This August, the Kiezsalon return to KINDL, a former brewery in Neukölln known for its distinctive industrial architecture. We open our two-day program on Friday, 21 August with Brussels-based accordionist Suzan Peeters, New York violinist Yaz Lancaster and Swedish shō player Mattias Hållsten. We continue on Saturday with Olga Anna Markowska, Michaela Turcerová and Mind Over Mirrors.
Brussels-based accordionist, composer and improviser Suzan Peeters is constantly searching for new timbres and sound textures within her instrument, pushing its acoustic spectrum to its limits by manipulating the interplay between its body and hers and further transforming the sound through extended techniques, objects and live electronics.
Of her 2025 album Cassotto, The Free Jazz Collective said: “Peeters has breathed new life into her instrument and given it the spirit of a dragon, disturbing and enchanting in equal measure.” Peeters makes her Berlin debut at the Kiezsalon.
Working with violin, voice, objects and electronics, Yaz Lancaster’s practice encompasses electroacoustic performances and notated compositions, as well as post-genre DJ-ing, music writing, steel pan drums, collage-based poetry and organising DIY shows in New York. Their focus on nurturing collaborations is reflected on their second album, 2025’s AFTER, which Bandcamp Daily called “a kind of all-star set for contemporary New York City sound artists working in liminal musical spaces.”
Mattias Hållsten is a Swedish composer and musician whose work has a special emphasis on precise intonation and the ways the harmonic series can be manifested in the listening experience. He specialises in the Japanese mouth organ shō, and has performed solo with the instrument across Europe, as well as with the Kamigaku Ensemble and in recordings for various artists. KLOF wrote that his appearance on Masayoshi Fujita’s 2024 album Migratory “helps give a yearning grandiosity to In A Sunny Meadow, and lends extra depth to Pale Purple.”
The Sudhaus in the former KINDL brewery, originally constructed in 1927, is admired for its expressionist architecture, which still remains following restoration. We are delighted to return to this bright, church-like hall for a two-day Kiezsalon program attuned to the site’s special acoustics and industrial charm.
