File under: Imaginary Soundtracks, Dub, Post Punk, Post Rock, Pre Success, Horror Movies, Spaghetti Westerns, Morricone Adoration Society, Penderecki Church, RowlandSHowardism, Lo-Fi, Ambient, Sampling, Italians do it better, Hauntology, Psychedelia, Vintage Guitars, Vintage Films, Witch House.

Guitarist and composer Burkhard Stangl works in the fields of improvisation, electronica and contemporary classical.

Among many others he played, recorded and collaborated with musicians / groups / composers /artists like Anestis Logothetis, Franz Koglmann, Radu Malfatti, Gunter Schneider, John Butcher, Franz Hautzinger, Taku Sugimoto, Taku Unami, Olga Neuwirth, Polwechsel, Gene Coleman, Kevin Drumm, dieb13, Billy Roisz, Martin Siewert, Boris Hauf, Gustav Deutsch, Oswald Egger, Uchihashi Kazuhisa, Katharina Klement, Christof Kurzmann, Kai Fagaschinski, Anna Zaradny, Robert Piotrowicz, Patrick K.-H., Klangforum Wien, efzeg, Christian Fennesz, Barbara Romen, Steve Bates, Katharina Ernst, Juan José Rivas, Fernando Vigueras, Mario de Vega, Attila Faravelli, and, last but not least, with his partner in life and art Angélica Castelló.

Latest CD releases: Angélica Castelló – Billy Roisz – Burkhard Stangl – dieb13: SCUBA; John Butcher–Tony Buck–Magda Mayas–Burkhard Stangl PLUME; Burkhard Stangl: HOMMAGE À MOI (3 CD-box, compilation of compositions); Burkhard Stangl: Unfinished. For William Turner, painter (Solo); Steve Bates/Burkhard Stangl: Hopefullessness; SQID with Angélica Castelló, Atilla Faravelli, Mario de Vega featuring Gudinni Cortina. He teaches music at the high school Heustadelgasse, Aspern; he is a lector at the University of Music and Performing Arts Vienna for improvisation and new streams in music. Lives in Vienna.

FRESH MIXES: https://hearthis.at/s-max/  and 
https://www.mixcloud.com/S_MAX/   __  

this month a superfresh (as they say) - mix of mine is the podcast of:
http://www.triphouserotterdam.nl/
http://soundcloud.com/triphouse-rotterdam

Maja Solveig Kjelstrup Ratkje, composer and performer (born Dec. 29th 1973 in Trondheim, Norway), finished composition studies at the Norwegian State Academy of Music in Oslo in 2000. Her music is performed worldwide by performers such as Klangforum Wien, Oslo Sinfonietta, The Norwegian Radio Orchestra, Fretwork, TM+, Cikada and Vertavo string quartets, Quatuor Renoir, Ticom, crashEnsemble, Pearls for Swine Experience, Torben Snekkestad, Marianne Beate Kielland, SPUNK, Frode Haltli, POING and many more. Portrait concerts with her music has been heard in Toronto and Vienna, she has been composer in residence at festivals like Other Minds, San Francisco, Nordland Music Festival, Bodø, and the Avanti! summer festival.

Ratkje has received awards such as the International Rostrum of Composers in Paris for composers below 30 years of age, the Norwegian Edvard prize (work of the year) twice, second prize at the Russolo Foundation, and in 2001 she was the first composer ever to receive the Norwegian Arne Nordheim prize. Her solo album «Voice», made in collaboration with Jazzkammer, got a Distinction Award at Prix Ars Electronica in 2003.

Ratkje is active as a singer/voice user and electronics player as well as studio engineer, as a soloist or in groups such as SPUNK or Agrare. Other collaborations are with Jaap Blonk, Joëlle Léandre, Ikue Mori, Zeena Parkins, Stephen O’Malley, Stian Westerhus, Lasse Marhaug, POING and the metal band Trinacria. Ratkje has performed her own music for films, dance and theatre, installations, and numerous other projects. In 2003, she played a leading part in her own opera, based on the texts from the Nag Hammadi Library. In 2005 she performed the voice solo part of her first big work for orchestra, commissioned by Radio France. She has also been soloist with Klangforum Wien and Oslo Sinfonietta.

Her scores are found at the Norwegian Music Information Centre and her records are released on Tzadik, Rune Grammofon, ECM, Kontrans, Asphodel, Important Records and others.

Electric Indigo works as musician, composer and DJ. Her name stands for the intelligent interpretation of techno and electronic music. 

She started her DJ career in 1989 in Vienna and worked at the legendary Hard Wax record store in Berlin from 1993 to 1996. In 1998, she created female:pressure, the international database for female, non-binary and transgender artists in the fields of electronic music and digital arts which got an Honorary Mention at Prix Ars Electronica 2009. 2012 she received the 'oustanding artist award' in the category Computer Music from the Austrian Ministry for Arts and Culture. 

She makes music for concert spaces, clubs and occasionally for stage plays and short films. In her compositions and live performances, she emphasizes the spatial-temporal placement of subtly elaborated sounds and structures, often generated from speech recordings. Electric Indigo shuttles between Vienna and Berlin.

