Working with Z'EV was key to the Nexialist Organization – aimed at creating projects at the intersection of architecture, music, and visual design through shared creative methods and theoretical inquiry. We collaborated on recordings and performances from our first meeting in 2005 until his passing in 2017. Marcelo Aguirre (Spastic Dementia, Evil Spirit, Æternum Sacro) was key to facilitating a collaboration between us. THE.BÄND initially featured Z’EV, Alexandra von Bolz’n, Marcelo and I, as Fragment King. The project combined percussion, bass, and voice into an extreme, physical form of metal-drone performance art. The Bänd emerged in 2008 from a collaboration between legendary percussionist and sound artist Z’EV, drummer Marcelo Aguirre,  vocalist Alexandra von Bolz’n, and bassist Fragment King. Their partnership began with a live performance in Berlin and developed into a long-distance creative exchange between Germany and England. Critical Void, Munich, 2013. photo: Andreas ...

Playing live with Z’EV was precisely what the Nexialist Organization set out to do – creating projects at the intersection of architecture, music, and visual design through shared creative methods and theoretical inquiry.  At Gallery Wallywoods in Berlin in 2008 an improvised performance took place uniting percussion legend Z’EV, Alexandra von Bolz’n, Marcelo Aguirre, and Fragment King in a visceral half-hour of physical sound energy.  On September 13, 2008, Nexialist members joined experimental percussion pioneer Z’EV for a live performance at Gallery Wallywoods in Berlin. The line-up featured Marcelo Aguirre (Evil Spirit, Spastic Dementia) on drums, Alexandra von Bolz’n on vocals, and Mark Kammerbauer (Fragment King) on treated bass guitar. The ensemble performed a single, thirty-minute piece of throbbing, droning intensity — a physical encounter between rhythm, noise, and space. Superfast grindcore percussion collided with detuned, slow-motion bass riffage, accompanied b...

Urban Evolution was a key performance that materialized the ethos of the Nexialist Organization as a transdisciplinary platform connecting architecture, music, and visual design through shared creative methods and theoretical inquiry. A public-space performance in Weimar, Urban Evolution visualized cycles of construction and destruction to explore the city as a living, self-transforming system. Cities embody the continuous processes of building, destruction, and renewal — processes triggered by crisis, politics, or market forces. Urban Evolution sought to make these transformations visible and experiential through a live performance on the Theaterplatz in Weimar, Germany. Developed within a research project at Bauhaus-Universität Weimar, the work reimagined urban history as a performative cycle of creation, collapse, and rebirth. Temporary structures made of wooden frames and cardboard (3.5 × 3.5 × 7 feet) were moved by individual performers across the square. As they shifted pos...

The Mimesis Operation was a true manifestation of what the Nexialist Organization was about: a transdisciplinary platform connecting architecture, music, and visual design through shared creative methods and theoretical inquiry. A site-specific sound operation conducted within an architectural space, Mimesis transformed a building’s pneumatic facade into a resonant instrument, revealing the acoustic identity of architecture itself. Nexialist Operation Mimesis was realized with technical assistance from N. Tezkosar.   On May 15, 2004, the Nexialist Organization conducted an operation in the studio building Mimesis in Putzbrunn, near Munich, designed by architect Peter Haimerl. The building itself — two cube-shaped structures approximately six meters per side — served as the sound creation device. One of these cubes featured two pneumatic transparent vinyl facades that became the focus of the experiment. The operation used electroacoustic, digital-acoustic, and video recording...

Nexicon was an extension of the Nexialist Organization ethos, conceived as a transdisciplinary platform connecting architecture, music, and visual design through shared creative methods and theoretical inquiry.  A collaboration between the Nexialist Organization and Annihilvs, Nexicon merged improvised digital sound and live performance into a raw experiment in real-time composition and technological deconstruction. Nexicon consisted of Mark Kammerbauer, Lee Bartow, and Tim Spann. The project represented a digital tour-de-force of improvisational sound — non-linear, non-semantic, and uncompromising. The trio sought truly spontaneous uses of digital tools, often pushing their equipment to destruction. This is what free jazz might eventually sound like in fifty years. Simple Things Are Often Monstrous von Nexicon   The recordings of Nexicon range from introspective and mysterious to violent and explosive. Initially intended as a one-off live appearance at Pyramid in New...

