Saturday | 06.04.19  
Past Show
Show Time
TBA   (Door 16:00)
Museum Kesselhaus Herzberge | Haus 29, Herzbergstraße 79, 10365
Schmutz Recommended Recommended

Saturday, 06 April 2019 at Museum Kesselhaus Herzberge, Berlin

15 projects
Drone, Doom, Electro Acoustic, Noise, Techno


Doors: 3:00 pm
Start: 5:00 pm

The concrete timetable is coming soon.

And we offer vegan food.

The Borsig Amp Fest is organized by the noisedownstairs collective. The noisedownstairs collective organizes concerts and events in the Berlin cellars. In galleries, factories, squats. A space for electronic wilderness. Acoustic wasteland. And open minded creativity. A space for musical self-realization. Without borders but with zero tolerance for every kind of misogynistic, racist and xenophobic attitudes and aesthetics. All shows are strictly organized DIY.


Doom/Black Metal
All witching spheres.

Past and Present Essenz: A Retrospective




Thisquietarmy is the music project of Montreal-based artist Eric Quach, a pioneer of the Canadian experimental music scene. Revolving around improvised guitar drone and by combining textural & structural elements of ambient/noise, electronic/shoegaze, post-punk/krautrock, black/doom metal, thisquietarmy creates a wide range of dynamic soundscapes which oscillates between repetitive dreamy minimalism, multi-layered noise textures and electronic industrial beats.

Following up the critically acclaimed industrial black metal album, “Anthems for Catharsis” (Consouling Sounds, 2015), heavy drone opus “Métamorphose” (Grains of Sand, 2017), sci-fi synthwave revivalist “Democracy for Dust” (Midira Records, 2017), thisquietarmy follows with “The Body and The Earth”, a heavy full-band post-drone album on Consouling Sounds (September 2018).

Since 2005, thisquietarmy has put out close to 50 releases on more than 30 different labels such as Consouling Sounds, Denovali Records, Aurora Borealis, Alien8 Recordings, Shelter Press & three:four Records. His vast discography also includes collaborations with Aidan Baker (Nadja), Scott Cortez (loveliescrushing), André Foisy (Locrian), Labirinto, Monarch, Noveller, Syndrome (Amenra), USA Out of Vietnam, Year Of No Light & Yellow6, and has taken part in other projects as a founding member such as Hypnodrone Ensemble & Destroyalldreamers.

He also collaborates live with Godspeed You! Black Emperor’s drummer Aidan Girt as a drum/guitar deo and 16mm filmmaker Philippe Leonard as an A/V duo performing at film festivals such as Mono No Aware Cinema Arts festival (New York), Filmmaker Festival (Milan) & Analogica Festival (Bolzano).

With a large body of work and more than 500 live performances in 40 countries, including performances at esteemed festivals such as Drone Activity in Progress for Red Bull Music Academy (Montreal), Nemo Digital Arts Biennale (France), Incubate Festival (Netherlands), Le Guess Who? (Netherlands), Dunk! Festival (Belgium), Amplifest (Portugal), Denovali Festival (Germany), Drone Celebration (Argentina), Moving Noises (Germany), Suoni Per Il Popolo (Canada) & Zemlika (Latvia).


Peur/panike ( La Mancha (Spain)/ Berlin (Germany)-1988)
Peur/panike is an experimental music solo project by Sodoi Rizhome.
Peur/panike is an experimental music solo project by Sodoi Rizhome. Born in “the desert” of La Mancha in Spain, Sodoi Rizhome studied Fine Arts in Granada (Spain) and finished a Master Degree in Interactive Arts and Multimedia in Valencia (Spain).
Sodoi grew up in a family with a huge interrest in music and arts: uncle Fran Mohino is a multimedia artist, uncle Emil Levian has a high musical history knowledge and ast but not least Sodoi’s parents have a special music knowledge, art and ballet. Sodoi Rizhome Mike began playing different instruments at a young age in a Music school like piano and violin. Sodoi Rizhome was influenced by many musical genres and artists like Karlheinz Stockhausen, Schönberg, Arvo Part, Tim Hecker, BJ Nilsen, Merzbow, Pharmakon, Swans, The body, Sunn O))), Autechre…
She lives somewhere in Germany (Hamburg/Berlin) since 2014 and works in a bike shop while she performs some rituals and invokes witches in her free time.
“Die kleine Hexe ist hier. Dark matter liebe 95”


DuChamp is an Italian scientist, musician and curator based in Berlin, religiously devoted to drone.

