BLAUES RAUSCHEN 2025: Tag 4 mit Jana Irmert, Moritz Wesp und Playtronica

In the organizer's words:

Hybrid soundscapes - the expansion of the instrument in the digital age: At Lokal Harmonie, three musicians explore the interfaces between body, instrument and technology. Their works question classical instrumentality and show how physical sound production, digital manipulation and performative practice intertwine. Using experimental techniques, they expand the concept of the instrument - be it through the transformation of natural sounds, the virtualization of classical playing styles or the radical redefinition of the voice as a sound-creating medium. In doing so, they move in the field of tension between embodiment and post-instrumentality, in which sound can be experienced not only as an acoustic phenomenon, but also as a performative gesture.

In her live performance Ashes, Berlin sound artist Jana Irmert explores the acoustic materiality of natural processes: Volcanic field recordings of lava, rubble and desert sand are overlaid with processed vocal fragments and digital and analog synthesis processes. Their work can be located in the context of acousmatic music, in which sound sources are detached from their visible origin and develop their own narrative quality. With his virtual trombone, Cologne-based Moritz Wesp extends the instrumental concept of the trombone into digital space - his playing movements are captured by sensors and transformed into sound, so that the physical body of sound exists only as a gesture. At BLAUES RAUSCHEN, Playtronica Berlin - Aglaya Demidenko and Sasha Pas - present Orbita, a record player-like, kinetic color sequencer that transforms movement and color tones into sound and is based on synesthetic experiments to explore color-music relationships. The instrument connects what we see with what we hear in a playful, dynamic way.