The Nexialist Organization, founded in 2000, was intended as a transdisciplinary platform connecting architecture, music, and visual design through shared creative methods and theoretical inquiry. One of its key projects of the early years was Torso. I recorded and produced material extensively for this project. This blogpost deals with one set of recordings in particular: An experimental study in sonic architecture, Generating Space transformed digitally processed sound into an exploration of imaginary spatial perception. Generating Space is an experimental audio–spatial study in which generated and processed sonic environments serve as perceptive catalysts for the creation of imaginary architectural spaces. The process reverses conventional creation: imagined structures become the origin of the sounds, forming the tectonic substrate that defines the audible phenomena. The compositions employ a minimal, industrial, and digital ambient aesthetic — clicks, noise, an...

While predating the founding of the Nexialist Organization, Fragment King represents its concept as a transdisciplinary platform connecting architecture, music, and visual design through shared creative methods and theoretical inquiry.  Fragment King is the musical persona of Mark Kammerbauer — a synthesis of human and mechanical sound, lyrical defiance, and conceptual critique developed through decades of evolving production and performance.   Fragment King is a fictitious persona created by Mark Kammerbauer for music production and live performance. FK’s work can be understood through three interwoven aspects: roots, methods, and aims. The roots trace back to the 1980s, influenced by early hip-hop, metal, and industrial pioneers such as Public Enemy, Big Black, and Godflesh. Their hybrid sound — a fusion of electronic and conventional instruments — reflected both the political dimension of noise and the cultural anxiety surrounding technology’s dehumanizing impact. Ic...

While it predates the founding of the Nexialist Organization, the Xenakis Emulator encapsulates its core intention as a transdisciplinary platform connecting architecture, music, and visual design through shared creative methods and theoretical inquiry.  An audiovisual homage to architect–composer Iannis Xenakis, the Xenakis Emulator recreated the structural logic of his composition Metastaseis and Le Corbusier’s monastery facade La Tourette through synchronized digital sound and animation. The Xenakis Emulator is a digital reinterpretation of these two key works. The project transformed the mathematical and musical relationships underlying both works into a synchronized audiovisual experience. In the 1950s, Xenakis collaborated with Le Corbusier on La Tourette, developing the rhythmic spacing of the vertical facade elements. These intervals mirrored the glissandi patterns of Metastaseis, composed at the same time. The Nexialist project translated this relationship into sound ...

Before the Nexialist Agency, there was the Nexialist Organization, a platform for my media projects. It all began 25 years ago ... The Nexialist Organization was conceived as a transdisciplinary platform connecting architecture, music, and visual design through shared creative methods and theoretical inquiry.    Astronaut logo created by Liis Roden Nexialist was founded to establish a platform for creative enterprises located between tangible architecture and audible music, with visual text as the binding element. Hence our motto: sound as architecture, architecture as text, text as design, design as sound. The nexus between these disciplines also inspired the tri-head — the un-copyrightable emblem of the Nexialist Organization. Rooted in methodologies derived from architectural and media theory, Nexialist applies these principles to projects spanning audio and visual production, design, text, action, and live performance.  The platform Nexialist.com was created in 2000 b...

Fragment King recorded and mixed ANGEL POSITION between 2007 and 2012. Bazooka mastered the recordings in 2012 for the 2014 original album release on MHz. In 2022 the album was released in a Fragment King 25th Anniversary Special Edition with completely new artwork and packaging created by Liis Roden. Both releases garnered reviews that are collected in the following. They include praise and are not without surprises. Vito Camarretta,  CHAIN D.L.K.: "It's the first time I personally listened to a full-length by Fragment King, the harsh brainchild by Mark Kammerbauer, out of his personal imprint Nexialist, and even if some features of his style, which combines ferociously hammered breakcore patterns with armour-piercing dark-industrial sonorities and some listenable sludge-metal and power electronics marks as well as sensibly vitriolic lyrics, is somehow recognasible, the sonic architecture sounds less naff than some past releases. Both its musical language and lyrics are defin...

