On 3 July AUXXX brings Arnold Dreyblatt to ACUD Club. The American media artist, composer and professor of Media Art at the Muthesius Academy of Art and Design in Kiel is one of the second generation of New York minimal composers. Dreyblatt studied music with Pauline Oliveros, La Monte Young and Alvin Lucier as well as media art with Woody and Steina Vasulka.
An especially commissioned new composition by Arnold Dreyblatt will receive its World Premiere by the Berlin ensemble Zinc & Copper at ACUD Club. This special programme, supported by Initiative Neu Musik, also includes a solo set by Dreyblatt, a public talk and DJ sets from Phonosphere (Jens Strüver & Werner Durand). Organizer Hilary Jeffery has asked Arnold Dreyblatt a few questions for ACUD Blog.
Arnold, what originally brought you to Berlin in 1984, and how does Berlin then compare to now?
I came first in 1983 to visit my old friend Yoshi Wada, a fluxus composer who had a DAAD grant in Berlin at Künstlerhaus Bethanien. I was on a one month trip to Europe. I was fascinated by the music and art scene in Berlin at that time, and in the first days met some of the musicians who were in my first Berlin version of my ensemble, “The Orchestra of Excited Strings”. I started exploring East Berlin, and eventually travelled around Eastern Europe with concerts in Prague and Budapest. I stayed five months and returned to New York to pack my things and come back. I was then offered a studio in Künstlerhaus Bethanien which was symbolically direct on the wall.
Do you think Berlin is better with or without the wall?
I still walk around Berlin with an unconscious awareness of being in East or West Berlin. If I am confused, I look for details like street lights, etc. Berlin is special in being a welcoming city, to which one arrives and is immediately a Berliner. Both before and after the wall, its a city where one networks quickly. There are not many cities like that. One is not alone. At the same time, Berlin is always morphing, its never basking in what it was, and its always been uncertain what it will be. A city always in flux, which until recently, was content to present a fragmentary past. We will see if the politicians and developers can win out! I am not nostalgic for the pre-Wall period, although probably the time window between the opening of the all and the reunification (about 9 months) was the most interesting time in the East. No law, very raw.
With which Berlin based musicians have you worked since arriving here?
My bands have always been formed with musicians of varying backgrounds, even non-musicians. Notable have been Werner Durand, Jan Schade, Jason Kahn, Chico Mello, Pierre Berthet, Shelly Hirsch, Paul Brody, and since 2000, Konrad Sprenger (Jörg Hiller), Joachim Schütz and of course, Robin Hayward. Since being in Europe, I’ve also collaborated with various ensembles – Crash Ensemble (Dublin), the Pellegrini Quartet and Great Learning Orchestra in Stockholm. I’ve continued to work with American Musicians, and I’ve recently collaborated with Oren Ambarchi and my old friend Jim O’Rourke in Japan.
How was it to play live in Berghain, do you enjoy paying in club settings?
My music only exists in its amplified format, and the club situation is ideal for what I am trying to achieve. The Orchestra of Excited Strings has performed at Berghain twice, and both were memorable events. The sound system, as we all know, can’t be topped!
Do you consider yourself to be a minimalist?
As a New Yorker, I suppose that I belong to the second minimalist generation. I studied with La Monte Young, Tony Conrad, Pauline Oliveros and Alvin Lucier, so one could say that my music reflects these lineages. At the same time, I grew up in the Fillmore East, and the influence of strong rhythmic percussion and amplification identifies a form of minimalism that parallels recent interests in trance, techno and ambient. I am certainly not a maximalist! If minimalism means repetition, reduction of structures, then I can accept the label.
How did you get to know Zinc & Copper?
Robin Hayward has performed in my ensemble on and off since 2009. I first heard Zinc and Copper in Berlin last year, and they really blew me away. I’ve worked with individual brass instruments since the early 80s but never with an entire ensemble.
What type of music can we expect to hear on 3 July in the ACUD Club?
The concert will begin with a solo performance of “Nodal Excitation”, which I have been performing for forty years, and its always developing. I’ve composed three works especially for Zinc and Copper, all in the intonation of my scale based on the harmonic series. We will be joined by the electronic percussionist Morton Olsen, who is a really interesting musician. I think he’ll give the necessary rhythmic boost to the amplified ensemble, along with my electric “excited strings” bass. The DJ duo “Phonosphere” – Jens Strüver and my old colleague Werner Durand – will smooth out the breaks. I’m really looking forward to what will be a really unusual and special premiere!
To hear Arnold Dreyblatt’s music, follow these links:
Spotify: Arnold Dreyblatt
DI 3.7 // 20H // 10-15€

the world premiere of a new composition by minimal composer arnold dreyblatt
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ACUD MACHT NEU presents:
Cool down with music, snacks, drinks and friends in our beautiful courtyard.
Open for the first time this year: our outside summer bar!
Tue — Sat: 19 — 23H
every wednesday and saturday
19 — 23H: Sets by resident DJ Distinctive Jun and invited guests
Wed 30.5. — 19H
30.5 // Grand Opening w/ DJ Jaakko Eino Kalevi // More Info
6.6 // African Beats & Pieces presents All Of Africa: 54 countries, 54 songs // More Info
16.6 // House Jams w/ Bassdee + DJ Kriton // More Info
20.6 // Weeeirdos Takeover // More Info
22.6 // Backyard Summer x Tropical Timewarp // More Info
23.6 // OFFENES HAUS // More Info
27.6 // Sky Walking w/ Konrad Sprenger, Nika Son and Aiko Okamoto // More Info
4.7 // Dub & Reggae w/ Mark Ernestus + Arthur (Hardwax)
11.7 // Shameless/Limitless Takeover w/ Emperor X // More Info
Veteranenstr. 21
Berlin Mitte


