Thursday, January 21, 2021


A year ago I recorded a bass feedback session at the Bunker, Blumenstrasse, Munich. It will form the core of new Fragment King recordings tentatively titled RETREAT, planned for a release with ANNIHILVS.

Nexialist @ Monomer TV

Episode two of Monomer TV's season three at Vimeo features NEON, a short film created in 2008. It begins at minute 32:10 and ends at minute 35.30. Thank you to Lee Bartow and Gretchen Heinel of Monomer TV for the opportunity!

MONOMER TV Season Three Episode 2 - 1/4/2021 from MONOMER AUDIO EMPORIUM on Vimeo.

Here are the original project notes: "A neon light is dying. in its last moments, it is observed by a digital hi-8 camera. As the soul of the neon light fades and struggles to regain composure, the camera is uncertain on what to focus – a repetitive cycle, obscured by irregular fluctuations within the neon light. Within this fluctuation we recognize how identity is revealed by crisis, to be shrouded in mystery again and again, how dialogue becomes a questionable thing. In this sense, [neon] is an inversion – see with your ears, not your eyes – as the only sound the camera hears is its own. Or is there an ephemereal, illuminated shadow of electrons in flux somewhere amid the machinic acoustic grind? Neon (2008): Macbook, iMovie HD, iDVD, HI-8 Digital Analog Camera, Neon Light."

Saturday, July 25, 2020

KLANG+RAUM Interdisciplinary Seminar

Beginning last year my colleague Carola Dietrich from Technische Hochschule Nürnberg - Fakultät Architektur and I embarked on an interdisciplinary cooperation on sound and space, on music and architecture and how their intersections can be explored for the purpose of experimental design projects with architecture students within a joint endeavour with the Akademie der bildenden Künste Nürnberg. We had the immense pleasure to cooperate and discuss shared interests with Jan St Werner, Michael Akstaller and the students of Dynamische Akustische Forschung, Christian Z. Müller, Sam Auinger, Louis Chude-Sokei and Niels Jonkhans. For me personally, this cooperation was an academic dream come true. Most of all, we're proud of the incredibly insightful and cool projects the students developed during the 2019/2020 winter semester. Thank you to Nadine Deusner, Phuong Hoang, Maximilian Sterner; Cléo Gehlke, Hoa-Mary Chuong; Anna Behl, Diana Schirmer, Klarissa Werner, Alexander Zips; Merve Korkmaz, Luisa Wimmer; Thomas Alexander, Antonia Friedrich, Ludwig Pallor, Burak Solmaz, Klaudius Jan Wieland; Tim Wiedenbruch; Amelie Pickl, Ina Penkert, Liene Pirtniece-Kozlovska; Max Kellermann, Philipp Oebius, Giulia Seltmann; Diana Herberger, Janine Matzke, Sonja Silano; Irene Bauer, Silvio Braun, Jule Marie Feige, Camillo Mayorga, Mareen Priebe-A.; David Honke, Max Kellermann; Vanessa van Zoest; Merve Tufan, Giulia Seltmann; Jakob Brunner, Jana Endres, Simon Gumbmann, Marielle Jopp, Christoph Kielmann.

KLANG+RAUM Seminar Report

KLANG+RAUM Digital Album

Wednesday, April 22, 2020

Doc Monomer TV @vimeo

In the second feature of Doc Monomer TV I speak about my personal collaboration with Z'EV, followed by footage from our live performance in Munich in 2013 and preceded by one hell of a track by Theologian. The segment begins at 27:00. Thank you to Lee Bartow and Gretchen Heinel of Doc Monomer TV for the opportunity!

MONOMER TV Episode 2 - 4/20/2020 from Lee Bartow on Vimeo.

Originally named "The.Bänd", the collaboration between Z'EV, Alexandra von Bolz'n, and Fragment King recorded music and played live between 2007 and 2013.

Thursday, April 25, 2019

Fragment King: Here Music Dies

Originally released as a cassette and T-shirt package in 2014, we now present HERE MUSIC DIES, the collaborative release by FRAGMENT KING and THEOLOGIAN, available in its entirety as a digital release for the first time. The A side featured the original FRAGMENT KING EP, with side B containing THEOLOGIAN remixes of that material, presented here mixed as a single file. A small number of shirts from this run are available here. "Endless spite is filtered through soul-numbing distortion, accompanied by bitter, crisp electronic rhythms that glide across the edge that separates dark industrial, crushing metal and paranoiac breakbeat, featured here are tracks assembled by THEOLOGIAN using FRAGMENT KING source material. This is the death of music." FRAGMENT KING will release a new EP, titled RETREAT, later in 2019.

Sunday, April 21, 2019

URBAN EVOLUTION (Heterotopia #070129)

