Moritz Stumm & Henk Heuer

Henk Heuer’s and Moritz Stumm’s -work Ibogain, modifies states of consciousness through audio visual stimulants. By incorporating acoustic illusions such as binaural beats, the Shepard-Risset-Glissando, and time-shifting polyrhythms, a psychoacoustic experiment emerges that is expanded by hypnotic, geometrical projections in the three-dimensional space.
Extracted from an African tropical plant, the hallucinogen Ibogan is administered in shamanic rituals and leads to a waking dream-consciousness. Sound and rhythm have always been used for healing and the enhancement of perception. Simultaneously, there is a belief in the enhancement of the human being through technology and science which has taken on religious traits. With the help of neuronal stimulation and so-called brain-computer interfaces, a new-, more efficient and intelligent human being is supposed to be created. The cooperation of Heuer and Stumm oscillates between these poles of archaic spirituality and the current tendencies of a supposed rational optimization of human beings. The cultural and psychic aspects of sound and music are recurrent motifs in Moritz Stumms artistic work.

Mit ihrer Arbeit Ibogain verändern Henk Heuer und Moritz Stumm den Bewusstseinszustand durch audiovisuelle Reize. Unter Einbeziehung von akustischen Täuschungen, wie binauralen Beats oder dem Shepard-Risset-Glissando, sowie zeitlich versetzten Polyrhythmen, entsteht ein psychoakustisches Experiment, welches durch hypnotische, geometrische Projektionen im dreidimensionalen Raum visuell erweitert wird.
Das Halluzinogen Ibogain, das aus einer afrikanischen Tropenpflanze gewonnen wird, wird in schamanischen Ritualen verabreicht und führt zu einem Wach-Traum-Zustand. Auch werden Klang und Rhythmus in allen Kulturen seit jeher zur Heilung und Wahrnehmungserweiterung eingesetzt. Glechzeitig gibt es heute im digitalen Zeitalter einen Glauben an die Verbesserung des menschlichen Wesens durch Technologie und Wissenschaft, der Züge des Religiösen annimt. Unter anderem durch neuronale Stimulation und sogenannte Gehirn-Computer-Schnittstellen, soll ein neuer leistungsfähigerer und intelligenterer Mensch entstehen. Zwischen diesen Polen archaischer Spiritualität und aktuellen Strömungen vermeintlich rationaler Mensch-Optimierung, bewegt sich die Zusammenarbeit von Heuer und Stumm. Die kulturellen und psychischen Aspekte von Sound und Musik sind wiederkehrende Motive in Moritz Stumms künstlerischen Arbeit.

Moritz Stumm & Henk Heuer, Ibogain; 2018, 10 inch Dubplate, Edition of 30 + 5AP ‘s

Der Espressokocher

Wilhelm Klotzek

On the first side of the record is the title Bonn, Beuel, Tannenbusch, Henry Moore und ich. This is one of several sound poems developed into music by Wilhelm Klotzek with the musical collective BREI .
On the second side is the audio piece Der Espressokocher which piece is based on the audio notes Wilhelm Klotzek regularly puts down and often collages a new, transmitting them as radio broadcasts. Der Espressokocher are recordings from the artist’s kitchen. For example, you can hear him grumbling about O-rings mixed with guitar play and musical recordings from Willie Nelson and Renft.

Auf Seite eins der vorliegenden Schallplatte: Der Espressokocher, befindet sich das Musikstück Bonn, Beuel, Tannenbusch, Henry Moore und ich. Dieses ist eins von mehreren Lautgedichten welches Wilhelm Klotzek zusammen mit dem Musikerkollektiv BREI musikalisch umsetzte.
Auf Seite zwei befindet sich das Hörstück: Der Espressokocher, dieses Stück basiert auf den Audio-notizen die Wilhelm Klotzek regelmässig anfertigt, und oftmals in seine Radiosendungen nochmal neu collagiert und sendet. Bei Der Espressokocher sind es Aufnahmen aus der Küche des Künstlers, in denen er z.B. über Dichtungsringe schimpft, zusammengeführt mit Gitarrenspiel und musikalischen Einspielungen von Willie Nelson und Renft.

Wilhelm Klotzek , Der Espressokocher; 2018, 12 inch Dubplate, Edition of 30 + 5AP ‘s

Priority Hunter, Forensic Files and Mental Vandal

David Kunold

How often must a certain behavior pattern be repeated until it generates an autarkic mood, how often must an acoustic sequence or pattern run in a loop until it generates an awareness of its own? The titles Priority Hunter, Forensic Files and Mental Vandal deal with the question at which point an initially naive habit develops into compulsive and in the end irrefutable behavior. This slow process is accentuated by a still on the cover showing a winning run of the computer game solitaire,- incorporating an infantile memory yet continually growing longing for exactly this falling of the cards and first feeling of addiction. Analogous to this innocuous image, the tracks in sequence as a soundtrack, can be understood as an expanding process of clarification and repression, leading up to a complacency towards continually distinct neurotic behavior. Every title was arranged during its recording.

