27th chapter of organ sequences, a DIY concert series dedicated to contemporary experimental and electroacoustic practices involving the organ and its extended possibilities. This edition presents four solo performers whose work spans a range of approaches to tuning, noise, and the perception of time.
Rebecca lane is a composer and flautist who explores intonation as a social and perceptual practice, particularly focusing on just and rational intonation. She performs on Kingma System quarter-tone flutes and collaborates closely with composers such as Catherine Lamb and performers like clara de asís. She is a member of the harmonic space orchestra and a frequent contributor to projects that challenge conventional tuning systems.
Clara de asís (b. 1988, spain) is an experimental composer and sound artist whose work examines the relationships between acoustics, time, and attention. Utilizing both electronics and acoustic instruments, often in unconventional configurations, her practice spans installation, performance, and interdisciplinary collaboration. She has held residencies at q-o2 (brussels), ems (stockholm), and experimental sound studio (chicago), and currently serves as co-artistic director of göteborg art sounds.
ゴマサン (romain c. bertheau) is a berlin and java based composer, organist, harpsichordist, and no-input mixer performer. His sonic universe merges minimal aesthetics with noise improvisation. Having spent years in Asia recording traditional music, he returned to europe to focus on texture-rich works for organ.
Pharoah chromium is the project of german-palestinian musician and sonic performer ghazi barakat. Named after a track by the band Chrome, the project merges krautrock, industrial, free jazz, and arabic motifs into immersive soundscapes. With releases on labels such as grautag and labelle69, and collaborations with günter schickert and osman arabi, barakat crafts audio rituals that blur the boundaries between performance and trance.
Organ sequences XXVII invites you to experience subtle sonic interferences, speculative tuning systems, and transdisciplinary listening strategies within the resonant space of Taborkirche.