For bookings please contact Laura Callegaro laura@elitemm.co.uk
mobile: +44 7966614990
office phone: +44 (0) 1273 55 40 22

• Soundarchitect • Composer • DJ

Cio D’Or is an artist, composer and DJ who seamlessly bridges the worlds of techno, art and composi,on. Her artistic drive and creative process begins with an idea that emerges from silence and aims to convey something inexpressible and indescribable. Her work testifies to the timeless possibilities of music and movement.
Cio D’Or’s sound is characterised by attention to detail, weaving together ethereal textures, subtle rhythmic complexity and an undeniable emotional depth, creating a balance between architectural precision and fluid, cinematic immersion. Each element is placed with intention and shaped by a keen awareness of structure and space.
Her releases on Semantica, Prologue and Kynant are timeless expressions of her minimalist and cinematic approach to electronic music.
Known for her dramaturgically structured DJ sets and cinematic productions, she has performed at Berghain, Dekmantel, Bassiani, De School and festivals worldwide.
Cio D’Or’s sound blends architectural precision with immersive atmospheres, informed by influences from Eno to Vainiø, from Bach to Stravinsky, and rooted in decades of sonic exploration. Her music continues to evolve. Her lifelong study of music does, too.

Artist Curriculum Vita 
Education
1977–82 first piano lessons, autodidactic learning of xylophone, congas, kalimba, guitar,
1982–85 Private school for contemporary dance, Martha Graham technique, Berlin  
1999–today Studies in music production, sound creation, composition, dramaturgy, video scoring, photography and visual media. Skills include vinyl mixing, electronic music techniques, MPC 2000 sampling, field recordings, synthesizers, keyboards and music software – developed both on journeys and in the studio.

 Career [Selection]
1976 Conga performer in a jazz band
1981–87 Choreographies modern Ballet, Graham technique in Hanover, Berlin
1983–85 Teacher in modern dance, choreography and gymnastics at VHS Berlin
1984-86 Modern Ballet for André Heller [Fire theatre “Sturz durch Träume“] by L.A. Ellis, as well as in the cinema film by John Frankenheimer„The Holcroft Covenant“
Dance theatre by B. Seidel
2015-today Visual artist for her music: shooting and editing music videos, photographing covers, developing visual concepts
Publications [2000-today]  Musical theatre, 2 films, 3 albums, 14 EPs, international podcasts, various national/international interviews. Labels, among others: Prologue and Semantica

Stage [1999-today]  Over 400 national/international dramaturgical hybrid DJ and ambient performances 

2005 Affiliated member GEMA
2010 Resident Advisor Top 100 DJ worldwide [64th ranking]
2013 Composition „Distanz“ for the Taschenopernfestival in Salzburg
2013 Lecturer Landesmusikrat NRW: “Rmx. Regendered Workshop”
2013 Dommune TV–Tokyo, Japan
2014 PULSA:RE with Brigitta Muntendorf; premiere: Deutschlandfunk
2015 Goethe Institut Sweden„Grammophon“
2015 Lecturer „Loop–A Summit for Music Makers/Ableton“
2015 Film score Ataraxya [1st prize Int.Dig.Animation Nagoya,Japan]   Man on Mars filmmusic
2015 Music for the Haute Couture CHANEL Show Fall-Winter 2015/16 & Karl Lagerfeld Interview   
2016 Dave-Festival, Dresden: Music/Dramaturgy for 2 modern-dancers with visuals in a cinema, assignment Dresden
2020 Extraordinary member of GEMA [composer]

2020–2024 Advanced studies in classical music theory and piano (including fugues). Conceptual and dramaturgical development of projects combining classical and contemporary music worlds, integrating new sound developments, followed by project planning supported by consecutive scholarships. Scholarships: 2× Ministry of Culture and Science NRW, 3× Musikfonds, GEMA
• 60-minute live act with instruments for EU festivals : dramaturgy & composition
• Piano compositions [52 minutes] for film and European stage productions
• Electronic–orchestral interplay [Polar Q, Kynant Records 019, vinyl & digital]
• Music trilogy [Clavier | Orchestral | Ambient, 3 CDs] for publication and stage
• Music portrait of a homeless person
2024 Music for the Haute Couture Show LOEWE Spring-Summer 2025 2025 On behalf of Francisco Tavoni for the exhibition The Source – Astral Projections at the Lindberg Galleries, Melbourne, she created a 40‑minute mix for the sound installation with her sounds and music, including binaural tracks at 4 Hz and 7.5 Hz.
2026 Guest Curator for Electronic Music at the Art Festival Hanover Herrenhausen, Germany

Press Comments [Selection]
n.n.
Minimal Collective (Text: Brent van den Elshout)
In a world driven by volume and spectacle, Cio D’Or stands apart, mastering the power of the barely perceptible. This editorial explores her philosophy of sonic minimalism—where silence, restraint, and nuance challenge conventional ideas of presence in music. Through her creative process, live performances, and the balance between macro and micro perspectives, we uncover how Cio D’Or transforms the ‘power of less’ into a profound, intentional form of presence.

