Notstandskomitee concert 17. May 2025 at Algorave Helsinkis Object Permanence festival at Caisa Cultural Center Helsinki (FI). Playing tracks from current album The Doomsday Layout
Live coding concert with Steiners own software gravel, augmented with a digital synthesizer he developed 2 years ago and the DIY modular he developed in the last months. Visuals are made with a custom software created with the open source Godot game engine, controlled by the live coding environment via OSC.
Petri Kuljuntausta: When Birds Dream of Dinosaurs... and Sing a Song to Ancient Times & Aspen
concert 13. February 2026 as part of Block 4 dialogues I at Toinen Kerros / Äänen Lumo, Helsinki (FI)
https://block4.com/dialogues1.php
The impetus for the solo performance is birdsong and the structure of birdsong. We do not know what the birds "say" in their songs. But at least we can imagine the themes that have been passed down from one generation of birds to another. Petri Kuljuntausta: guitar, electronics. Petri Kuljuntausta improvises as a guitarist and with electronic instruments, plays with animals and birds, makes underwater performances, performs in different natural spaces with environmental sounds, compose electronic music and create sound art. Kuljuntausta is currently developing the technique on how to play as an artist with nature and animals: How to connect through sound to the sound processes of the environment equally and without disturbing the nature's own sound processes.
ASPEN The work is based on two soundscape recordings Kuljuntausta made in summer 2025: a huge aspen tree swaying in the wind on the shore of a lake, and early morning bird soundscape. The work begins with the rustling sound field created by the leaves. When the wind blows, thousands of leaves beat against each other. As the protein-rich leaves of the aspen are hard, this produce rhythmic sounds when they hit each other. A wide "clapping sound field" is created. A few dotted water sounds and the splashing of water might tune the ear to the waves. But this is an illusion, it is the sound of aspen. The second sound layer is a modified, abstracted and distanced, bird soundscape. This provided a starting point for new sounds generated with granular synthesis. The work ends as it began, with the sound of a huge aspen tree in the wind.
Tina Mariane Krogh Madsen: vibrational difference # III (a remembrance of collapse) concert,
part of Block 4 dialogues I at Toinen Kerros by Äänen Lumo(Nokiantie 2), Helsinki (FI)
vibrational difference is a series of sound performances based on Madsen's geological field recordings from mine explosions undertaken at the iron mine Malmberget, Sabmé in June 2024, where sound waves are activated by human-induced seismic events which in the piece are the foundation for a gradual drone composition which bear witness to a dynamic and violent transformation of the landscape. The dynamite blastings are here witnesses of a resonance moving across the geological and the socio-political. The fieldwork and recordings undertaken at Malmberget took place every night at midnight where Madsen visited different locations around the mine area with a geophone. The first recording was the closest possible to get to the main pit and the following recordings had varied degrees of intensity, also beyond the audible, and on the last day some rock-matter collapsed as a consequence which also became an evident rumble many kilometres away.
In the performance and piece vibrational difference # III, Madsen uses effect pedals to improvise with the recorded sounds to evoke a relation to both colonialism and human infrastructural damage through the sonic traces of mineral extraction from the mining industry. The low frequency sounds are thus extending themselves across the site of recording as pulsating sonic matter which connects the listener to both resonances of remembrance but also as an access to direct geological destruction.
Tina Mariane Krogh Madsen: electronics, field recordings.
Tina Mariane Krogh Madsen (DK) is an artist and researcher who works between performance art, sound, open technology, and matter, in a mode of practising and collaborating with philosophy and geological agency. Madsen holds a doctoral degree (Doctor of Arts) from Aalto University School of Arts, Design and Architecture (FI) at the Department of Art and Media, and has worked with facilitation and education in multiple frameworks. Madsen has presented their sound and performance work internationally and is the founder of performance protocols, a nomadic platform for instruction-based art and collaborative processes. Madsen is a member of the Finnish Bioart Society, the Eco- and Bioart Lab (LiU), and a certified facilitator of Deep Listening workshops from the Center for Deep Listening, Rensselaer Polytech Institute (US).
https://tmkm.dk
Elektronengehirn audiovisual concert Hardware 13. February 2026 as part of Block 4 dialogues I at Toinen Kerros / Äänen Lumo, Helsinki (FI) https://block4.com/dialogues1.php
Malte Steiner initiated Elektronengehirn in 1996 as an experiment to create music exclusively using software-based sound synthesis. The name Elektronengehirn is an old German term from the 1960s for computers, which were then referred to as electronic brains. What sounds trivial today was, back then, a pretty radical idea, especially when one lacked access to the computational resources of institutions like universities. Computer sound synthesis for the masses was in its infancy, and not much was possible in real time. Meanwhile, Block 4 studio added more and more hardware over the years, like the ever-growing Eurorack Modular system since 2002. The album Hardware from 2024 breaks with the initial Elektronengehirn concept and features tracks which are also done with Eurorack modular synthesizer and custom electronic instruments that Steiner has been developing since 2022. During the concert pieces from the album are performed live on computer and DIY modular synthesizer. The Linux computer runs Pure Data for the audio and a custom software created with the game engine Godot for visuals.
Here is the second round of the fantastic photos by Roman Odjinud of the block 4 dialogues I event Friday the 13. at Äänen Lumo in Helsinki from the soloconcert Petri Kuljuntausta and the impro trio Kuljuntausta - Madsen - Steiner
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| Petri Kuljuntausta |
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| Petri Kuljuntausta |
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| trio Kuljuntausta - Madsen - Steiner |
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| trio Kuljuntausta - Madsen - Steiner |
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| trio Kuljuntausta - Madsen - Steiner |
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| trio Kuljuntausta - Madsen - Steiner |
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| trio Kuljuntausta - Madsen - Steiner |
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| trio Kuljuntausta - Madsen - Steiner |
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| trio Kuljuntausta - Madsen - Steiner |
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| trio Kuljuntausta - Madsen - Steiner |
Here is the first round of the fantastic photos by Roman Odjinud of the block 4 dialogues I event Friday the 13. at Äänen Lumo in Helsinki from the concerts Elektronengehirn and Tina Mariane Krogh Madsen,
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| Elektronengehirn |
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Elektronengehirn
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| Tina Mariane Krogh Madsen |
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Tina Mariane Krogh Madsen |
From the desk of Malte Steiner:
"The current state of my DIY electronics modular synthesizer I developed in the past months, my take on a portable instrument in a suitcase for concerts and jam sessions. Before I develop a Midi interface I first revise the Clockworks gate module with a more flexible second version with variable gate lengths and random mode, based on Arduino. Second half of March I will be in Helsinki and I am open for concerts of my projects Elektronengehirn or Notstandskomitee, or jam sessions."
Tina Mariane Krogh Madsen and Malte Steiner have each their own solo exhibitions on the different floors at Oksasenkatu 11 in Helsinki (FI).
7–29 September 2024
Oksasenkatu 11 00100 Helsinki
Wed–Fri 12–18
Sat–Sun 12–17
Opening 6 September 17–22
Madsen shows [proximity] sensing in, sensing out
What would happen if the focus were solely on the senses and the ephemerality of gestures and listening as the work of art itself? What if the act of facilitating relation(s) becomes a way to transversally connect to a place, a neighborhood, a city?