In 2021 the Fragment King recording titled RETREAT was released by Annihilvs Power Electronix, the label of Theologian mastermind Lee Bartow. It comprises multiple tracks in tape cassette format plus additional digital exclusive remixes by Snowbeasts and 2W (Thierry Arnal). What did reviewers have to say about RETREAT?   Sean Reveron, CVLT NATION: "Unholy hell yes this is some dubbed out dirge that will make hairs on your neck stand up! I can’t get enough of the FRAGMENT KING project because it’s that RAD!" Roland Torres, SILENCE AND SOUND: "All in tense minimalism, FRAGMENT KING alias Mark Kammerbauer floods the space of guitar notes crawling on porous surfaces, impregnated with industrial engines. RETREAT is not without evoking the universe of Godflesh in delightful mode, flagging on piles of pointillist notes supported by spectral rhythms with mechanical consistency. FRAGMENT KING develops an underground world with abstract hallucinations, bending under the weight o...

Since I wear a cap with the Nexialist Octomeron and people asked me what it is about, it's my turn here to elaborate. The Nexialist Octomeron is a geometrical shape with eight corners. It was developed as a graphic symbol in the course of the ANGEL POSITION album project. Its origin is a photo of a building in the Dutch city of Almere. The moment I saw the Woontoren Silverline residential tower by Claus en Kaan Architecten in 2006, I knew it would be relevant to me at some point in the future. In 2007 I began writing and recording songs for what later became the ANGEL POSITION album produced for my music alias, Fragment King. The planned CD release of the album with MHz Records required illustrations, and one particular inspiration was soon found in the BLEACH anime. In one episode, Gin Ichimaru releases his Zanpakutō and, in follow his Bankai form, Kamishini no Yari. It cuts through the surrounding city with such force that the severed parts are lifted from the structures that su...

I just found out there are still tapes available with our 2011 recording "The Garden", a nearly 20 minute track we released under the name "The.Bänd". They can be ordered through the Z'EV online archive. Percussion, Arrangement, Lyrics: Stefan Joel Weisser / Z'EV Vocals: Alexandra Von Bolz´n Bass, Synthesizers: Mark Kammerbauer / Fragment King   Link: https://www.thezevarchive.com/ Bandcamp digital version: https://zevalexandravonbolznfragmentking.bandcamp.com/    

NEON is a video of a neon lamp dying. The camera attempts to focus repeatedly while the intensity of the neon light emitted changes periodically. The variances unfold a space of mystery. The sound is the sound of the camera recording and resetting focus in relation to changes in luminescence.

Sometimes I write about music and how it influences society – and vice versa. Here is a letter to experimental percussion pioneer and master Z'EV that was intended as an invited contribution to a workshop on the topic of "doom and gloom". The letter was never published, however, until now. From 2005 to 2017, when he passed, I had the honor and opportunity of learning from him and playing and recording music with him. This letter was part of our conversation at the time. Resilient Ears for Doom - Extreme Music and Coping Capacity Dear z'ev, there was something I was wondering about and given your knowledge on music I hope we can discuss the matter somehow. It actually relates to two of my main interests - disaster and music. The thing that I am wondering about is whether music can contribute to the capacity of people to cope with stressful situations or even disaster. I'll try to be more specific: in developed countries, there are forms of emergency management and ...

Sometimes I write about music and how it influences architecture and the city – and vice versa. Here is a text about interrelations between music and cities from an urbanistic viewpoint, with Los Angeles and Slayer as examples.  Lost Angeles: Slayer's Hell Urbanism Author: Mark Kammerbauer Publication details: unpublished manuscript, 2024 1. Introduction: The city as mirage of counter-culture The music, lyrics and visuals created by bands can be indicative of the urban life their members experience. Their work can be seen as a form of dialogue between the music cultures they participate in and the urban spaces they inhabit. This dialogue establishes an interrelation between the musician's city of reality and the music's city of imagination. Perceived this way, music becomes a medium of alternative visions of the city or audible utopias and dystopias. The question this perception raises is: What kind of imaginary city do musicians envision and what does it tell us about the ...