Cross Cuts
ENG:
For the third time, Frank is inviting five more musicians to perform in a concert as part of his “Cross Cuts” series.
At the “Cross Cuts” concerts, six musicians perform for one hour, overlapping and sharing the stage in constantly changing duos. The individual 20 minute sets flow seamlessly into one another. One musician leaves the stage, another enters, and the sound continuously shifts and transforms.
No solos, no interruptions, just an ever evolving stream of sound textures, rhythms, and sonic dialogues in constant motion.
1 & 2 → 2 & 3 → 3 & 4 → 4 & 5 → 5 & 6 → 6 & 1
DE:
Zum dritten Mal lädt Frank fünf weitere Musiker*innen zu einem Konzert im Rahmen seiner Reihe „Cross Cuts“ ein.
Beiden „Cross Cuts“ stehen sechs Musiker*innen eine Stunde lang gemeinsam auf der Bühne – allerdings nie alle gleichzeitig. Inständig wechselnden Duos überlappen sich die einzelnen 20-minütigen Sets und gehen nahtlos ineinander über. Eine Person verlässt die Bühne, eine andere kommt hinzu – und mit jedem Wechsel verändert und verschiebt sich der Klang.
Keine Solos, keine Unterbrechungen – sondern ein kontinuierlicher Strom aus Klangtexturen, Rhythmen und akustischen Dialogen in ständiger Bewegung.
LINE-UP:
Alina-Aljosha @cello_preacher
Baphomet Vernacular @catrina_sonora
Frank @frank_noise
İpek Odabaşı @ipekodabasi__
Sicker Man @sickerman
TinTin @tintin_patrone
Alina-Aljosha Anufrienko
Alina-Aljosha Anufrienko is a Siberian-born, Berlin-based non-binary composer, cellist, and performance artist whose multi-disciplinary work blends classical instrumentation with contemporary electronics and experimental sound design. Born in 1985 in Omsk, Anufrienko fled Russia in 2022 due to the war in Ukraine and increasing violence against the LGBTQ+ community, bringing a deep focus on political displacement, human rights, and social inclusion to the creative practice. As the founder of the Documentary Music Lab, Anufrienko frequently collaborates with inclusive theater groups and neurodivergent performers, presenting powerful, socially conscious works at prominent international venues such as the Haus der Berliner Festspiele, HAU Hebbel am Ufer, and MUDAM Luxembourg.
Baphomet Vernacular
Diana Fonseca's work explores noise from an eclectic perspective through self-made electronic instruments and the German Krummhorn. Ancient timbres that collide with unstable circuitry, creating distorted sound realms between chaos, ritual and meditation.
A psychedelic noise blending medieval breath with machines into dense, hypnotic soundscapes.
Frank
Frank creates a unique soundscape in the transition from noise to music. He has arranged his improv set with hints of melodies, sporadic rhythms, and sound structures formed from a variety of analog sound samples. These are integrated into the digital signals of a no-input mixer and other electronic devices. An additional element is a modified resonator guitar. Driven by a motor, a coil, and a closed circuit, its strings are set into permanent vibration, generating endless sustain. This results in a radical transformation of both the sound and the handling of the instrument.
İpek Odabaşı
İpek Odabaşı is an Istanbul-born, Berlin-based noise maker, sound artist, experimental DJ, and curator. Her practice centers on experimental music, including noise and improvised performance, combining samples and field recordings with live sound produced through hardware instruments and digital systems for real-time synthesis, processing, and transformation.
Sicker Man
Sicker Man’s main instrument and focal point of his artistic creation is the electric cello, which he processes and modulates to transfer his artistic visions into reality. Since 2004 he has been composing music for film, theatre, radio plays, installations and performance art and releasing numerous albums of his various musical projects on his own label blankrecords. He has been collaborating with international artists and ensembles, as well as pursuing his own sonic explorations by experimenting with alternative performance spaces and different approaches to performance practice itself.
Tintin Patrone
With a focus on minimal sound work and long-duration performances, Tintin’s artistic endeavors are deeply influenced by her studies in microtonality. Using a trombone and a range of modulation devices, she crafts compositions that gradually unfold, featuring sustained tones that create a contemplative atmosphere. However, it is in the realm of drone music that Tintin Patrone truly carves her sonic identity. Embracing the mesmerizing and meditative qualities of drone, she skillfully utilizes her trombone and modulation devices to create expansive soundscapes.
Her compositions in this genre draw listeners into a sonic journey, where the immersive and sustained tones become a vehicle for introspection and a deep, almost meditative experience. Tintin’s drone music invites audiences to transcend the conventional boundaries of sound and immerse themselves in the hypnotic textures she weaves. Through her sonic explorations, she not only pushes the limits of artistic expression but also offers a unique perspective on the profound connections between music and the human experience.