With our series Northern Resonance we want to introduce you to some truly amazing music produced in Canada. This time we are presenting you to the electronic duo Pelada from Montréal. Pelada is the collaboration project between vocalist Chris Vargas and producer Tobias Rochman, who have resonated with audiences for their re-contextualized take on early Chicago house and Detroit techno, blending these sounds with more abstract modern club music and Vargas’ politically-charged, Spanish vocals.
The show this Thursday in our Club is free, so come by and bring your friends! If you want to get to know Pelada first, here’s a short Q&A done by our intern Xu Moru.
Hi Chris, hi Tobias, thanks for taking some time for us. Why “Pelada”? „Peeled” in Spanish?
Chris: The word pelada has many different definitions and meanings depending on where you’re from or where you learn Spanish. In relation to this project it means to be bare.
Since late April you have been on a big tour through Europe. You have been to Malmö, Amsterdam, Paris, Luzern, Prague and now Berlin. How did you enjoy the tour so far?
Tobias: We have enjoyed the month on the road so far. Intonal Festival in Malmö, Sweden was a great opportunity to play with many artists we like such as Equinoxx, Pan Daijing, Elysia Crampton and others. In Amsterdam, we had the chance to play a live b2b DJ set for Red Light Radio, as confused tourists snapped photos outside. Paris is always wonderful. Luzern and Prague were fire, and it was fun to return and present our new material and see old friends. Usually when we tour Europe it’s 31 gigs in 30 days, a real grind, however this time I feel like we got to explore the cities more and just chill and soak things in.
Chris, you sing in Spanish, but none of the tour stops have been in Spanish-speaking countries. How were the reactions of the audience? Do they somehow understand the ideas you were expressing through the lyrics?
Chris: I do meet people who speak Spanish almost everywhere we tour. For us it becomes a different dialogue because there’s more of a back and forth. Lyrics are just an aspect to the project. It’s an important one but I think many people react to the composition of the music with the performance. I don’t know how many get or don’t get my lyrics but it would appear that the expression of aggression or the high energy set, get some of the ideas across.
What do you miss most about Quebec when you are not there? And what least?
Chris: Chez Tina Gourmet. Best Colombian restaurant in Montreal.
Tobias: The weather in Montreal is only really agreeable for a short window each year. So we’d like to return to catch some of that.
What is the plan of Pelada after the big tour?
Tobias: We’ll return to Canada this Summer for 2 more festival dates (Suoni Per Il Popolo, Up Here Festival). We’ve recently completed recording our first full-length album. So we’re in the process of mixing it right now and making arrangements for it to be released. When it’s out we hope to visit Asia.

DO 17.5 // 21H // FREE
a series featuring Canadian music with Montreal electronic duo Pelada
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Über alternative Jugendkultur in der DDR – vor allem abseits der großen Städte – ist in der breiten Öffentlichkeit wenig bekannt. Wie sah das Leben junger Menschen in der DDR der Vorwendezeit aus? War es doch möglich, in der DDR frei zu leben, wenn man es sich einfach nur getraut hat? Welche Möglichkeiten hatten Jugendliche, abseits der Freien Deutschen Jugend (FDJ) ihre eigenen Visionen zu verwirklichen? Wo stand die Jugend tatsächlich, und wie verhielt sie sich in öffentlichen und privaten Lebensbereichen?
Diese und andere Fragen sollen im Rahmen von drei interaktiven Shows geklärt werden, die im Frühjahr 2018 in Leipzig, Berlin und Magdeburg stattfinden werden. Auf der Bühne diskutieren Alexander Kühne, Autor des Romans „Düsterbusch City Lights“ und Lutz Schramm, DT64-Moderator der Sendung „Parocktikum“. Doch nicht Moderator Tobias Hülswitt, sondern die Zuschauer bestimmen den Gesprächsverlauf dieser interaktiven Show. Anlässlich des Abend im ACUD Studio haben wir die Organisatoren gebeten, eine Playlist mit Punkmusik aus der DDR zusammenzustellen.

Die Art – Sie sagte

L’Attentat – Leipzig in Trümmern
Bernd Stracke ist Mitglied der Bands „Wutanfall” und “L´Attentat” und war als Gast bei unserer Show in Leipzig.

Der Expander des Fortschritts – Buttercremeschnitte
Susanne Binas-Preisendörfer spielte bei dieser Band und wird als Gast bei unserer Show in Magdeburg dabei sein.

