Stefan Goldmann is a German-Bulgarian sound artist who performs regularly throughout Europe, Asia, the Americas and Australia. He has expanded his artistic reach through a wide array of extraordinary projects outside of club culture, while maintaining an approach that remains essentially techno: investigating grid rhythm, sampling, vinyl culture or digitization down to their cores. These encounters range from an intimate solo performance at Kyoto's iconic Honen-in Temple to performing the first ever electronic concert at Philharmonie Berlin's Grand Hall, in addition to curating a two-day festival for the eminent classical music institution. Commissions include the large-scale music theater composition "alif", site-specific concerts at LA's LACMA museum and CCK in Buenos Aires, collaborations with Ensemble Modern, scoring the award-winning documentary A1 and as well as a ballet for Nationaltheater Mannheim.
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viewing 1 To 25 of 43 items
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4x7"
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EK 002FLEXI
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Scale and Scope is a set of four colored flexidisc records, each containing an instantiation of an in dividual microtonal designer scale, developed by Stefan Goldmann. The four discs are housed in a printed cardboard portfolio. The flexidisc medium plays like a vinyl record, but is inherently noisier and tends to exhibit more signal disruptions than conventional vinyl. Expect occasional clicks, crackle and other variations, which differ substantially from copy to copy. These make each set unique.
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MACROM 077CD
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Layered asymmetry: With Alluvium, Stefan Goldmann explores new structural paths for machine rhythm in irregular meters. Throughout the album, different non-binary patterns run simultaneously, interlocking into twelve offerings of jagged polyrhythmic magic. Such a framework may juxtapose eleven on one axis, against seven on another and five on a third -- building stunningly iridescent edifices of multidimensional time. This is the third album in a series of "first principles" research of metric asymmetry. Veiki (MACROM 059CD, 2019) laid the foundation for "real broken beat." Then, Vector Rituals (2022) explored the bending of grids in order to yield idiosyncratic forms of organizing time. Alluvium takes these two approaches and expands them beyond their initial reach: irregular patterns moving along parallel timelines within one unifying grid.
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5CD
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EK 001CD
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For its first publication, Edition Kymata has commissioned a five-part long-form work from Stefan Goldmann. This exposé to an incorporeal spatial structure captures infinite reverb responses to five carefully designed immersive spaces. Building on his earlier reverb-only work Call and Response (ASH 13-9CD, 2022), the capacity of reverberation to enable the experience of impossible architecture is further explored -- possibly in its clearest form to date. The five zones of intangible aural sensibility compiled in this box set range from soothing to menacing, inviting to a unique critical listening situation in which the listener's perception is the dynamic side of the exchange while the stimulus persists in profound permanence. The properties of the five enclosures -- boundless in the time domain, distinct in their spatial characteristics -- reveal themselves completely and can be precisely described in statistical data, allowing for multiple levels of access: a brief visit, long-term contemplation, exclusive ownership. Stefan Goldmann is an electronic music composer based in Berlin, Germany. Edition Kymata is a publishing house for audio arts with a focus on the study of first principles.
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CD
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MACROM 074CD
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Acustica: For this acoustic sources-only mix, Stefan Goldmann cut up a vast library of recorded interpretations of 20th century avant-garde compositions. Layered segments of individual instrumental and chamber performances form emergent orchestral opulence -- just to spill over into actual orchestral segments. Goldmann has tackled acoustic archives before with his edit of multiple recordings of Igor Stravinsky's "Le Sacre du Printemps." However, this mix traverses the disparities and convergences of seven decades of score-based music with impressively results. A metalevel polystylistic work that explores vast potentials of integration, interaction and interference. An antidote to the prevailing practice of sounding compositions in scattered, sterile isolation. Here, opposing concepts of music are channeled into one continuous flow, with a coherent DJ performance as the vehicle.