Drone is related to a precise childhood memory: the sound of the hair dryer, that her mother used to fix her hair. That was the sound of care, bliss, and infinite love.

She made her debut as solo on Aug 22 2010, and performed several time across Europe and in the US West Coast.

DuChamp uses different instruments (baritone guitar, bass guitar, keyboard, accordion) to find the closer one to the hair dryer she have in her memory.

Her debut album “NAR” recorded with Diego Ferri, has been released in 2013 through the italian cult label Boring Machines. In 2015 the split “Sculpture” with French sound artist Felicia Atkinson was released through Idiosyncratics. In 2016 and 2017 Full Body Massage records released that tapes “Nectere” and the following year “A Blazing World”.

DuChamp is the half of drone duo Fausto Maijstral (La Station Radar), with Will Gresson. She plays baritone guitar and organ in the free form freakout band Roman Catholics (Full Body Massage rec) with Andi Stecher and guitar in the female no-wave trio Xantene (Kitchen Leg records) with Saiko Ryusui and Angela Munoz. She plays in the analog electronics impro duo Instant Voodoo. DC is also one of the girl band with attitude Brabrabra (Kitchen Leg records).

She’s also member of other bands as Klaus and Can-d, Mourining Star and Sacco e Vanzetti (maybe even more).

She’s the (sweet) half of the Berlin tape label Kitchen Leg records, that produced colorful and soundful tapes from Brabrabra, BeMyDelay, Ruins of Krüger, Paro, Mumbles, Brie, The Fingers, Razor Cunts.

As curator, she organize diy and passionate gigs for artists she loves, she’s part of the XB sunday matinee collective, curated a drone sound series called Alpha wave in Spektrum Berlin, and together with Alice Cannava´, she was the co-curator of Occultofest.

Will Gresson is a musician originally from New Zealand and currently based in London, UK.

He records and performs under his own name, as well as with The Old Dream of Symmetry, Fausto Maijstral and Palatial.


Emerge is inspired by the minimalist traditions of experimentalism and non-academic noise music, focusing on generating sound structures intended to make atmospheres emerge that are open to each listener’s own interpretation. The choice of sound sources used is usually very limited. In most cases only rudiments of the original sounds are recognizable due to various treatments. EMERGE also uses and recycles raw material from a variety of artists/musicians.


Berlin-based noise artist, bringing you “sci-fi ladden weird scientist ambient fueled drone”, as someone once described it.


2-piece minimal beat-driven ambient project from Berlin.Tools used reaching from laptop to effects pedals to modular synthesizer.


Régis – future scout, material hustler, image wrestler, noise pimp and deskmeister.

Or, translated into more colloquial terms, He:
– explore futures to inform present designs, and teach my methods through academic curricula;
– present materials in progressively evolving and vanishing shapes;
– arrange images and text into posters, books, videos and websites;
– organize experimental music concerts, and strive to better my own sonic endeavours;
– manage an artist atelier in the beautiful neighbourhood of Kreuzberg, Berlin.

I am involved in the activities of =
– ~ – ~ – ~ – ~ – ~ – ~ – ~ – ~ – ~
Atelier Äuglein
Betahaus Academy
Dot Dot Dot
Glass Nest
Noiseberg & Dat


#Ambient #Noise


SPRRW is a Berlin-based solo project by young musican and sound designer Maximilian Spatz. Devoted to exploring musical manifestations of melancholy, nostalgia and loneliness, he embraces minimalism and the synergy of analogue and digital instruments and weaves together with synth lines and field recordings to creats introspective and slow-paces experiences, one song at a time. With a 4-track EP under his belt and two upcoming tapes to be released through Male Activity (Can) and Vanity Pill (UK), SPRRW is well equipped to evoke blissful sadness wherever he appears”.


