For Peace. Against War. Who is not?* A Compilation for the people of Ukraine
This compilation of almost 200 tracks was made possible by invitation and open call by Component Records and Kai Niggemann. Please consider buying a copy to support the humanitarian crisis in Ukraine. One of my recent pieces Kin(d) is also included, alongside names like Wolfgang Flür (Kraftwerk), Robin Rimbaud/Scanner, Jack Dangers (Meat Beat Manifesto) and many more.
THIS CONCERT HAS BEEN MOVED TO MARCH 10! SAME VENUE!!
I had asked Kirsten Reese, Alessandra Eramo and Ariel Orah to play with me on August 28, 2021, when Sowieso kindly asked me to organize a night there. We (and the audience) liked the concert so much that we decided to continue as a quartet and named ourselves “Böseblick”, a grammatically wrong name that means “The Evil Eye”. Since then, we’ve been rehearsing as much as we could/Corona allowed. Initiative Neue Musik Berlin kindly provided us with some funding, which allowed us to prepare an evening of sonic storytelling at KM28, Berlin on March 3.
On March 11, I’m going to play a solo set at Temporary Autonomous Tele Vision streamed concert series curated by Kris Limbach. The setting for this performance will be Ausland, but the concert is stream only and can be viewed here: https://www.twitch.tv/ttaattvv
The complete lineup of the evening is:
AL de La Algaida (+ Francesca Carbone) / Cedrik Fermont / Del_F64.0 (Antigenialistic Rrrriot) / Jealousy Party / Jorge Vicario / Korhan Erel / Phill Niblock / Pia Achternkamp / String Trio (Munsha, Hopek Quirin, Jochen Arbeit) / Udo Noll
After playing no concerts in December and January, I will return to performing well-rested. The first performance is a take on a Turkish-Greek shadowplay tradition called Karagöz (Dark Eye). Along with Kriton Beyer (harmonium, daxophone, effects, objects) and Nicolas Wiese (visual concept, analog and digital visual performance), we will perform a 21st century shadowplay inspired deeply from but not imitating the Karagöz tradition. Below is the press text for Dark Eye:
Shadow plays or shadow theatre have existed for centuries as a folk art form all over the world in which stories, legends, fairy tales and parables are told. This takes place in an audiovisual intermediate world, the screen. Many forms of shadow theatre traditionally have the functions of both entertainment as well as education and criticism – in a space between fiction and reality.
In a very special manifestation, the figure of the Karagöz / Karagiozis has established itself in the geographic area of Turkey and Greece. This figure – in the truest sense of the word cross-cultural – still deals with current issues of social coexistence. Although Karagöz certainly continues to exist in the 21st century and is especially popular as children’s theater, the figure is still quite rare in an abstract artistic adaptation, as is the case in this project.
In Dark Eye the three artists transport the figure of Karagöz into the present and develop their own dramaturgy, which they implement with their own characteristic means of expression. Each of the three artists also contributes a different perspective to the theme through their individual life story. In the course of the performance, this difference results, as it were, in a web of dialogue that can be traced back to the own childhoods of Korhan Erel and Kriton Beyer, who both grew up with the provocative and socio-critical parables of Karagöz, being interwoven with the visual interpretations and associations of Nicolas Wiese.
Korhan Erel is an electronic musician, improviser and sound designer of Turkish origin, Kriton Beyer is a musician, composer with Greek roots and Nicolas Wieseis an audiovisual artist and electronic musician/composer born in Northern Germany.
The Dark Eye Trio: Kriton Beyer – harmonium, daxophone, sampling Korhan Erel – electronics, percussion, voice Nicolas Wiese – visual art / live projections
My piece “Soundtracking” is a composition that serves as an imaginary soundtrack for a horror/sci-fi film that could have been made in the 1980s. The piece was commissioned by the synthesizer trio Lange//Berweck//Lorenz in 2021. The trio will premiere the piece in Berlin on November 22nd at Theater im Delphi, following the Hannover premiere on September 10. Please find more information on the series “Very Refreshing Catalyst” as well as the concert program below.
Lange//Berweck//Lorenz have brought the tradition of live synthesizer in new music back from the dead, coaxing new power from old musical traditions. Now comes another update of musical legacies with “Very Refreshing Catalyst.” More electronics, more video, more delicacy and more space travel for analog and digital (sound) techniques! The program includes two world premieres, such as Malte Giesen’s video score, a soundtrack of the Apollo 11 moon landing, and Korhan Erel’s “Soundtracking”, which makes electric discharges and pneumatic hissing audible. Furthermore, Martin Lorenz will leave the synthesizers completely out in “Rauscharbeit” this evening, and in Daniela Fantechi’s “Within a Dream” organic sounds are very carefully piled up and sometimes interrupted by the chirping of crickets. Or was it a UFO after all?
Korhan Erel goes international this month with concerts in İzmir, Berlin and Bucharest (postponed to 2022).
The first concert is a solo electronic improvisation at the digitİZMir 7 Festival curated by composer/musician Mehmet Can Özer/Yaşar Üniversity in Izmir, Turkey. Korhan will play on November 3 at 19:30 (Turkish time). The second concert of the evening will be by Mehmet Can Özer. Korhan will also present a workshop titled “Improvisation in Electronic Music” with a focus on limitation, listening, being “present on stage” and instrument design ideas.