Urban Evolution site specific performance from Mark Kammerbauer on Vimeo.
Cities are examples of how building, destroying, and rebuilding occur over and over again. Such processes that can be triggered by crisis, disaster and other societal, political or market phenomena or actors. However, how can such processes become an experience to be perceived by others? Urban Evolution intends to answer this question within a performance in public space on the Theaterplatz square in Weimar, Germany, developed in the context of a research project at the Bauhaus Universität Weimar. By doing so we reimagined a quasi-historic process of cycles of rebuilding, demolition and rebuilding again and again that remains invisible unless some sort of signs indicate this process. European cities may actually be a case in point, considering wartime destruction and postwar modernist planning schemes that drastically altered historic cityscapes. Yet, while physical or social traces may remain, the context was hardly the design of memory or history as a creative practice, and the resulting void was coincidental. Therefore, there is a need to go beyond such examples and research whether transferable models of such processes can be established to better understand their design relevance.
The Urban Evolution performance consists of different steps including movement, climax and void. These steps are indicated by signs of their occurrence – „scar tissue“, perhaps – that are marked on the surface of the square with chalk. Structures measuring 3.5 x 3.5 x 7 feet made of wood frame lined with cardboard are „manned“ by one person each who moves them from the inside along the square. Chalk tracings are drawn on the paving from inside the structures. The structures move in steps towards a climax of maximum density – a speculative pre-existing condition. They then withdraw from the square completely, laying bare a resultant condition of removal as a post-event situation. The spatial void becomes complicit to the documentation of its appearance as the chalk signs marked on the surface of the square indicate the action of removal, until rainfall washed them away. Within the Urban Evolution performance, the void becomes perceivable as well as the action that preceded and generated it (Javier Barona, Mark Kammerbauer, Arne Löper).

Friday, April 19, 2019

Nexialist Presents: Schismotecture (The Navidson Record)

Schismotecture a.k.a. “The Navidson Record” is a conceptual cycle of recordings inspired by the concept of the house that is larger on the inside than on the outside from Mark Z. Danielewski's novel “House of Leaves.” Similar to the design of Friedrich Kiesler's “Endless House” it declares a state of perceptive emergency by dissolving the conventions of architectural geometry into a continuum, thus eerily creating an intellectual counterpart to the cave by having emerged from the depth of the earth. Schismotecture takes these spatial concepts into the realm of the audible. The recordings combine electroacoustic composition and improvised sessions (synthesizers, effects) with field recordings and electric guitar and bass guitar.

Tuesday, April 16, 2019

MIMESIS (Heterotopia #040515)

The Nexialist Operation “Mimesis” is an experiment in using architecture as a music instrument. The object used was a particularly suitable one, a studio building by Peter Haimerl in Munich with pneumatic facades that served as percussion instrument. The video features four parts (for those who want to scroll forward): 00:10 - 03:00 Soundcheck; 03:00 - 05:00 Session: sound of space; 05:00 - 08:00 Mirror Image: space of sound; 08:00 - 09:30 Triangulation: space/sound/instrument.

The following is the original concept text of the project: “We conducted an operation in the studio building Mimesis, designed by architect Peter Haimerl. The building as such was used as a sound creation device in this operation. Located in Putzbrunn, Munich, Germany, the studio complex consists of two cube-shaped buildings ca. 6 x 6 x 6 m each, one of which, with two pneumatic transparent vinyl facades, was used for the operation. The resulting sounds were recorded by electro-acoustic, digital-acoustic and digital-video means. During and in the course of the operation the created and recorded sound material was processed in situ and used as the source of an electro-acoustic / digital-acoustic improvised composition.

The specific spacial acoustic characteristics of the building were utilized for the creation, projection and recording of the recorded and processed sound. The result is an acoustic signature equaling a spacial-acoustic context, portraying the identity of the building/space in successive levels. This is inspired by the motif of the “turning of the mask” as described by Vilem Flusser. Session 1: recording the resonance of the pneumatic facade: strikes with hand, roll of tracing paper, stick measure [folded] and a dynamic microphone. Session 2: percussive, rhythmic, improvised composition for four hands and pneumatic vinyl facade. Session 3 : electro-acoustic, improvised composition for digital-audio recording, analog effect unit, speaker combo and building interior. Session 4: improvised composition for bass guitar, effect units, building interior and facade. Mark Kammerbauer + Nedim Tezkosar 2004.”


The Xenakis-Emulator is an audiovisual adaptation of two key works of architect/composer Iannis Xenakis - the composition “Metastasseis” and the facade for the monastery “La Tourette” by master architect Le Corbusier. We created a synergetic digital animation of an interpretation of the facade and the music composition. The facade strips, which reflect the “Glissando”-motif of “Metastasseis”, float in an abstract space, followed by a vertical strip that “plays” our music interpretation in realtime and synchronous with the vertical facade elements.

Iannis Xenakis was born in Romania in 1922. His family returned to Greece in 1932. He studied architecture and math and became a resistance fighter, fleeing from Greece to France in 1947, where he worked in the office of Le Corbusier. He was a student of Olivier Messiaen, and as first composer within New Music, he used mathematical probability in composition, becoming the inventor of stochastic music. Xenakis composed pieces for orchestra, scenic works for chorals, ballet music, and radio pieces.

Working in the office of Le Corbusier, Xenakis collaborated on the monastery La Tourette from 1953-1955, developing the design and the placement of the vertical elements for the strip windows on the western facade of the building. The motif of “decreasing-increasing” of intervals of the vertical posts is derived from the composition “Metastassis”, on which Xenakis worked at the time as well. Metastassis for orchestra is defined by the extraordinary and debut implementation of glissandi within a composition. The glissando – the sliding movement within the tonal scale, for instance with a string instrument – is the defining motif of both the composition and the facade design for the monastery La Tourette. This connection is interpreted within an adaptation of both works.

Measurement of the facade division results in the definition of a system consisting of 48 intervals that comprise the increasing-decreasing appearance of the facade. These intervals can be interpreted as the 1st to 48th factor of a smallest common interval. Beyond that, minima and maxima can be identified, meaning points of largest and lowest density in the facade system, as well as the distances between them.


A year ago I recorded a bass feedback session at the Bunker, Blumenstrasse, Munich. It will form the core of new Fragment King recordings te...