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10"
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MACROM 071EP
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One of techno's most joyous experimenters delivers two intriguing up-tempo tracks. Instead of hitting hard and heavy "In Aggregate" and "Carob" float delicately, with explosive detail blooming freely and high above what feels rather like a bass-laden undercurrent than a persistent kick drum foundation. Both tracks expand on Stefan Goldmann's extensive polyrhythmic research and integrate tonal and metric functions within the same units of sound. Somewhat radically, the central sound of "Carob" is all in one: beat, bassline and single-note melody. By contrast, "In Aggregate" unfolds lush layers of exuberant percussion, countered by rounded drops of bass and an occasional vocal snippet ricocheting off of claustrophobia-inducing walls of glass. As future-forward as they are organic, these offerings come with appropriately idiosyncratic artwork by Jorinde Voigt. Printed on inside-out heavy paper cover; includes printed inner sleeve.
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LP
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MACROM 065LP
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Proprietary rhythm: Vector Rituals sees techno polymath Stefan Goldmann constructing polymetric rites of percussion. Synthesized from the ground up, timbral characteristics, metric properties, dynamic expression, and micro rhythmic phrasing are shaped by the interactions of layered control voltage functions. The result is an assembly of abstract dances ranging from the intricate to the powerful. Near-humanoid behavior emerges from liquid patterns, laid out and brought to life by the freewheeling encounter of modular waveforms and snappy envelopes. Sounds evoke metallic textures -- ringing, scraping -- and group into virtual shapes from tiny spikes to vast surfaces. Some of the parametric relationships employed are as loose as to imply chance drifts. Others lock in with strict regularity as found in the 13 vs. 17 polymeter pattern of opening track "Nayba". By contrast, in the strictly repetitive yet highly asymmetrical sequence of "Yukagir" each metric step has its own uniquely irregular duration. The center piece of this collection is "Ayon" with multiple autonomous and highly agile timelines. Its constituent layers break away in radial fashion and fall back together at widely spaced points of congregation. All compositions herein present powerful proof of the unlimited capacity of electronic music to yield new principles of organization and to solidify their expression into clear-cut gestalt. Artwork by visual artist Jorinde Voigt. Printed onto the inside-out cover sleeve and continued on the inner jacket; 180 gram vinyl.
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CD
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ASH 13-9CD
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Stefan Goldmann's Call and Response has been crafted entirely from artificial reverb and nothing else: historic and contemporary units, responding only to brief electronic impulses (clicks). All sounds stem exclusively from the intrinsic properties of machines designed to replicate spatial acoustics. These range from early mechanical means such as springs and plates to increasingly complex algorithms aimed at convincingly approximating the rich acoustic responses of real world environments. The devices' idiosyncrasies enable the creation of spaces that fall short of naturalistic expectations. Yet new possibilities of exploring physically impossible alternative realities emerge. Recorded music has a rich history of much beloved and highly unreal spatial designs -- from the slap-back sounds of rock n' roll and the echoes of dub to gated snare reverbs and the nonlinear reflection bursts of 1980s drum machine fame. Despite the expected obsolescence of most historic efforts in the age of convolution reverb technology, many odd spatialization techniques persist and are now the subject of contemporary emulation. In Call and Response, the capacity of artificial reverb to go far beyond what the reflections of physical surfaces can elicit is often amplified to gargantuan proportions, only to be folded back into what appears to be the most minuscule of entrapments. Hissing tunnels and threatening wells vibrate left and right. A succession of "frozen" reverbs solidifies what otherwise would be fleeting reflections. Rapid shifts create artifacts that tear the fabric of space, only to reveal the underlying mechanics of its simulation. Occasional feedback, a reverb's output looped back into a unit's input, produces eerie harmonic textures inherent in algorithmic response curves (analogous to resonance frequencies determined by a room's geometric shape). The continuously dynamic handling of parameters such as size, density and shape allows for the exploration of impossible architecture along impossible trajectories. An aural choreography, plotted along permanently receding walls, liquid ceilings and crumbling floors. This is Goldmann's first album for Ash International. He runs the Macro label with Finn Johannsen.