From orchestral HNW to detailed noise compositions, Raune prompts as individual as intimate chains of associations. The works of Raune leave the music its own dynamic instead of jamming it into expectable sound patterns. Thus, they appear as wide, spiritual soundscapes.

“Die Musik von Raune kann man sich wie den Spaziergang durch eine innere Landschaft vorstellen, verwinkelt und scharfkantig ist es an mancher Ecke, der Boden uneben, hier und da klaffen tiefe Abgründe und Krater spucken eine ätzende Flüssigkeit. So ist Vorsicht geboten, wenn man diesen Ort durchschreitet. Dann jedoch befinden wir uns plötzlich in Räumen mit weiten Fenstern, die den Blick in einen unereichbaren Garten gewähren. Doch dieser Blick vollzieht sich im Traum, wir sind ihm ausgesetzt, haben keine Kontrolle – es ist nur zu verstehen: wir sollen etwas sehen. Was genau das ist, was da zwischen all diesen Geräuschen ein Gesicht bekommt, lässt sich nicht beschreiben. Braucht es auch nicht. Es findet ja Gestalt in den Stücken, die der Berliner Noise-Künstler Raune erzeugt. So brauchen die Bilder keine Sprache, sie entstehen über die Gehörgänge.”
Hendrik Otremba


The three misfits forming
BLOOD SECT are well known for their individual endeavours with the likes of UNRU, Sun Worship, WEHE, Loft Party, Dead Hand and Giardini, and this collective venture can only mean mayhem.


Anja Zaube’s DJ-bio starts in 2000, when she began playing psytrance but quickly turned towards playing more and more techno. After first appearances in the left-winged underground of Berlin under the alias „Nanday“ she took a short break and had a come-back to the turntables in 2008 with her new name ANJA ZAUBE. That’s when she started playing in clubs such as Golden Gate, Cassiopeia. Lately you can listen to her sets in ://about blank for example (among others).

After playing different genres of electronic dance music, Anja‘s sound turned darker and harder. Her interpretation of Techno is deep, bleak, but also industrial and experimental. That‘s what makes her sound unique and what finally got her several bookings in Berghain already and made her a popular DJ in the Berlin Underground Techno Scene.

After her first release in 2014 on the ://about blank 001, a sampler in celebration oft he club‘s jubilee, she also released her first own EP on the label HET, named Sylvan Structes EP, and is gonna release a lot more soon, starting with her own label which is gonna be launched in January 2016.


Purified Amygdala is the result of one’s own pain. In me, in us. Cleansed, pure, cathartic. After that nothing. The healing emptiness.

Borsig Amp Fest

Borsig stands as a synonym for this unusual location heavy with meaning … materialized as a boiler next to the stage. This place stands for the change in perceptibility of speed, the speed of time passing in the context of industrialization in past times. Time structures have adapted to the exploitation mechanisms of the late modern age and became socially dominant. Alienating. The cadence of speed (the fast, monotonous noise soundscape of the Borsig machinery) is naturalized in capitalist modernism. Slowness excluded. And within the stumbling, the getting lost in time structures, clinical depression and burn-out are born.

Every-day life time.

Within criticism of time, the collective experience of time and its frequency as a tangible, perceptible foundation, we can concretely express criticism of nowadays’ capitalist conditions.

And make alternative concepts audible. An anti-experience of time.

Drone Music opens up a new experiencing of time, when the sine signal is subtly layered in unusual time intervals and audio sculptures are created which disturb us, which invade our time frame and disrupt the familiar time experiences. Silence. Learning to bear slowness.

LISTENING. Taking your time.

