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Sacrum Profanum Festiwal


Zeitkratzer is a soloist ensemble. Its strength comes from its members. Founded in 1999, it gathers nine musicians, light and sound engineers living in different European cities from Amsterdam to London to Oslo meeting for working phases in Berlin.

Zeitkratzer benefits from its musicians - their advanced and unique playing techniques, their acquaintance with electronics and technologies, their hybrid experience and varied backgrounds: new or improvised music, experimental Rock and Pop, Noise, Ambient, Folk Music… Meanwhile, individual awards to zeitkratzer members include the German Jazz Award (Gratkowski), a fellowship at the Kings College Cambridge (Lukoszevieze) and composition commissions from the French state (Friedl).

zeitkratzer is a perverse subversion of musical genres. Keiji Haino meets Karlheinz Stockhausen meets Whitehouse meets Terre Thaemlitz meets Iannis Xenakis meets Lou Reed. The joy of the intensity of sound crosses all borders and brings these musics together into zeitkratzer's plain of complex textures. A challenge to both composers and non-academic noise-makers thrown by the most talented performers, improvisers, sound artists and composers around.

zeitkratzer is independent from music institutions. The ensemble finances itself through free projects and international concerts. This freedom facilitates an idiosyncratic and ground breaking repertoire that has made zeitkratzer internationally recognized. Faithful only to their own tastes and beliefs, they have established themselves to be one of the most intriguing ensemble to collaborate with. Musicians working with or for zeitkratzer include Helmut Oehring, Keith Rowe (AMM), Radu Malfatti, Nicolas Collins, Jim O’Rourke, Merzbow, John Duncan, Pluramon aka Marcus Schmickler, Bernhard Guenter, Alvin Curran, Lee Ronaldo (Sonic Youth) and Elliott Sharp.

zeitkratzer is not worried about preserving the “purity” of New Music. Music, especially so-called new music, thrives on continuous contamination. The idea of „pure taste“ as an independent aesthetic category was revealed by Pierre Bourdieu to be a medium of social distinction.