Wie oft muss ein Verhaltensmuster wiederholt werden, bis es eine autarke Stimmung, wie oft muss eine akustische Sequenz oder ein Pattern in der Schleife laufen, bis es eine eigene Wahrnehmung generiert? Die Titel Priority Hunter, Forensic Filesund Mental Vandalbeschäftigen sich mit der Fragestellung, ab wann sich eine zunächst naive Angewohnheit entschieden zwanghaft und letztlich unabweisbar entwickelt. Exemplarisch untermalt wird der schleichende Prozess durch ein auf dem Cover verwendetes Still der Gewinnsequenz des Computerspiels Solitär, welches eine kindliche Erinnerung zugleich aber auch ein stetig wachsendes Verlangen nach eben diesem Kartenfall und somit ein erstes Suchtgefühl verkörpert. Analog zu diesem harmlosen Bild können die Tracks in der Abfolge als Soundtrack eines wachsenden Abklärung- und Verdrängungsmechanismus bis hin zur Selbstgefälligkeit gegenüber eines immer ausgeprägteren neurotischen Verhaltens verstanden werden. Alle Aufnahmen wurden während der Aufzeichnung arrangiert.

David Kunold, Priority Hunter, Forensic Files and Mental Vandal; 2018, 12 inch Dubplate, Edition of 30 + 5AP ‘s

One Beginning, three Stages and many Endings

Antje Engelmann

In the sound piece One Beginning, three Stages and many Endings, Engelmann densely assembles interviews, found footage and own recordings . The text and audio fragments originate from typical Ayahuasca rites in the Amazon region. Based on her own hallucinogenic experiences with the use and adoption of Ayahuasca tea, Engelmann considers the hype of this psychedelic brew in the globalized, psychologized, “western“ and scientific context. Rather than understanding the original rite of the indigenous groups, she focuses on the potential of reflection of autoethnographic techniques inspired by the American sociologist Carolyn Ellis. Engelmann emphasizes the linguistic attempt to classify this subjective experience in our body of knowledge with elements of pop music and spheric, electronic sounds.

Im Soundstück One Beginning, three Stagesand many Endings werden von Engelmann Interviews, Found Footage-Materialien und eigenen Aufzeichnungen dicht montiert. Die verwendeten Text- und Audiofragmente entstammen einem für das Amazonasgebiet typischen Ayahuasca Ritual. Ausgehend von ihrer eigenen halluzinogenen Erfahrung mit der Anwendung und Aneignung des Ayahuasca Tees beschäftigt sich Engelmann mit dem Hype dieses bewusstseinserweiternden Gebräus im globalisierten, psychologisierten, „westlichen“ und wissenschaftlichen Kontext. Dabei geht es ihr nicht darum, das ursprüngliche Ritual der indigenen Gruppen zu verstehen, sondern, inspiriert von der amerikanischen Soziologin Carolyn Ellis, um das Reflektions- Potential autoethnografischer Verfahren. Den sprachlichen Versuch diese subjektive Erfahrung in unseren Wissenskanon einzuordnen, überspitzt Engelmann mittels musikalischer Popelemente und sphärischer, maschinell erstellter Klänge.

Antje Engelmann, One Beginning, three Stages and many Endings; 2018, 12 inch Dubplate, Edition of 30 + 5AP ‘s

I am sitting in a machine;

Martin Backes


I am sitting in a machine; is an algorithmic work that begins with a recording of an artificial human voice reciting a text which is then run through an MP3 encoder over and over again. With each iteration of the loop, one may hear the artefacts of the encoding process reinforcing themselves and gradually distorting the artificial human voice by revealing its data format.
The work is a hommage to composer Alvin Lucier’s 1969 piece I Am Sitting in a Room. The work consists of two parts. The first part is a limited edition, 30 unit dubplate vinyl. The second is a web page application distributed via the Internet. In both renderings, there are 32 tracks selected from 3000 successive iterations of the 128 kbps 44.1 kHz MP3 encoding.

Martin Backes, I am sitting in a machine; 2017, 12 inch Dubplate, Edition of 30 + 5AP ́s, 500,- Euros



Studies of an Alien Skin

Andreas Greiner & Tyler Friedman


As the boundaries of human research approach penetration of the quantum veil, the surfaces of biological machinery begin to reveal mysterious shapes and motions. Beyond the reach of our naked eyes, skin is a pulsating alien landscape in a state of continuous geological formation, where death is an apocalypse in slow motion. Inside the abstraction of closeness, the extra-terrestrial engulfs. ‘Studies of an Alien Skin’ is visual exploration of this terrain and a speculative sonic realization of its transmissions. Scanning across different sections of pulsating bodies of one of the earth’s very own alien organisms, the installation swirls through the visual instability of matter, the empathetic projection of emotion onto non-human life, the electricity of organicity, and the psychedelia of biology.

