a musician working in a variety of genres like noise, ambient, industrial, experimental electronic, idm

If you'd like me to create your game music or perhaps sound design, please DM via email below, or find me on Discord - Kappa Bravo#9021

https://kbmsfx.com/

Please DM for commissions and exclusive scoring via provided email address below. Cheers.

Preemptive Listening is the podcast channel of Aura Satz’ eponymous film and research project on emergency listening and alternative siren sounds.

Hosted by artist and film maker Aura Satz with researcher Irene Revell, the podcast shares some of the original spoken-word interviews and specially-commissioned compositions created through the project. 

Preemptive Listening is funded by AHRC amongst other key partnerships.

New: 
A Field Guide to Phantasmic Birds
https://room40.bandcamp.com/album/a-field-guide-to-phantasmic-birds

I’M GIVING 8 GRAND TO THE FIRST 5 PEOPLE TO MESSAGE ME WITH “GOD DID ❤️”

Reinhold Friedl studied composition with Witold Szalonek an Mario Bertoncini, piano with Renate Werner, Alan Marks and Alexander von Schlippenbach. and mathematics in Stuttgart, Berlin and Marseille. PhD in music computing at Goldsmiths University, London.
Reinhold Friedl is known for his radical music. He received numerous prizes and fellowships as Eurocréation Paris, Villa Serpentara Rome (Berliner Akademie der Künste), STEIM Amsterdam, Paris Cité des Arts,... as well as commissions by the French State, Maerzmusik Berliner Festspiele, Wiener Festwochen, Asphodel San Francisco, ZKM Karlsruhe, RomaEuropa Festival, the BBC London, Ultima Osolo. His music is performed by groups like Diotima Quartet Paris or Ensemble 2e2m. Friedl released over hundred CDs and LPs as composer and performer. interdisciplinary cooperations with artists as Sasha Waltz, Frank Castorf (Volksbühne Berlin), Lillevan.

Friedl founded and directs the ensembles Piano-Inside-Out and zeitkratzer and is known as expert for extended piano techniques. Friedl cooperated with various musicans as Phil Niblock, Lou Reed, Alvin Lucier, Lee Ranaldo (Sonic Youth), Helmut Oehring, Nicolas Collins, Laurie Anderson, Merzbow, Mario Bertoncini (nuova consonanza), Keiji Haino, Rashad Becker, and has made countless radio and CD recordings.

Beside his activities as composer and as leader of the internationally acclaimed new music group zeitkratzer, Reinhold Friedl is renowned for his passionate and peerless piano performances. He invented numerous new techniques of playing a grand piano directly on the strings and baptised it “inside piano”.

As curator, Friedl leads the record series Perihel for Karlrecords, invented the Off-ICMC (International Computer Music Conference) and directed the music department of Podewil Berlin. He was a jury member of Ars Electronica and Gulbenkian Foundation, Lisboa. Friedl profits from his worldwide touring and interviews electronic music composers: this allowed him to realize more than fifty radio shows for WDR3 Open Music - Studio elektronische Musik Cologne, Germany a.o.. Friedl is also known as a specialist for the music of Iannis Xenakis and published several articles, a book on the topic and did a critical edition of his complete electroacoustic works (5LPs/5CDs Karlrecords), he presented experimental music with children a.o. in cooperation with the Berlin Philharmonic Education program. Reinhold Friedl is guest professor for artistic research/ performance at the Katarina Gurska Institute in Madrid, Spain. Lectures and teaching also at the The University of Music and Performing Arts Vienna, Austria, University Paris VIII, Berlin Universität der Künste, London Goldsmiths University, Musikhochschule Basel, University for Music and Drama Gothenburg, Music University Thessaloniki, MIT Melbourne, etc. Reinhold Friedl lives in Berlin.


PRESS
Unbelievable that one can creates such sounds with a grand piano! Phosphormagazine

Reinhold Friedl has developed his “inside piano” technique to such a level of delicacy and precision that the tonalities extracted from the instrument bear little resemblance of their acoustic source.” 
The Wire Magazine London.  


Reinhold Friedl’s list of collaborations is beyond outstanding, and he has taken the concept of the prepared piano, as first conceived by John Cage, to limits beyond imagination. As such, Friedl’s advancement over the last twenty years has been the definition of innovation. But what makes Friedl such a remarkable figure is his capacity to explore so many different and divergent avenues, and to turn his hand to so many different projects
Aural Aggravation, Christopher Nosnibor, 1/2024

yes, ok, we know it's piano, it's marked on the LPs, but there's such a polytimbrality and such a distance from the piano as we know it - even from Cecil Taylor's piano or Keith Tippett's - that the source, the founding gesture remains unsuspected, the sound is decorrelated from the imaginary of its inherent physicality. 
In fact, it's one of the best records of electronic music with no trace of electronic instruments apart from the microphones, and a large part of its strength (or importance?) comes from the fact that it's no longer music played on an instrument, whatever it may be, with perhaps a specific technique elaborated for it, or an adapted technology, but that it's just music. A form of “pure music” where you hear only the music, not that music, that idea, played on a piano. The piano disappears, and all you hear is an idea of electronic music.
Revue & Corrigée, Kasper Toeplitz, 1/2025

tremendous power. Overwhelming!
Australian Realtime


INFO
www.reinholdfriedl.de
www.zeitkratzer.de

Over the past four decades, Creative Time has commissioned and presented ambitious public art projects with thousands of artists throughout New York City, across the country, around the world, and even in outer space. We work with artists to contribute to dialogue and debate on the most pressing issues of our times, and to foster dreams for our collective future.

Research and creative projects from Steven Feld. 

Leonardson is a composer, radio artist, sound designer, instrument inventor, improviser, visual artist, and teacher, who has devoted a majority of his professional career to unorthodox approaches to sound and its instrumentation, with a broad understanding of texture, atmosphere and micro-tones. As a practicing artist and educator he has an interest in the elusive lines that separate art media and disciplines; the promise of technology to enable new possibilities in art, discovering connections between physical action, sensory perception, and ideas.

Leonardson performs regularly on the Springboard, an electroacoustic percussion instrument made from readily available materials. Applying his percussion skills and a piezo pickup to coil springs, wood, plastic combs, and rubber bands he creates rich tones and timbres that, in the words of Nicolas Collins, “evoke the sound world of a Balinese Gamelan orchestra.” Others compare these sounds to industrial vibrations and animal voices. 

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