Sandow – Schweigen und Parolen

Die Skeptiker – DaDa in Berlin
MI 16.5 // 20H // 5€

eine interaktive diskussion mit schriftsteller alexander kühne und DT64-moderator lutz schramm
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Gqom is a style of house music that emerged a couple of years ago from the townships of Durban, South Africa. Spread via social media the drum-heavy gqom sound went viral. The scene around it is growing rapidly ever since. Presented by Einhundert and Blazed, this Friday one of the creators of the genre is playing at ACUD Studio. We have asked Lwazi Asanda Gwala aka DJ Lag five questions about Gqom and what to expect from his set.
Hi Lwazi, thanks for taking some time for the Q&A! Gqom originated in Durban and you are an expert when it comes to the genre. If you could describe gqom in one word, what would it be?
I would explain or describe Gqom as a sound of mixes, lots of drum beats and different genres such as hip pop, house music and electro. It also features other sounds such as tradition chants. The gqom sound is made in such a way that one can’t help themselves but to dance to it. I would describe it as HYPNOTIC.
Could you also tell us when and where the genre originated and how it became popular?
It originated in Durban townships, which was created by high school teenagers like myself. We started spreading it amongst ourselves via social media and chat applications and eventually it went viral. It’s a true “internet genre.”
What have been your most favorite gqom tracks of this year so far? Do you have links to them?
My favorite track at the moment it’s by DJ Terrace ft Charlie – Hennessy.
In your music videos, you see a lot of great dance moves. Is there something like a gqom dance? If so, what is your most fav dance move?
Yes I have a favorite dance called “Bang” from Durban, you can see it in my music video Ice Drop.

We are very much looking forward to your set on Friday! Did you prepare something special for the occasion?
YES! I would be playing a lot of new music, exclusive tracks from the upcoming EP that’s releasing via Goon Club Allstars, so please come with an open mind, and expect something new in my set.
FR 11.5 // 23H // 5-8€

the gqom king plays his berlin debut
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You may have already heard (we hope that you have) that we at ACUD have cooked up a new program called Amplify Berlin. The aim is to support emerging Berlin-based musicians through mentorships and we are lucky enough to have a team of some of the most incredible and ground-breaking musicians and artists in Berlin that will contribute their knowledge and insight. With little more than a week to go before the application deadline, we sat down with one of the founders Shub Roy to find out more about what’s in store.
What is distinct about this program that you won’t find with other residencies?
What makes Amplify Berlin distinct is the opportunity to work one-on-one with a fantastic selection of mentors who specifically choose to work with you as well (if you’re selected). It offers a focused work environment with access to a wide range of resources (a studio with various gear for creative exploration, a club sound system and stage to practice) and to technical support. Not to mention a platform at an active, multidisciplinary arthouse community of which you can become a part, in a city which is recognized worldwide as a critical artistic hub.
Tell us about the importance of mentorship and about the kind of learning that happens in those types of relationships
A dictionary definition of “mentorship” is very loose and it’s difficult to pin down exactly what such a relationship involves—nor do I think it’s useful to confine it to any certain terms. In a sense, it will depend on the individuals involved and their particular working, learning or communication methods. The keyword is probably “guidance”—the mentor is meant to be there to provide guidance in some form or other, but this does not have to occur simply in terms of the dichotomy between “teaching” and “learning.” That guidance can take on many forms, such as informal conversations, listening, sharing, experimenting, demonstrating, improvising, playing, explaining, giving feedback, etc. There are many possibilities! The point is not to take a strictly educational approach – that can be left to the educational institutions themselves, but to break free of the constraints attached to many of those institutions and provide something more practical: a free, fertile environment where creative minds can meet, share and communicate. Who knows? Some of the mentors may even learn a thing or two from the mentees.
What kind of applicants is the program looking for?
There are no specific boundaries on the type of applicants that the program is looking for, but the focus is on solo musicians/producers that are Berlin-based and not yet too advanced in their development (or although I dislike this word in relation to art, “career”) as an artist, that demonstrate some raw talent or vision, that could be aided by some guidance and refinement. However, this is a subjective view and the final decision will go to the mentors as to who they really feel it would be most fruitful to work with. I feel it’s important to mention here that all applications will receive equal consideration and people of all backgrounds are encouraged to apply to help support a diverse, inclusive and exciting future for our music culture.
Which mentors do you feel especially excited for?
All of them are exciting and unique in their own way!
How do you see this program growing and developing in the coming years?
I hope to see a community grow around this program locally as time progresses, with mentors and mentees alike continuing relationships of creative growth and exchange. I’d as well like to see how this program’s reach can extend beyond Berlin into other parts of the world.
Find out more and apply at


