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Merging elements of techno, conceptualism and electroacoustic composition, Stefan Goldmann has created his uniquely own variety of contemporary art music. Neither constrained by the pitfalls of academism nor those of electronic club music functionality, his work topics range from micro details (such as reshaping the way an electronic hi-hat may be programmed – as incorporated in Sleepy Hollow or The Maze) to macro concepts of exposing terminal points of entire musical genres or technical formats. His investigation into remixing might serve as an example here, including both, a remix that does not change the score at all while cutting up dozens of recordings (Stravinsky: Le Sacre Du Printemps), and one that replaces every sound bit until the original work is no longer present except for a ghostly structural shadow (Fennesz: Remiksz).