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MACROM 063CD
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In February 2020, the Philharmonie Berlin opened its gates for the first time in its history for a fully blown electronic music program. Strom Festival continued for two days across three of the Berlin landmark's jagged spaces. Stefan Goldmann had been invited to serve as the festival's artist-curator and also performed its inaugural concert in the building's pentagonal Grand Hall. As much as this event was without precedent for one of the world's leading classical music institutions, it is also an uncannily typical match for Goldmann's rather unusual career path. Though nominally techno, his music is distinguished by an ever-imaginative take on the form. From exploring asymmetric rhythms to designing novel tuning systems to re-imagining the technological base of electronic music -- few have looked further beyond the genre's functional foundations. Respectively, his music keeps appearing in contexts far removed from techno's club institutions -- featuring work with ensembles, dance companies, film makers and his own opera, as well as site-specific performances at venues such as Kyoto's Honen-In Temple and LA's LACMA museum. Live At Philharmonie Berlin is closely tailored to the Grand Hall, featuring a wealth of material specifically developed to engage its architecture and acoustics. Apart from being a document that brilliantly captures the Philharmonie's aural footprint with clear-cut synthetic probes, it also comes close to being a retrospective of Goldmann's most striking formal ideas. Harking back to his early use of wavetable synthesis for highly liquid units of pitch, timbre, and dynamics, his recent recontextualizations of industrial preset sounds and gradual shades of distortion fuse to shape the soundscape of the one-hour performance. These sounds then swirl through shifting microtonal grids and freewheeling polyrhythms, solidifying into alien melodies, spiky transients and blocks of colored noise.
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12"
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MACROM 061EP
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Sheer power. With Tears Of Joy, Stefan Goldmann hands in an array of unapologetically bass-heavy techno cuts. Attacking a sound system's full width, these simplistic two-tone workouts turn out to have tremendous depth. Never standing still, constant feisty modulation keeps basslines and bodies moving, encircling each other, merging joyously.
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CD
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MACROM 059CD
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Stefan Goldmann's Veiki is a bold foray onto new rhythmic ground for machine-based dance music. While Veiki's sounds appear firmly grounded in contemporary techno, its pulse is neither based on the 4/4 tradition nor on the breakbeat continuum. The meters employed here are distinctly asymmetric -- i.e. they never add up to binary entities, but are odd-numbered instead. With patterns of 7, 9, or 11, they offer possibilities for dislocating the center of gravity not available to standard rhythmic fare. Thus, this may represent one of the few systematic efforts to move slamming machine techno onto an alternative rhythmic foundation: Real broken beat. Asymmetric/irregular meters are part of the ancient music tradition of the Eastern Mediterranean as well as of South Eastern Europe. The patterns employed here are also present in the traditional music of Bulgaria with which Stefan Goldmann grew up. Citing no other aspects and using no "ethnic" samples, these tracks lead a way to resolving the problem of how to bring the tools and traits of cutting-edge electronic music to alternative traditions of music, or vice versa. Structure over surface. Of course, irregular meters have been visited for structural exploration for Western musicians of different backgrounds, such as Don Ellis, Steve Coleman, or Burnt Friedman & Jaki Liebezeit who have all developed highly distinguished and idiosyncratic approaches in relation to these. Thus, a reduction of the phenomenon to its core and emergence as a clear-cut and reproducible form appeared imminent for at least two decades. The inexplicable surprise though is that despite the ongoing rhythmic differentiation of breakbeat and techno this obvious step seems to have never been taken decisively. Now here it is.
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CD
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MACROM 057CD
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Tacit Script builds its own network of interdependent grids in which sound objects move and thrive along multiple dimensions. All frequencies fall into custom scales, developed individually for each track and generated by bending the standard chromatic system. Most electronically produced music operates with a 1V per octave tuning which is divided into 12 equally spaced steps, equivalent to the piano keyboard. Stefan Goldmann skews or stretches this variable in order to achieve different microtonal spacings, wider or narrower, thus eliminating the octave -- commonly a fixture in most music. Intervals might thus be at 75 or 110 or 138% of their "regular" ratio. Melodic objects then traverse these unfamiliar spectral structures, singing electric songs with alien voices. Divergent metric layers drift apart, only to be pulled back together at critical points. Clearly pulsed elements hammer out persistent patterns, yet complex polymetric friction persists over long stretches of time. Alternating continuous sweeps and abrupt shifts through wavetables define the highly synthetic, yet organically developing timbres of Tacit Script. Relentless repetition is the force which yields coherent composite shapes in this setting. The results are emphatically in the realm of techno -- what is being pushed forward are the interrelations of its constituent layers. The music in this album is derived from works originally commissioned for the five-hour music theater work ALIF, as premiered at Berlin's MaerzMusik Festival of 2016. Revised from 2017 to 2019 for the album format, the works herein are an excellent representation of Stefan Goldmann's ongoing investigation of the wider potentials of techno.