Orb Mag (Text: Cédric Finkbeiner) 
Designer of an instantly recognizable sound, she produces warm and deep complex structures, constantly on a fence between light and dark cliffs, noises and silences, cinematic settings and authentic presence. Part of a family of intricated sounds brought by artists such as Aleksi Perälä, Alva Noto, and Ryuichi Sakamoto, she’s a high representative of the minimal movement. She honors painter and pioneer Frank Stella’s quote “The aim of art is to create space,” she does through deep refined electronic music compositions and stripped piano pieces, delicate yet substantial.
Intriguing and engaging, her musical minimalism invites the listeners to bridge gaps with their thoughts, making them active in the artistic process and, therefore, contributing to the immersive effect. The mental activity is yet effortless for them: minimalism allows a focus on the essentials, by eliminating the dispensable sonic excesses and by creating space. Such a process brings mental freedom to the listeners, by breaking through the wall that a too-dense track would normally build. On the contrary, Cio D’Or’s music is open, and inviting, with an exquisite balance between artistic depth and hopeful, melancholic intelligence.

Monument Podcast (Text: Joe Mayberry)
What’s better than a mix from electronic music royalty Cio D’Or? Two mixes. This week we present something very special, a tale told across two chapters. As a mainstay of techno for over two decades, Cio D'Or has consistently pushed boundaries, gracing the decks of revered institutions worldwide and crafting a legendary discography with releases on Prologue, Semantica, Hypnus, Time to Express and more.
Across both mixes you will hear Cio’s unparalleled ability for sculpting minimalism and sonic architecture, masterfully recontextualizing familiar and obscure tracks alike, breathing new life into them and unveiling hidden dimensions. She dissects, reassembles and creates intricate connections between disparate sounds, all flawlessly executed with an alchemist’s touch.
Prisma 33 starts at a slower tempo, delicately building into an eruption of psychedelic minimalism. Dada grows with kinetic energy, with Cio sculpting sounds and textures into a deep trip where time seems to bend and dissolve, finishing with an unexpected wildcard that only a master selector could make work.

These are my personal rules based on experience and love for music, promoters and audiences:
Set: 2 hours main time, 3 hours at the beginning of a night***
1 hour live (hopefully from Mid 2026)
Live recording:  
a) I love mixes that I perfect at home for an hour, because the idea, dramaturgy and a mix should, ideally, express something and be timeless.
b) there are far too many mixes online ( I prefer quality over quantity ).. 
Deeply thank you for your understanding! Love, Cio ~∆*

Post-Apocalyptic Doom. Horror Rave.
Since 1991.
pm for booking.
----------------------------

Thomas Bjelkeborn is a composer, musician and sound artist. He is the initiator of IDKA, PUSH Festival and has curated concerts since 1988 at Fylkingen Stockholm. He often collaborates with international institutions and internationally active composer / musician at residences in UK, Spain, France and other countries, and tours frequently in Europe with live electronic ensemble SQ / Sound Quartet.
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Thomas Bjelkeborn är verksam inom nutida konstmusik sedan 1988, och är främst etablerad som EAM-tonsättare i internationella sammanhang, ofta inom ramen för tonsättarresidens vid framstående musik- och forskningsinstitutioner. I hans arbete undersöker han ofta relationen mellan traditionellt akustiska instrument och dess elektroniska förlängningar. Han hämtar inspiration i 1900-talets sena modernism och hos elektroniska pionjärer som Schaeffer och Stockhausen. Hans musik tar utgångspunkt i aktuell musikteknisk innovation med målet att utvidga konstmusikens domäner, där egenutvecklade fysiskt-digitala musikinstrument ofta kombineras med avancerad audiovisuell media. De senaste tre åren har Thomas Bjelkeborn genomfört ett 100-tal konserter i över tio länder, bl a vid de internationellt betydelsefulla festivalerna Audio Art Festival Krakow, In-sonora Madrid och Sonorities Belfast. Han är även konstnärlig ledare för ensemblen Sound Quartet, som förvaltar kvartettformen med nytt perspektiv, framför allt genom användande av live-elektronik och realtidsbearbetning av instrumentklanger. Kvartetten samarbetar ofta med gästande musiker, t ex ondes martenot-spelaren Nadia Ratsimandresy (Paris) och röstkonstnären Viv Corringham (New York), och haft turnéstöd från Kulturrådet. Genom tonsättarresidens (t ex vid Auriculab Spanien och NOVARS Manchester) och konstnärliga utbyten med utlandet har han fördjupat sin kunskap om komposition och utökat sina kontakter med tonsättare och musiker från hela världen. Sedan 2015 är Thomas Bjelkeborn knuten till Sound and Physical Interaction Research Group (SOPI), Aalto University i Helsingfors, för komposition och konstnärlig utveckling i samarbete med Dr Koray Tahiroglu. Deras första verk är KET (2016), ett beställningsverk via Kulturrådet med stöd av Helge Ax:son Johnsons Stiftelse som de senaste åren framförts bl a på NIME Brisbane och Cafe OTO London. Han är även ideellt verksam som curator för regelbundna konserter på Fylkingen i Stockholm samt för PUSH-festivalen i Gävle.

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