Robert Lippok ist ein Avantgarde-Musiker, Visual-Artist und Komponist, der bereits in jungen Jahren Berlins pulsierende Experimental-Szene geprägt hat. Gemeinsam mit seinem Bruder Ronald spielte er in den 80ern in Ostberlin Industrial unter dem Namen Ornament und Verbrechen. In den 90ern bildeten die beiden mit Stefan Schneider das Postrock-Trio To Rococo Rot und veröffentlichten Musik auf den Labels Kitty-Yo, City Slang und Staubgold. Seine Solo-Arbeiten erscheinen seit 2001 auf dem renommierten Label Raster-Noton.
Robert Lippok wird als Mentor an unserem neuen Residency-Program Amplify Berlin teilnehmen, mit dem aufstrebende Musiker*Innen aus Berlin gefördert werden. Start ist im September, bis 17. Mai können sich Interessierte für das erste Semester bewerben. Weitere Mentor*Innen sind: Avant-Techno-Producerin Laurel Halo, Pop-Surrealistin Lurcrecia Dalt, Sound-Maschinistin Caterina Barbieri und Sound-Dekonstruktivistin Ziúr.
Für den ACUD Blog haben wir mit Robert Lippok über seine Tätigkeit als Lehrer und Musiker gesprochen.
Hi Robert, wir sind sehr stolz, dich für Amplify Berlin gewonnen zu haben. Freust du dich auf die Residency?
Ja natürlich freue ich mich sehr. Ich finde Berlin im Januar großartig, Eis, zugefrorene Seen … genau der richtige Monat um im Studio zu arbeiten.
Du bist schon länger als Lehrer aktiv. Wo und zu welchen Themen hast du unterrichtet?
Über die Jahre habe ich viele Workshops gegeben. Seit einem Jahr unterrichte ich an der NYU Berlin gemeinsam mit Christina Wheeler Experiments in Future Production and Performance. Wir reden über ethische Probleme beim Sampling, hören Stockhausen, schauen uns an wie KI Musikproduktion gerade verändert und verändert wird. Experimentieren mit Stimmen, Rhythmen und Sinusgeneratoren. In der Unterrichtsstunde Back to the Future geht es um Modulare Synthesizer, Software, Hardware und hybride Lösungen wie Axoloti. Ab und zu wird es sehr laut in den Kursen.
Was gefällt dir am Unterrichten?
Das kann ich gar nicht so pauschal beantworten. Die Arbeit mit den Studenten an der NYU kommt mir schon sehr entgegen, da ich absolut frei bin bezüglich der Themen und der Art zu unterrichten. Ich würde mich eher als Filter, denn als Lehrer sehen. Oft kommen die Studenten schon mit ausgearbeiteten Idee und brauchen nur ein paar Hinweise, wie die Produktion optimiert werden kann. Interessant sind die sehr verschiedenen Wege zu komponieren und zu produzieren. Von abstrakten Glitches bis Soul und Americana ist die Bandbreite sehr groß. Meine Aufgabe ist es, neue Ansätze aufzuzeigen, die eigene Musik zu sehen und zu verändern.
Wie bist du dazu gekommen, Musik zu produzieren?
Ich habe mit 15 angefangen Musik zu machen, das war Mitte der 80er. 1984 gründeten mein Bruder Ronald und ich Ornament und Verbrechen. Der Ansatz war schon damals experimentell, mit einfachen Mitteln, wie modifizierte Radiogeräten, selbstgebauten Percussioninstrumenten, einer Italienischen Transistororgel, entstanden die ersten Stücke. Die englischen Avantgarde-Bands Cabaret Voltaire oder Throbbing Gristle waren unsere Vorbilder. Aufgenommen wurde damals direkt auf Tonbandkassetten. Editiert oder verändert wurden die Aufnahmen nicht, alles musste im Moment des Spielens passieren. Später dann habe ich mitunter in großen Studios aufgenommen, John Peels Sessions bei der BBC in London zum Beispiel.
Verschiedene Techniken zu beobachten, wie Schlagzeug oder Flügel mikrofoniert werden ist für mich wichtig. Bei Recordingsessions lerne ich am meisten. Ich selbst besitze kein Studio und auch nicht viele Geräte, die Projekte an den ich arbeite sind sehr unterschiedlich was Instrumentierung und Größe betrifft. Bei Bedarf leihe ich zusätzliches Equipment oder miete für ein paar Tage ein Tonstudio.
Gibt es junge Musiker*Innen aus Berlin, die du gerade besonders spannend findest?
In Berlin passiert so viel da ist es schwer den Überblick zu behalten. Louis Rastig würde ich unbedingt nennen wollen und Kaan Bulak, Florina Speth, die mit ihrem Projekt Schloss Mirabell zusammen mit Dasha Rush beim Berliner Atonal Festival gespielt hat. Die Musik von Jessica Ekomane Etoua entdecke ich gerade. Caterina Barbieri hat mich auf sie aufmerksam gemacht.
Wenn du es dir aussuchen könntest, für welchen Amplify-Residency würdest du dich bewerben?
Wenn ich mir es aussuchen könnte, würde ich von September bis Februar freinehmen und an allen Residencies teilnehmen. Die Workshops werden sicherlich ein Kaleidoskop zum Teil gegensätzlicher Wege sein, mit Klang zu arbeiten. Ich hoffe, alles wird dokumentiert.
Mehr über Robert Lippok:


This Tuesday Sounding Images is hosting it’s 13th iteration at the ACUD Studio. The screening series highlights the intersection and overlap of music, experimental filmmaking and video art while also including discussions regarding race, class, sexuality and gender.
We caught up with Fiona McGovern, the curator of Sounding Images, to talk about the upcoming film “A Dogs Night Song” and it’s place in Southeast European and international avant-garde cinema.
Hi Fiona, the movie for the next edition of Sounding Images looks very cool. How did you come across the „A Dogs Night Song“?
Hi, and thank you. It was actually the musician and video artist Frank Bretschneider who introduced me to the film. He was part of the acclaimed experimental group AG Geige, founded in Karl-Marx-Stadt in 1986, and later became the co-founder of Raster-Noton, a label which is known for audiovisual performances. In a conversation we once had, I asked him about films or video art from Eastern Europe that had left a mark on him and he among others mentioned the Hungarian filmmaker Gábor Bódy. For me that was quite a discovery to be honest as I had never heard of Bódy before. His last film, “A Dog’s Night Song”, just seemed to fit perfectly into the series. Bódy himself here plays the role of a priest.
Is there a part you really like?
Well, I really like the overall atmosphere of the film. Its dreaminess and melancholy. Also, that there is no main narrative, things happen seemingly incidentally, sometimes different narrative strands overlap, but there is no real plot or anything like that. The characters all quite distinct and have a slightly mysterious atmosphere around them – a fake priest, a suicidal, communist veteran in a wheelchair, a woman who leaves her husband to join a punk band. So you get certain hints about the cultural and political context under which this film was made, but it never becomes overtly explicit.
Very interesting especially in the context of Sounding Images of course are the parts where the avant-garde punk bands A. E. Bizottság (Albert Einstein Committee) and Vágtázó Halottkémek (The Galloping Coroners) appear. They were friends of the filmmaker and connected to the same scene. A. E. Bizottság for example, which was founded by musicians, visual and multimedia artists in the early 1980s, a year later, in 1984, released the film Jégkrémbalett (Icecream Ballet) together with an album of the same name.
The movie had a big impact on the avant-garde cinema scene. What makes it so special?
This is a question I would like to pass on to Dr. Claus Löser as he knows much more about this than me. He will do the introduction to the film on Tuesday and is an expert on underground and avant-garde film in Eastern Europe.
So we definitely shouldn’t miss the intro by Dr. Claus Löser?
Claus Löser really is an expert in the field. Especially in Berlin he is probably best known for the programming he does for Brotfabrik cinema and the collection of experimental films from the GDR “ex.oriente-lux – Experimentalfilmarchiv Ost 1976 bis 1989”, that he founded in 1996. In addition to curating, he works as a film critic and publishes regularly on the topic underground and experimental film as well as producing film under totalitarian conditions. He has made documentary films related to these topics and is internationally active in committees, juries, professional associations and teaching.
I’d like to point out that it again was Frank Bretschneider who helped out here as he recommended Claus Löser for the introduction and put us in touch. Personally I’m very happy this worked out. In the end, these kind of word of mouth recommendations and the personal connections to the screened material are also key to what Sounding Images for me is about.
Thank you very much for your time, we can’t wait for Tuesday!
Thank you!
DI 10.4 // 19H30 // 4-6€

a key film of the southeast european and international avant-garde cinema
introduced by dr. claus löser
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Bunny Michael is an artist, soundmaker, spiritual being from NYC. They’re originally from Texas and moved to New York for school where they began to be drawn to music as their main medium for artistic expression. Through their rap project Bunny Rabbit a new agenda of “universal healing, self love, and psychedelic wisdom” began to take shape and come into focus (which in turn led them towards other forms for expression). Now you may also know Bunny from their instagram account which provides daily/weekly spiritual guidance and healing. Bunny has a new E.P. out called “AFTERLYFE”, a book called “Me and My #Higherself”, they can be found of course on instagram and their countless other projects can be caught up with through their website.
We met (virtually) during their European tour right before their show at ACUD, read on to meet them too.
Hi Bunny! I think the work that most people are familiar with of yours are your music and your memes. Can you tell us about the connection between them? How do you see them as being part of the same practice/a translation of the same instinct between different media?
My music has always been a narrative of the journey to higher consciousness and spiritual growth. The memes just use language thats more literal. I guess you could think of my music as the dream state compared to the waking state of the meme writing. Same lessons though.
In all your work, you are bringing a service to, and offering care to your community. Does it ever feel too much/too draining? Where do you look for spiritual healing/uplifting for yourself?
The truth is like many people I struggle daily to find my light. Its so easy to forget we are the divine. That we shine endlessly. That hatred and fear is an illusion. The work that I do has been nothing but extremely healing for me. I can see we are all one. We all are in a different place in our journey. We all need to uplift each other. We get better at it everyday even if we don’t see that yet. In some ways I do put a lot of pressure on myself to be there for people and I never feel like I can do enough. There’s so much work to do! Then I remember I am enough. And I go back to that place of presence and I see this is just my journey. I can’t judge it. I surrender and take it moment to moment.
Have you always been so connected to your spirituality/prioritized it? How did that journey start?
The spiritual journey starts from birth and beyond. The growing awareness of that journey I think began for me when I was a teenager. I was coming out as queer and taking lots of LSD. I was having an emotional breakdown and panic attacks all the time. I felt totally abandoned by everything I had called home before. Thats when I started searching for my true home.
What are you listening to while you’re on the road?
Binaural beat meditations on youtube. Fever Ray. Ram Das lectures. Coughs and sniffles from my cold. Nina Simone and the snow hitting the window.
What’s your vibe/feeling from Berlin?
quiet but in anticipation
How are you finding this tour?
totally transformative