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12" + CD
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MACROM 056EP
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An Ardent Heart is a focused techno mini-album that brings forward Stefan Goldmann's most dancefoor-centered material since 2008. The tracks push and pull relentlessly. Despite their linear appeal, there is an intricately balanced interplay between the heavy-handed kicks, the bouncy bass accents, and the sizzling, yet clear-cut details whipped up by the rallying drums. The peculiar, seemingly "vocalized" mode of synthesis is maybe the most unifying sonic characteristic of the six tracks and one coda. Formant shaping, vowel filters and airstream perturbations let a wide range of sounding elements speak in the tongues of a cybernetic Babylon. Layered polymetric patterns perforate the aural plane with alien scripts. Clearly structured, yet opaque messages that seem to have traveled for aeons emanate from the red-hot circuitry. They spill into a network of delays, channeled down into labyrinthine corridors, enveloped in electrostatic noise. Most tracks build on chance patterns evoked with hardware sequencers and freeform modulation sources. The resulting synthetic systems are as cohesive as they exhibit vast internal variation and range. Balancing simplicity and complexity right in the middle, the results are just as immediately gripping as they can feed sustained attention. A wide palette of distortion and overtones mark the contours of individual elements that seem to have near-physical qualities -- as if there were metallic strings, thick membranes, a resonating sphere, all struck by electric mallets, caused to vibrate by mechanical bows and sung by silicone lips. Includes CD with three tracks not included on 12".
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12"
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OLGA 007EP
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D Edge's cultured off shoot Olga is back with a new EP, Radiolarian, from German-Bulgarian Stefan Goldmann. "Radiolarian" is seven sublime minutes of tunneling techno rippled with neon melodies and firefly-like pads. It is a high tempo and high impact track but a subtle one that works its magic slowly. "Streams" is freaky and unhinged, with weird synth sounds making for a trippy atmospheres as minimal beats roll below - perfectly detailed so as to work on both head as well as heel. A perfectly well sculpted EP with deep and sleek lines that get right into your head.
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CD
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MACROM 050CD
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Based on the eponymous play by brothers and author/performer team Tobi and Mike Müller at Schauspielhaus Zürich, Swiss experimental documentary film A1 traverses through time and space along Switzerland's first and most elongated highway structure. Rich in archival sources, it sheds light on the costs and benefits of rapid movement: social, migratory and ecological patterns, economic and military designs that are mostly not immediately obvious to the casual motorist. Stefan Goldmann's soundtrack engages the film's multi-layered aesthetics full on, providing a dazzling array of short compositions. Profoundly synthetic in production, this free-wheeling phantasmagoria of peculiar, yet intensely likeable miniatures branches off into all directions - from minimalistic to overflowing, calm to banging, nightmarish to soothing. The visual patina of historic documents is playfully mirrored in intense distortion and noise artifacts, bound into rhythmic units and melodies formed of ghost notes. Finding new ways of mining his techno background to yield surprising new forms and ideas, Stefan Goldmann has proven his abilities in a dazzling range of projects over the past years. Works for dance, ensembles, an opera and various object-based creations made him a natural choice for the job of finding a refreshing way of linking sound and image. On its own, the music for A1 holds up by putting the listener on a high-velocity road trip of the curious mind.
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12"
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MACROM 050X-EP
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Rough techno versions, derived from Stefan Goldmann's synth-heavy soundtrack for the Swiss documentary, A1 (2016). Five cuts remixed into the mighty 4/4 grid (mostly). "Inward Slope" features a warped beat layout and wave-table splashes, sounding like a weeping robot fighting with a cat. Free-wheeling hardware synthesis and heavy-handed beats line up for concrete-blasting impact on "A-Drive" and "Constructor". "Roadside Lot" is a soothing ambient FM tech tool. "Spikes" is a looser affair, around a scintillating analog synth riff.
