Berliners! Check out Der Dritte Stand’s 5 day programme at Au Topsi Pohl starting Tuesday:

DER DRITTE STAND
MATTHIAS MÜLLER / MATTHIAS BAUER / RUDI FISCHERLEHNER
& FRIENDS 

5 DAYS AT AU TOPSI POHL Berlin

12.7.2021
ALCHIMIA ORGANICA – Matthias Bauer & Maria Lucchese 
DER DRITTE STAND

13.7.2021
DUO Matthias Bauer & Anna Kaluza
DER DRITTE STAND

14.7.2021
XENOFOX – Rudi Fischerlehner & Olaf Rupp
DER DRITTE STAND

15.7.2021
ZSOLT SORES solo
DER DRITTE STAND

16.7.2021
FOILS – Matthias Müller & Frank Paul Schubert
DER DRITTE STAND

With an art exhibition by Maria Lucchese 

Concerts start at 20:30
Au Topsi Pohl, Pohlstraße 64, Berlin


‘Shanzhai Acid’ takes its inspiration in equal parts from the Chinese culture of imitation electronic products that often surpass that which they imitate through punk customisation, and the ‘psychedelic consciousness’ that Mark Fisher, Jeremy Deller and Florian Hecker, amongst others, have inferred from the social and philosophical catalyst of ‘Acid’ musics.

Manifested via a kind of knock-off orchestra of mutant modules and bastardised synths conducted by DIY machine learning algorithms, it’s a construct designed to explore what kind of auditory trip this combination of opinionated, chaotic sound generators and ML can hallucinate into the world of electronic music minstrelry.

Throw the switch on this frankensteinian analogue computer and vortices of covariance, fractal geometries and nonlinear attractors are born, evolve and die as sonified complex systems in the hands of an omnivalent machine savant. Hundreds of parameters and routing assignments are invoked from hundreds of thousands of training data points, exploding the labyrinth of analogue circuitry into myriad trajectories, sometimes improvising constellations and galaxies of sound that dance and weave before collapsing in on themselves like black holes.

As these nucleic worlds evolve and collide, the rigours of musical analysis spontaneously combust, leaving only a kind of amorphous ectoplasmic string theory of sound. In this effervescent, primordial flux, noiseforms evolve and run amok, speaking in tongues, self-organising and conjuring for their listeners spontaneous creation paradoxes.

“Retrain in Cyber” they said. QED. 

‘Transhuman Haromlodics’ takes inspiration from a diverse network of actors and phenomena, allowing them to shape and influence the nature and form of the music in an attempt to imagine a fluid, expressive symbiosis; a small contribution to forging a more engaged and emancipated understanding of how thinking more openly about our culture of music might help us think more openly about other aspects of our reality.