FR 30.3 // 22H // 10€

come take a dip in the #afterlyfe
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We are happy to announce The Northern Resonance Canadian Music Series. This program which starts this Thursday is supported from the Botschaft Von Kanada and features a selection of Canadian artists and music-related films, to share the depth, scope, history and future of the nation’s rich music culture with the city of Berlin. Each edition is a reflection of Canada’s position on the world stage as a vital and active contributor to the arts.
We asked our booker Shub Roy who came up with the idea for this great series to answer us a few questions about Northern Resonance.
Hey Shub, the Northern Resonance series looks awesome! Could you tell us more about it?
The Northern Resonance series showcases a selection of contemporary Canadian musicians and one film featuring Canadian musicians (made by a Canadian director), in order to share a diverse range of Canadian music with the city of Berlin. The series has been curated by me, with support from the Embassy of Canada in Berlin. Some of the artists are more widely known (such as Sarah Neufeld from the Arcade Fire), while others are more obscure (such as the experimental group The Nihilist Spasm Band, featured in the documentary “What About ME”) and other ones are on the rise internationally (Sarah Davachi, Yamantaka Sonic Titan, Kara-Lis Coverdale).
How many dates are planned? Could you give us a brief overview what’s happening? It’s not just showcases right?
So far five out of six events are confirmed:
29.3 Film Screening — “What About Me: The Rise of the Nihilist Spasm Band” // More Info
The Nihilist Spasm Band are an improvisational experimental group which began in the 1960’s and continues until this day (last year they even played a concert at the No! Music Festival at Haus der Kulturen der Welt, joined on stage by Alexander Hacke of Einstürzende Neubauten). The film traces the development of the group, from its origins in 1965 as a response to ultra-conservative London, Ontario, Canada to the tragic death of one of its founding members, artist Greg Curnoe, to their tour of Japan. It features interview with famous fans, including Thurston Moore of Sonic Youth and Canadian artist Michael Snow.
29.4 Concert + Artist Talk — Sarah Davachi // More Info
Sarah Davachi is an electronic musician, who holds a bachelor’s degree in philosophy from the University of Calgary and a master’s degree in electronic music and recording media from Mills College. As a composer of electronic and electroacoustic music, Davachi is engaged in practices of analog and modular synthesis, psychoacoustic manipulations, multi-channel sound diffusion and studio composition. She will host an artist talk that will illuminate the phenomenon of psychoacoustics and to discuss its creative use in experimental music, giving insight into her own compositional process and explain different methods she employs in both recording and live performance. This talk will be followed by a concert.
12.5 Concert — Kara-Lis Coverdale
Kara-Lis Coverdale, also known as K-LC, is a Canadian composer, musician, producer, based in Montreal. Coverdale is known equally for her piano, organ, and keyboard work as she is for her experimental electronic projects; often her work integrates the two, blurring the lines between traditional composition and research-based modernism. She will perform a special piano concert at Bonello Tonstudio in Wedding (U8 Panstrasse) which has been chosen due to its grand piano and exceptional acoustic qualities.
1.6 Concert — Sarah Neufeld
Sarah Neufeld is a violinist and composer based in Montréal, Canada. Best known as a member of Arcade Fire, she is also a founding member of the acclaimed contemporary instrumental ensemble Bell Orchestre, and most recently as half of an exciting new duo with renowned saxophonist Colin Stetson. Neufeld began developing pieces for solo violin in a formal sense in 2011, though she has made improvisation and solo composition part of her process and practice since first picking up the instrument at a young age.
11.6 — Yamantaka Sonic Titan
Yamantaka Sonic Titan is a Noh-Wave prog collective, a black-and-white (and sometimes red) theatre company, an operatic psych cult, and the speculative prophets of humanity’s impending doom. Live, the band can be sprawling and theatrical or concise and visceral, filling the stage with noise, melody and cacophony. The group features members of Asian diasporic and Indigenous Canadian descent, creating a very unique blend of western musical genres and elements of their respective backgrounds.
Who are Canadian musicians we all should know about?
In addition to the ones in this series, others are:















Call for Application
Sound Technician/Tontechniker*In

Acud Macht Neu seeks a sound technician specializing in live sound (with some knowledge/experience in DMX lighting systems) to oversee the technical systems of its Club (live music/DJ events) and Studio (talks, workshops, panels, screenings, DJ/live music) spaces.
Please send your CV and a letter of motivation till April 10th to shub[at]
From May 2018: Audio-Visual Technical Manager
Duties include
– Ongoing inventory, organization and maintenance of storage for technical equipment and accessories
– Monitoring the maintenance of sound/lighting systems and equipment (PA, speakers, lights, rackmount gear, microphones, stands, cables, connectors, beamers, DMX and digital lighting systems, etc.)
– Scheduling repairs as necessary
– Placing orders of items that need to be replaced
– Checking of technical riders for various events and communication with artists/organizers
– Arranging rental (as well as coordination of delivery) items as required
– Working shifts as house technician for events (with extra payment)
– Must have good German oral and written skills
32 hours per month until July 31 2018 // 320€ (with extra pay for sound shifts)
From September 2018: Studio/Live Sound Technician
Duties include
– Aiding musicians in a small recording/mixing studio in the building (primarily electronic music studio — some knowledge of current recording/mixing software, technology and recording equipment required)
– Some additional training in software and technology from partner hardware and software companies is possible
– Live sound technician aiding artists in residence with their live concert setup/performance (sound, lighting, visual) during rehearsals for 42 hours per month in club/concert space
– Live sound for one concert event per month
– Possibility of additional paid live sound shifts
72 hours per month from September 2018 // 1000€
Acud Macht Neu sucht nach einer Tontechniker*In für die Betreuung der Technik im Club (Livemusik/DJ-Events) und Studio (Talks, Workshops, Panels, Screenings, DJ/Livemusik). Erfahrungen mit Livemusik und Kenntnisse von DMX Lichtsystemen erwünscht.
Bitte schickt Euren Lebenslauf und ein Motivationsschreiben bis zum 10. April an shub[at]
Ab Mai 2018: Audio-Visual Technical Manager*In
– regelmäßiges Erfassen, Organisieren und Instandhalten der Technik-Ausstattung- Betreuung der Instandhaltung des Licht/Ton-Systems und des Equipments (PA, Lautsprecher, Lichter, Rackmount-Gear, Mikrofone, Ständer, Kabel, Adapter, Connector, Beamer, DMX, Digital-Lichtanlage, etc.)
– Planen der Reparaturen, wenn nötig
– Bestellen von Geräten oder Equipment, falls Ersatz nötig
– Überprüfen von Tech-Ridern und Kommunikation mit Künstlerinnen und Künstlern sowie Promoterinnen und Promotern
– Mieten von Equipment für Einzelveranstaltungen, wenn nötig; Koordinieren des Transports
– Übernehmen von Tonschichten bei Events, mit Extra-Bezahlung
– Gute Deutschkenntnisse in Wort und Schrift vorausgesetzt
32 Stunden pro Monat bis 31. Juli 2018 // 320€ (mit Extra-Bezahlung der Tonschichten)
Ab September 2018: Studio-/Livemusiktechniker*in
– Unterstützen von Musiker*Innen in einem kleinen Aufnahme/Mixing-Studio innerhalb des Gebäudes (vor allem Musikstudio für elektronische Musik – Vorkenntnisse von aktueller Recording/Mixing Softare, Technologie und Aufnahme-Equipment benötigt)
– Schulung für Software und Technologie von unseren Partnern möglich
– Unterstützen der Residency-Künstler*Innen mit ihrer Liveperformance (Ton, Licht, Visuals) während der Proben. Gesamtzeit: 42 Stunden pro Monat im ACUD Club
– Tonschicht während eines Konzertevents pro Monat
– weitere bezahlte Schichten möglich
72 Stunden pro Monat ab September 2018 // 1000€


With her extensive record collection of some 20 000 vinyl and counting, Dutch DJ and producer Marcelle/Another Nice Mess has a strong historical knowledge of past and contemporary underground music. As much inspired by avant garde art movements as fluxus and dada, the real life absurdism of Monty Python as by the wild experiments of dub, post-punk and the latest developments in electronic dance music she has always been following musical developments very closely and has a keen ear for innovative and new sounds.
Marcelle is as much, or even more of, a musician as she is a DJ. She is an original, skilled mixer, with a very distinctive style of her own, avoiding most DJ-cliches and stale rules. She also produces her own music and does weekly and monthly radio shows for various radio stations in Europe. After her epic set last December, Marcelle is back at our Club this weekend! Prepare for excellent genre-defying dance music. We have asked Marcelle a few questions about her record collection.
Marcelle, is it true that you own 20 000 records? How do you manage to keep an overview about your archive?
My collection counts some 20 000 vinyls and a couple of thousand CD’s. I store them by genre, and as genres come and go, obviously newer ones are stored next to each other.
Having access to so much music, how do you pick tracks for your set?
The most exciting new ones I take along, I want my sets to be contemporary, I dislike retro sets, so I just take the newest ones, along with only a few older ones.
Do you already know what you you gonna play when you are back at ACUD?
I also improvise when I play, so no I never know what I’ll be playing, I also play records simultaneously so I also try to create something new.
Where do you usually find and buy your records?
I buy them all over Europe, Vienna, Zurich, Athens, Berlin, Paris, depends where I play. Recently I played in Dubai so I bought some local vinyls there.
Recommendations can always be helpful to discover new music. Are you following somebody?
No in general I discover my own records. I always listen to piles and piles of new records every week and let my curiosity guide me. finding exciting new records takes a lot of time, but because I don’t let no one guide me, I develop my own style and attitude.
What’s your song of the week?
I don’t do “songs of the week”. I have my own radio shows where listeners can see and hear what my latest purchases are. Check: Besides, I also produce a lot of my own music, I just released a new 12″ EP called Psalm Tree, available at my gigs. When Mark E. Smith of The Fall died in January I produced a new song about him, a tribute song called Two Walls. I have it had it pressed as a dub plate so i play it in my sets already before its even officially released.

