The Origins Of The Nexialist Organization

How and why did the Nexialist Organization come into existence? It may have started with my childhood in the US Tri-State Area, where my father managed a racing team for the Pocono, Indy 500 and Can-Am races, with the high-octane deep bass growl of the Porsche 917 as soundtrack. It may have started in my teenage years after relocating to Germany when I discovered all forms of underground music from Grindcore to Industrial. It may have started in my years as an architecture student when I discovered Iannis Xenakis and how to create sequences using a PC. It was a small step from tape experiments to DAT demos, from live sets to vinyl releases – under the alias of Fragment King. Moving to the US after my uni years came with a plan: record music and release it. The Nexialist Organization was born and the Halforganic Series came to life. Many collaborations took place during these years and continued when I returned to Germany. The music shifted into metallic realms by using electric and bass guitars in combination with treated vocals and electronic sounds. One major turning point was using a building by architect Peter Haimerl, the Studio Mimesis on the outskirts of Munich, as a percussive sound device. Another major turning point was becoming acquainted with Z'EV and having the privilege of working with him. The results were many recordings and performances, some released in various formats. The Nexialist Organization bridges all involved disciplines, from architecture to sound creation, from composition to improvisation.

 

At TU Munich, photo by Andreas Graf 2013

Performing as Fragment King at Elektroanschlag Altenburg, photo by Stefan Alt 2007


Fragment King @ Bandcamp



Mark Kammerbauer is an architect, urbanist, and media artist with an interest in the tectonic properties of composition and their translation into practice and performance. He is the founder of the Nexialist Organization, a platform for projects, performances and recordings under the motto "architecture as text, text as sound, sound as architecture".

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