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12"
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MACROM 044EP
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Techno exists in a distorted field. Awake at night and asleep by day. Rough is beautiful, slick is rotten. With Macro, things are always a bit more wrong -- and a bit more beautiful -- than usual. Stefan Goldmann's "Fossil Water": Fender bass tones weave a pad, from the thumping bottom up to the silky top, congregating into intense moments of dancefloor bliss. On the B-side, the tense yet laid-back workout of "Nephelin" tip over into the sheer techno claustrophobia of "De-Gauss." Dark and warm like a case of Stockholm syndrome -- feeling cozy while the horror comes upon you.
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Book
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TBW 002BK
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For his first book, Presets - Digital Shortcuts to Sound, Stefan Goldmann has talked to industry leaders, programmers, producers, musicians, and fine artists to collect a comprehensive description of the world of preset audio. From synthesis to sample libraries, from instrument emulations and gear cloning to automated composition and performance, Goldmann explores short cuts in electronic music, classical and traditional musics, guitar rock, and fine arts. Disruptive gear and iconic presets, their background and impact -- from Korg's M1, Yamaha's DX7, and Roland's 909 to Ableton Live, Native Instruments Reaktor, Sidechain compression, and Auto-Tune -- are discussed with unprecedented depth and clarity. Featuring interviews with: Robert Henke aka Monolake (Berlin), musician, lecturer, and co-developer of Ableton Live; Mike Daliot (Berlin), former senior audio developer at Native Instruments and lecturer at Universität der Künste Berlin; Michael Wagener (Nashville), multi-platinum music producer and engineer; Cory Arcangel (New York), fine artist; Dinis Schemann (Munich), pianist; Tomoko Itoh and Junichi Ikeuchi (Inagi, Japan), members of the Korg M1 product development team; Toni Stevanovski (Sofia, Bulgaria), arranger; and Dimitar Kotev (Sandanski, Bulgaria), musician. Introductory essay and glossary by Stefan Goldmann. Stefan Goldmann is an electronic music artist and DJ. Together with Finn Johannsen he runs the Macro label, which releases work by such artists as Elektro Guzzi, KiNK, and Peter Kruder. He also writes a column for the flyer program of Berlin's Berghain club and is a co-author of its 2015 book Berghain 10. In 2014 he released Industry (MACROM 040CD/LP), an album based exclusively on presets. 220 pages; paperback; 110mm x 171mm. First edition industrially sized.
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12"
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4 46091EP
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Shimmer was the record that put Stefan Goldmann on the techno map when it was originally released in 2004. The dark, throbbing tracks, reduced to the essentials, captivated many of the DJs who ruled the scene that year. Josh Wink threw in one of his most focused remixes for Goldmann's debut on Ovum -- which was also the first release by a German artist on the label. Now reissued, for the DJs who play this prototype sound today. Meticulously remastered by Rashad Becker at Dubplates & Mastering, with the title-track cut to a full 12" side, it's never sounded better.
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LP
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MACROM 040LP
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LP version. Industry sheds all personalized effort and tests how far you can get by using presets only. All sounds are factory presets of three obsolete 1990s Japanese workstation synths, all effects are presets, all notes are quantized and most panning is purely accidental (laid out in the preset sounds). Industry doesn't rely on successful presets, but on failed sounds of now-obsolete synthesizers -- industrial assumptions of where culture will go, but where it chose not to. The result is a surprisingly pleasant listening experience with effortless grooves and rich textures -- and mildly demonic connotations. From smooth to kicking -- a conveyor belt enjoying mood swings. As beautiful as the scheduled meeting of a PVC sheet and a thermoform mold on a workbench. 0% sound design. What? -> Presets are pre-programmed settings of a device such as a synthesizer or an effects unit: factory stock sounds, equivalent to stock photography or preset styles and filters in apps like Instagram. Audio presets provide a library of "typical" and supposedly desirable sounds -- thus enabling a consumer to bypass individual programming and get quick and easily repeatable results. Every modern instrument or software comes with presets -- and people use them heavily.