SA 10.3 // 22H // 6€
acud macht neu presents

the dutch DJ and producer is back! prepare for excellent genre-defying dance music
More InfoFB Event


Karma Ltd. Extended is seeking a self-motivated curatorial intern with a specific interest in contemporary visual and performance art to assist the curators with tasks related to upcoming exhibitions and public programs. The intern will assist with daily activities as well as participate in research, writing, production and administrative activities.
Candidates must have research and writing skills in English and German, strong organizational abilities, eager to learn, computer skills, and the capacity to work both independently and as part of a team. The intern must commit to a minimum of three days per week, including one day of gallery sitting on the weekend, for the agreed upon duration of the internship (four to six months). The position would begin as soon as possible.
Karma Ltd. Extended are the three curators Pauline Doutreluingne, Jana J. Haeckel and Petra Poelzl. Karma Ltd. Extended is a one-year collaborative curatorial program at Acud Galerie and aims at a political expansion of the discursive space. It puts the human imagination centerfold by focusing on artistic narratives about future possibilities of coexistance. In their research, the curators search for artistic trajectories and visions that broaden our senses for unexpected fantasies. They focus on the acting subject and design a wide variety of counter-perspectives and alternatives.
If you are interested, send a letter of motivation, including CV to
For further information about Karma Ltd. Extended visit
Acud Galerie, Veteranenstrasse 21, 10119 Berlin


For two newly commissioned works, Karma Ltd. Extended is currently looking for dancers, dance students and bodily trained people to become part of our production.
CALL 01: Olympia by Rachel Monosov
CASTING: 18/02/2018
Rehearsals: February & March
Date of Performances: March 31 and April 1/7/8/14/15 from 16:00 – 19:00 @ ACUD Galerie.
If interested, please send your CV to
CALL 02: Rehearsals of the Futures by Isaac Chong Wai
CASTING: 05/03/2018
Rehearsals: March
Date of Performances: March 16/17/18/24/25 and April 14/15 from 16:00 – 19:00 @ ACUD Galerie
If interested, please send your CV to
Karma Ltd. Extended presents TRANSCULTURAL TRANSIENCE, the second chapter of the curatorial collective @ Acud Galerie starting on March 16, 2018 at 18:00.
In Transcultural Transience the curatorial collective Karma Ltd. Extended is investigating the vanishing live moment of performance art and its documentation through the creation of new works, commissioned by Isaac Chong Wai and Rachel Monosov. During five weekends, the gallery will host a site-specific and process-oriented performance series.
While focusing on two motifs: The Rehearsal of the Futures and The Rehearsal of the Pasts, the artists are questioning how embodied collective memory can be dealt with through performance. They are using the medium as a tool to re-enact, enact or visualize histories that are made invisible or left out by the Euro-American hegemonic notion of knowledge and image production.
Transcultural Transience aims to break the idea of curating the static, but rather to curate the fleeting. A series of spontaneous movements and rehearsed choreographies will be developed through a dialogue between the performer, the observer, the artists and the curators.
Isaac Chong Wai (Hong Kong/Berlin)
In Rehearsal for the Futures the artist imagines how future generations might look at the current and former ideological consensus of certain body postures, gestures and movements. The performance series deals with these so-called ideological movements or ideological postures in order to look for and propose possible futures. The work of Isaac Chong Wai was featured at the Bauhaus Museum (Weimar), Haus der Kulturen der Welt (Berlin) and the Moscow Biennale for Young Art.
Rachel Monosov (Russia/Berlin)
Olympia: one competes against oneself most of the time takes Leni Riefenstahl’s film Olympia (1936) as its initial point and investigates the bodily moment before the action and after, the second between motionlessness and getting into shape. The artist scrapes out this sculptural moment of transition and works with the image of perfect bodies, standing united on the starting blocks and finishing line. Rachel Monosov’s work Transcultural Protocol, a collaboration with Admire Kamudzengerere, was presented at the Zimbabwe Pavilion at the Venice Biennale in 2017.
Curated by Pauline Doutreluingne and Petra Poelzl.



William Basinski in the Studio
The System Out Sound Residency with Will Bankhead and Call Super
DJ Katapila
The launch of our DJ workshop program No Shade
Carsten Nikolai’s DJ set for the launch of the magazine documnt

Winning the Projektraumpreis 2017!!!
Our beloved Dead Ladies
The first ACUD Meme
Klaus Lederer speaking in the Studio
Lolina aka Inga Copeland live

Posh Isolation feat. Croatian Amor
Volüspa takeover at the Gallery
Jakob Kolding’s Exhibiton and Wolfgang Tillmans DJing for his opening party
Fracto – experimental film festival
Sky Walking with Phillipp Sollman+Gürtler

FAKA live
Marian Wallace and V. Vale at Sounding Images 08
Backyard Summer 2017 edition
Naama Arad’s exhibition
Hannes’ Mini Quiches