12″ inch Dubplate

Gestaltung Cover etc:

Raphael Jacobs & SinU Ko

Side A

Study I: mouth 

Study II: skin 

Side B

Study III: pulse 

Study IV: sight 

Study V: electricity

concept by Andreas Greiner & Tyler Friedman

composed by Tyler Friedman

Touch the Sun

Martin Eder


My mistress‘ eyes are nothing like the sun

My mistress‘ eyes are nothing like the sun;
Coral is far more red than her lips‘ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.


12‘ inch Dubplate 14:54 min.

Side A

Touch the Sun part 1

Side B

Touch the Sun part2

Composition: Martin Eder
Cello: Michael Rauter
Artwork: Moritz Stumm

Special Thanks to NASA,
Natinal Aeronautics and Space Administartion

Afro Sonic Signifier

Satch Hoyt


The Sonic Shadow project was born from Satch Hoyt’s desire to share his Sonic Texts (Soundscapes) with a broader public. In fact to take his Trans National African Diasporian sonic renderings to a non specific art world audience, as a visual artist as him, Sonic Texts are solely experienced in art gallery museum exhibition contexts, this in fact is limiting the oeuvre to an often elite group, which is not his mission.The studio recorded Sonic Texts are self composed/collaged sonic narratives in conversation with, and originally designed to accompany Hoyt’s sculptural objects and installations, by remixing and editing this material with Dirk Leyers in his Berlin studio.

12‘ inch Dubplate 25 min.

composed, collaged and produced by
Satch Hoyt

engineered and mixed by
Dirk Leyers

cover painting by
Satch Hoyt

photo by
Trevor Morgan

layout by
Satch Hoyt and Moritz Stumm

recorded at Funkhaus Studios Berlin

mastered at Phlexton Studios by
Kraans De Lutin

Side A

1. Fragmented Suite
Jason Dimatteo:Acoustic Bass Shara Wurden: voice

2. How the West was won
Satch Hoyt: percussion, voice, synth

3. Movements in Spinnister
Satch Hoyt: electric flute, processed thru
Wah Wah,Wah Synth,Whammy pedal, Line6, Memory Man Hazerai, and antique Sanzas from Congo, Cameroon,

Side B

1. Sonic Shadow
Dj Spinna: additional beat programming and co-production
Evan Sobel: engineer
featured voices: Joe Louis, Don King, Muhammad Ali, Ian Wright,
Malcom X, Jimmy Grierson, Marlon Brando hair combers: Michaela Angela Davis, Latasha Nevada Diggs

2. Celestial Vessel

Swan Song

Lucinda Dayhew


Swan Song is a work by Lucinda Dayhew involving several Berlin based electronic and experimental/new music composers. It is a reinterpretation of the myth of the dying swan. The swan songs are pressed on limited edition vinyl dubplates by Flipping the Coin. Losing quality slightly with each play, as is the case with all dubplates, after approximately 500 plays the audio on the records will be rendered inaudible.

Concept and cover art: Lucinda Dayhew

Participating musicians: Clare Cooper . Gudrun Gut . Golden Disko Ship (Theresa Stroetges) . Jasmine Guffond (Jasmina Maschina) . Ari Benjamin Meyers . NSI (Max Loderbauer & Tobias Freund) also part of Moritz von Oswald Trio, with Ricardo Villalobos – ECM remixes & Tobias . Tom Thiel . Lucinda Dayhew

2 x 12‘ inch Dubplate

38 min.

With original compositions by

Clare Cooper

Lucinda Dayhew

golden diskó ship (Theresa Stroetges)

Jasmine Guffond

Gudrun Gut

Ari Benjamin Meyers

NSI (Tobias Freund & Max Loderbauer)

Tom Thiel

concept and cover art

Lucinda Dayhew

layout by


mastered at Phlexton Studios by

Kraans De Lutin 

Edition of 30 + 4AP´s, 470.- €

Kontakt Sappho

Sonja Cvitkovic, Marine Drouan, Birgit Megerle, Michaela Meise


12‘ inch Dubplate

22 min.

vocals by

Sonja Cvitkovic, Birgit Megerle, Michaela Meise

composed by

Sonja Cvitkovic and Marine Drouan

recorded and produced by

Marine Drouan

all lyrics based on quotes from translated Sappho fragments, printed in following books: Sappho Liebesgedichte, The Complete poems of Sappho

photo by

Sonja Cvitkovic

layout by

Marine Drouan

mastered at Phlexton Studios by

Kraans De Lutin

Edition of 30 + 4AP´s, 470.- €