Korhan’s next concert will be at the Berlin Jazz Festival with Mariá Portugal’s ensemble, where Portugal will present re-worked, re-interpreted, re-imagined and de-constructed versions of songs from her upcoming album EROSÃO.
“Some of Germany’s strongest improvisers, including saxophonist Angelika Niescier, tubist Carl Ludwig Hübsch, and electronic artist Korhan Erel, will join her in forging heavily improvised versions of songs from “Erosão”, stitched together in spontaneous order through additional layers of improvisation.”
Korhan’s third and fourth concerts will be in the project “Unified Voices of Banat” led by Claudia van Hasselt, Sabina Ulubeanu and Amen Feizabadi. The project is a site-specific transtraditional-contemporary music theatre that focuses on the fascinating, uniquely diverse region of Banat in Romania, where many European cultures, which were brought together here by migration in the first centuries of the last millennium, co-exist in what some describe as a kind of “Little Europe.”
The project is presented by TAN-IN طن این in cooperation with Art&Co Association Bucharest
COVID UPDATE! The ensemble will not play live in Bucharest. This concert is postponed until February 2022. Instead, a dress rehearsal performance in Berlin will be streamed live on November 12th at the Meridian Festival in Bucharest.
Claudia van Hasselt // Voice, artistic direction Biliana Voutchkova // violin Mihai Pintenaru // clarinette, traditional instruments Korhan Erel // Live electronics Paula Turcas // traditional singing Sabina Ulubeanu // composer, artistic direction Amen Feizabadi // composer, artistic direction
Korhan Erel is going to perform in the second concert of Mariá Portugal’s EROSÃO series at Stapeltor in Duisburg. This series will evolve around Maria’s 2021 album EROSÃO. The concert with Korhan and Liz Kosack (synthesizer) will be improvisations based loosely on the album material and ideas, and will focus on the electronic side of the album. The concert is on 22.10.2021 and will start at 20:00. Tickets can be purchased at this link
Korhan is going to present a masterclass on fundamentals of electronic music at Stapeltor on 23.10.2021. In this masterclass, Korhan will speak about fundamental concepts of elektronik music, such as sound synthesis, sampling, as well as on simple performance ideas and the use of mobile devices for music making. The masterclass will be interactive and audience participation will be encouraged. The participants can bring their instruments in case they want to ask instrument-specific questions. The event is free, but participants are required to reserve a place using this link.
Korhan Erel will play a live solo soundtrack concert to the sci-fi cult film “Them!” (1954) on October 13, 2021 at Cuba – Black Box* in Münster. The concert will last the entire duration of the film and will be entirely improvised without prior preparation. Disclaimer: Korhan saw the film many years ago in a film class.
* at the time of this post, the concert was still not listed on the website for reasons unknown to me, but it’s happening.
Korhan’s second and third concerts will be at the The Dorf & Umland Festival on October 15, 2021 at Kreuzung an St. Helena in Bonn. The first concert is with Ephemeral Fragments, a wonderful improvising trio with Florian Walter (tubax) and Emily Wittbrodt (cello). Ephemeral Fragments was founded in 2019 and has spent the pandemic period quite active with rehearsals, recordings and even several concerts. Their debut album “Mit Gefühl” will be released in 2021.
The third concert will be as guest performer with violinist Julia Brüssel’s experimental string ensemble Liasemble. The ensemble consists of the following wonderful musicians:
The Cretaceous–Paleogene (K–Pg) extinction event was a sudden mass extinction of three-quarters of the plant and animal species on Earth, due to the impact of a massive comet or asteroid approximately 66 million years ago. It has been speculated that had this event not occurred, certain dinosaur groups would have had the potential to evolve into intelligent beings.
For their newest production No Comet, the trio The Liz will create a piece of non-humanist speculative fiction, positing a world where the dinosaurs didn’t become extinct and are, in fact, highly sentient beings. As a species, humans tend to take for granted our place in the world, forgetting that evolution – that life itself – is predicated upon chance and contingency. In No Comet, The Liz consider these chance events and imagine other possible pasts, presents, and futures, in order to hopefully acquire a larger lens through which to view ideas of sapience and societies.
No Comet will be premiered on 8th & 9th October at 20h in Sowieso, Berlin as both a performance and installative dinosaur cafe “Saurwieso”.
I was recently approach by the blog Florilegio for a video interview. Florilegio is an independent blog covering experimental and underground music with an inclusive atypical approach. Their aim is to shift the traditional focus from men to wom人n, from centres to peripheries, from journalists to musicians in an attempt to increase awareness, address under-representation and promote connectedness. Originally developed through word-of-mouth, Florilegio focuses on creating a network of experimental wom人n artists and musicians willing to share points of view, experiences, tastes and thoughts, through an all fem人le curated platform.
Please follow this link for my section on the blog and do not forget to watch/read other interviews, texts with and from wom人n artists.
Many thanks to Sara Xiayu and Chiara Lee, co-curators of Florilegio, for inviting me to their wonderful blog. Big thanks to my amazing partner Tuçe Erel for filming and editing the video.
Korhan played four shows with Klub Demboh and guests in August and September. The guests were Kalle Mews, Antoine Hummel, Mano Hiroki (subbing for Ciska Jansen, who couldn’t make it) and Lena Czerniawska. The venue was Petersburg Art Space