𝘷𝘦 𝘫𝘰𝘶𝘳𝘯𝘦𝘺 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘢 𝘸𝘰𝘯𝘥𝘦𝘳𝘭𝘢𝘯𝘥 𝘰𝘧 𝘱𝘳𝘰𝘵𝘰-𝘥𝘶𝘣𝘴𝘵𝘦𝘱 𝘴𝘰𝘶𝘯𝘥𝘴 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘭𝘢𝘵𝘦 1970𝘴 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦 𝘺𝘦𝘢𝘳 2000’

𝙎𝙞𝙡𝙚𝙣𝙩 𝙎𝙚𝙧𝙫𝙖𝙣𝙩 – 𝙉𝙚𝙜𝙖𝙩𝙞𝙫𝙚 𝙁𝙖𝙨𝙘𝙞𝙣𝙖𝙩𝙞𝙤𝙣 (𝙇𝙋, 2012) Juan Mendez’ has not only contributed musically to the electronic music landscape that has defined Berlin for more than 10 years. His visual language and arrangements for Sandwell District, the cosmos around it, had a great influence on my innocent twenty-something on how to communicate music with visual aesthetics.

𝘼𝙣𝙞𝙢𝙞𝙨𝙩𝙞𝙘 𝘽𝙚𝙡𝙞𝙚𝙛𝙨 – 𝙈𝙀𝙍𝘿𝙀𝙆𝘼 (𝙇𝙋, 2022)
An ongoing journey towards self-acceptance – fuelled by the sound of urgency. Perhaps not the best soundtrack for reading. But this LP made me think of 𝙂𝙡𝙤𝙧𝙞𝙖 𝘼𝙣𝙯𝙖𝙡𝙙ú𝙖’s book 𝙇𝙪𝙯 𝙚𝙣 𝙡𝙤 𝙊𝙨𝙘𝙪𝙧𝙤, where she explores issues of authenticity, appropriation and commodification, debates between indigenous and Chican@ authors and the development of identities that are simultaneously ethnic and transcultural.

𝙀𝙡𝙞𝙖𝙣𝙚 𝙍𝙖𝙙𝙞𝙜𝙪𝙚 – 𝙑𝙞𝙘𝙚 – 𝙑𝙚𝙧𝙨𝙖, 𝙀𝙩𝙘 (𝙇𝙋, 1970) Some evenings on these dark and cold days I just zone out to this youtube upload of Eliane Radigue’s minimalist drones and take a bath in slowly modulated sound waves. I spent two weeks alone with a three year old, going through the ups and downs of morning and evening routines, which can be quite intense at times.

𝙏𝙧𝙖𝙙𝙚𝙘𝙧𝙖𝙛𝙩 – 𝙏𝙝𝙚 𝘽𝙤𝙙𝙮 𝙉𝙚𝙚𝙙𝙨 𝙋𝙪𝙧𝙥𝙤𝙨𝙚 (𝙇𝙋, 2024) Beautiful and eerie soundscapes. Nothing to add.

January 27, 2024

Over the years I have collected demos and drafts from friends in my music library. Demos often come without artwork. To remember not only the music but also the people, I save these files with their portraits or images that I associate with these kindred spirits. I like the idea of intersecting the metaphorical understanding that a music library is a collection of experiences and memories with the literal act of remembering by looking at photographs. It is also really cute to have a picture of your old friends on a CDJ when you play their music…

To my friends out there – this is a reminder to send me your music. I would love to hear it! 🌀

The photos I used for Randweg (1), Olle (2) and Isak (5) are from Ana Tabatadze’s tumblr blog, which is unfortunately no longer accessible. (allesistverbunden.tumblr.com)

2024_01_02 // re-visiting the dance floor
January 2, 2024

  • bpm fast
  • clothes in monochrome (still a thing)
  • a connected mic leaves room for re-in(ter)ventions.
  • silence is the new needle scratch
  • I went bananas to a smurf edit of madonna
  • not one single cigarette spotted
  • left my bagpack in the hallway for the whole night
  • did not know most of the tracks played (besides the madonna one obviosly)
  • nothing more joyful having a host playing records from their shelf before going out

log_2023_12_21 (A Guide For Extended Dreaming (Mix))
December 21, 2023

Hello kindred spirits! Let’s celebrate the longest night of the year with this special mix of electroacoustic drones and soundscapes. Inspired by Pauline Oliveros’ practice of Deep Listening, you are invited to perform the following instructions:
Find a quiet and comfortable place to lie down.
Close your eyes, let go of your thoughts, and focus on the tiny sounds that tickle your ears. Connect with them, stay with them, and explore the boundaries of perception.

This mix contains mostly unreleased recordings from my personal archive and some moments from the tape “Music For Theater”, which I released on @kontrapunktsound .

All tracks are written, recorded and produced by Adel Akram Alameddine