Noise Music, however, drives the sound of the late modern age to other levels, anticipating the future. Until the industrial sounds, the aestheticized screaming of the (Borsig) machines are united in one wall of sound that only drones. DRONE. White noise.

Entropy. The decay of the capitalist time order acoustically foreshadowed.

The machines will be eliminated by the speed of progress. Thus the boiler room is also in a – according to its actual purpose – lethargic condition. It gained silence through its non-value, its uselessness. The drive of time has passed.

With our festival, we want to give room to a different experience of time at this location for a day. To give utopia to this place of the past.

To use this opportunity to give this room an acoustic aura and to absolve it from its actual history.
To repeal the lethargy of this spot, the stagnancy, and fill it temporarily with the creativity of the now.

Curating this festival explicitly relies on merging musical diversities from different contexts and different approaches to the creation and performance of music.

Metal meets Musique Concrete
„Classical“ band constellations meet improvisation


Borsig steht als Synonym für diesen ungewöhnlichen und bedeutungsschwangeren Ort … materialisiert als Kessel neben der Bühne. Dieser Ort steht für die Veränderung der Wahrnehmbarkeit von Geschwindigkeit, von Zeitgeschwindigkeit im Kontext der Industrialisierung in vergangener Zeit. Zeitstrukturen haben sich den Verwertungsmechanismen der Spätmoderne angepasst und sind heute sozial dominant. Entfremden. Der Gleichschritt der Geschwindigkeit (die schnelle, monotone Geräuschkulisse der Borsig-Maschinen) naturalisiert sich in der kapitalistischen Moderne. Langsamsein exkludiert. Und in dem Stolpern, dem sich Verlaufen in den Zeitstrukturen werden klinische Depressionen, Burn-Out geboren.


In der Kritik an der Zeit, der kollektiven zeitlichen Erfahrung und ihrer Taktung als Grundlage und als konkret wahrnehmbar, kann eine Kritik an heutigen kapitalistischen Verhältnissen konkret formuliert werden.

Und Gegenentwürfe hörbar gemacht werden. Ein Antierleben von Zeit.

Drone Musik eröffnet ein anderes Erleben von Zeit, wenn sich der Sinuston in nichtgewohnten Zeitabständen subtil schichtet und Audioskulpturen entstehen, die uns verstören, in unser Zeitraster eingreifen und die gewohnten Zeiterfahrungen zum Erliegen bringen. Stille. Langsamkeit aushalten (lernen).

ZUHÖREN. Sich die Zeit nehmen.

Noise Musik hingegen treibt den Klang der Spätmoderne auf andere Level, nimmt Zukunft vorweg. Bis sich die Industriesounds, die Ästhetisierung des Kreischens der (Borsig) Maschinen in einem Klangteppich vereinen, der nur noch dröhnt. DRONE. Weisses Rauschen.

Entropie. Der Zerfall der kapitalistisch, zeitlichen Ordnung akustisch vorweggenommen.

Die Maschinen werden ausgesondert, in der Geschwindigkeit des Fortschritts. Und so befindet sich auch das Kesselhaus in einem nach seiner eigentlichen Funktion in einem lethargischen Zustand. Es hat durch seinen Nicht-Wert, seine Unbrauchbarkeit Stille gewonnen. Die treibende Zeit ist weitergezogen.

Wir möchten mit unserem Festival an diesem Ort für einen Tag ein anderes Erleben von Zeit einen Raum geben. Diesem Ort der Vergangenheit Utopie einflößen.

Die Möglichkeit nutzen, dem Raum eine akustische Aura zu geben und ihn seiner eigentlichen Historie zu entheben.
Die Lethargie des Ortes, den Stillstand aufheben und ihn temporär füllen mit der Kreativität des jetzt.

Das Kuratieren des Festivals bezieht sich explizit auf die Zusammenführung musikalischer Diversitäten aus unterschiedlichen Kontexten und mit unterschiedlichen Herangehensweisen an die Entstehung und des Machens der Musik.

Metal trifft auf Musique Concrete
„Klassische“ Bandkonstellationen treffen auf Improvisation