Elisabeth Coudoux founded Emiszatett in 2013. Since then, the band has been committed to exploring and interpolating traditional and novel approaches to playing music. Everyone in the band bears equal responsibility for the project: an endeavour which is constantly evolving, changing color, density, and direction. The energy and time invested into the project created a field with a multidimensional scope, one defined by a high-level depth of focus, total transparency, and an acute sensitivity to the tonal with all its constituent components and nuances.

“Emiszatett is the nucleus of the contemporary improvisation scene in Cologne. Their music is downright tangible, a condensation of sorts. The instrumental voices merge into a monolithic block of sound that whets, grinds, gnashes – and yet it’s entirely based on the very particular strengths of the individuals involved.” – Felix Klopotek, Stadtreview


1. https://impakt-koeln.bandcamp.com/album/emiszatett-earis

2. https://www.emiszatett.com

3. https://youtube.com/channel/UCE0S8w6bZJI1jSZuMsLMXog/videos


1. What is the biggest inspiration for your music?

necessity, resonance, movement, encounter, my soul.

2. How and when did you get into making music?

i started learning cello at the age of 4 1/2 and i go through my life with this instrument.

3. What are 5 of your favourite albums of all time?

There are not the 5 albums, every year, every person has his own sound world.
I can not choose 5 not to mention 2 thousand

4. What do you associate with Berlin?

A hearth of creativity and probably a bit hard, very big, colorful, impressively I find that the differences between East and West Berlin are still noticeable.

5. What’s your favourite place in your town?

My absolute favorite place is the Kölner Philharmonie. I love this listening space for current, new composed music with acoustic orchestra or ensemble or choirs.

Also the Loft for listening to current music, and St. Peter – a church where only new music may be played. Exactly, my favorite places are places where you can listen to really crass music, where only a small part of the population goes. Hopefully these places will continue to exist when only mass brings class….

6. If there was no music in the world, what would you do instead?

grieve, my instincts would atrophy.

7. What was the last record/music you bought?

Judith Hamann, Days Collapse – another timbre

8. Who would you most like to collaborate with?

with a real audience.

9. What was your best gig (as performer or spectator)?

The many interacting, listening situations on stages with people and sound generators I didn’t know yet. Those moments where there are more unknowns than knowns. The kick to dare.

10. How important is technology to your creative process?

I work with wood and horse hair, tree resin, tungsten wound steel strings and gut strings. Technology influences me a lot in my everyday life, it more or less inspires me for the creative process. On the other hand, I am more inspired by exchanging real thoughts with real people or developing something together, layering sounds, merging noise, addressing current issues in the form of a play, being together rhythmically incredibly fast precisely with the help of movements….

11. Do you have siblings and how do they feel about your career/art?

I have an older brother, also a musician. He really likes what I do.

Photo © Eva Jeske