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CD
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MACROM 040CD
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Industry sheds all personalized effort and tests how far you can get by using presets only. All sounds are factory presets of three obsolete 1990s Japanese workstation synths, all effects are presets, all notes are quantized and most panning is purely accidental (laid out in the preset sounds). Industry doesn't rely on successful presets, but on failed sounds of now-obsolete synthesizers -- industrial assumptions of where culture will go, but where it chose not to. The result is a surprisingly pleasant listening experience with effortless grooves and rich textures -- and mildly demonic connotations. From smooth to kicking -- a conveyor belt enjoying mood swings. As beautiful as the scheduled meeting of a PVC sheet and a thermoform mold on a workbench. 0% sound design. What? -> Presets are pre-programmed settings of a device such as a synthesizer or an effects unit: factory stock sounds, equivalent to stock photography or preset styles and filters in apps like Instagram. Audio presets provide a library of "typical" and supposedly desirable sounds -- thus enabling a consumer to bypass individual programming and get quick and easily repeatable results. Every modern instrument or software comes with presets -- and people use them heavily.
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12"
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MACROM 036EP
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If you have a sweet tooth for what makes the world of dance music go round, Stefan Goldmann nails it for you. From the monster bass of "Minute Blaze" to the edgy grind of "Fat Tails"; from the dark chocolate shavings of "Beautiful Loot" to the soothing sparkle of "Peak Phosphoru"': Signs Taken for Wonders is a magical mystery trip into the space between a kickdrum and a sawtooth bass, weeping tears of joy together at the love song of a filter. This does to dancefloors what Jules Verne does to kids' imaginations: wide awake all night by the thrill of wonders.
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MACROM 033CD
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Live At Honen-In Temple is a document of a one-off site-specific performance in one of the most impressive settings a live electronic concert could possibly ever have. Featuring a wealth of new and unreleased material, Stefan Goldmann has custom-tailored a sound world as clearly detailed as the hidden gardens of Honen-In. Microtonal drifts, metallic grids and delicate turns merge into a gleaming monolithic pull. Embedded in the slopes of the Eastern hills of Kyoto, Japan, the Honen-In Temple marks the boundary between city and forest. By day, only its outer gardens are accessible. For this intimate concert, Honen-In opened its doors to a handful of listeners, exposing its intricate inner halls and gardens. Specifically selected and arranged for this night and site, Stefan Goldmann's music goes through an hour of transformations. The side walls of the main hall removed, electronics unobstructedly merged into the surrounding acoustic environment, while daylight faded into the dark of night. This concert performance was part of the Villa Kamogawa artist residency by Stefan Goldmann in Kyoto, Japan.
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2x12"
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MACROM 022R-EP
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Ghost Hemiola is a double vinyl set of empty locked grooves that contains nothing but its very own surface noise -- and physical structure. It is a sculptural revision of Stefan Goldmann's earlier locked groove-based double vinyl The Grand Hemiola, but it also serves as a genuine hauntological vinyl surface noise tool-kit. Pulling a knife or other tool to its grooves allows for cutting your own unique beats directly into the record. A total of 132 empty grooves allows for as many individual patterns to be created.
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12"
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4 46087EP
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Stefan Goldmann's very first release from 2001, thoroughly remastered. Long out-of-print, this is an extremely sought-after classic vinyl. In their day, these tracks created the prototype of today's stripped-down house sound. "Closing In," with its broken funk, predated a lot of current convergence between house and bass music. Lastly, Goldmann provides a brand-new, ultra stripped-down edit of the mesmerizing "Read That Lips." Essential all the way. Remastered by Dubplates & Mastering's Rashad from the original DAT source and cut to premium vinyl.
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2LP
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MACROM 030LP
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Gatefold double LP version. De-tuning notes has been central to house and techno since the early days in Chicago. 17:50 by renowned Berlin producer/Macro Recordings head Stefan Goldmann is where this bittersweet sound turns systematic: the whole Western harmonic standard is thrown overboard and replaced by pitch systems that yield beautifully alien yet incredibly catchy melodies, bass lines and chords. It is probably the first new melodic concept to enter house music since the days of acid. In a field of music whose innovations seemed to have come to an end, pitch-bending opens up radically fresh possibilities. Tones never stand still but are bent and re-tuned for maximum expression. As a result, even the most simple melodies sound exotically new and intriguing. Warm synths, analog drum machines and loads of dirty distortion shape the album's sound. 17:50 is as much about pitch going crazy as about celebrating a rough, vivid hardware sound. Bend the pitch and the mind will follow.
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