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01. Stefan Goldmann - Onset Trajectory
02. Stefan Goldmann - Flood
03. Stefan Goldmann - Merge
04. Stefan Goldmann - Blind Deconvolution
05. Stefan Goldmann - Neodym
06. Stefan Goldmann - The Hearth
07. Stefan Goldmann - Fission
08. Stefan Goldmann - Caesium-133
09. Stefan Goldmann - Surface Boundary
10. Stefan Goldmann - Viscosity
11. Stefan Goldmann - Builders
12. Stefan Goldmann - Polymer
13. Stefan Goldmann - Shift Invariant
ARTIST
TITLE
Live At Philharmonie Berlin
FORMAT
CD

LABEL
CATALOG #
MACROM 063CD MACROM 063CD
GENRE
RELEASE DATE
12/18/2020

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.