Track from the new Carter Tutti Void studio album f (x). 
Released 11th Sept 2015.
Pre-Order Now UK: http://cargorecordsdirect.co.uk/products/carter-tutti-void-f-x
Pre-Order Now USA: http://www.forcedexposure.com/SearchResult.html?SearchType=Basic&Type=artist&Key=CARTER%20TUTTI%20VOID

Details at http://www.industrial-records.com
YouTube link: http://youtu.be/zsRL5xUC-c0

f (x)

2.6.2 (edit)

Carter Tutti Void - f=(2.6.2) (edit)

Protokoll 2 is part of a series of sound experiments created and performed in November 2015 in Seyðisfjörður, Iceland. The piece is created solely with found objects and recorded in one take, only amplified by the echo of the space.

Protokoll 2

Made with two synchronized laptops in one session, with Tidal Cycles and custom sounds, no overdubs.

Voice Box Collapse is an old conceptual sound piece from 2004, created with the use of the artists own distorted voice and only very minimal equipment. The piece wish to challenge the perception of the female voice though exhausting and distorting it, and thus using its roughness as an expressive and powerful instrument in itself.

Voice Box Collapse

Body Resonance was recorded in Seyðisfjörður (IS), November 2015.. The sound was played back in the space of Liebig12, Berlin (DE) as the installation Body Resonance 15.06.2017-22.06.2017.

The publication created for this sound piece can be found here - with this publication connections and new nodes can be traced (note the first page is blank): 
http://performance-protocols.net/Body_Resonance_publication.pdf



--- Press text ---
The sound installation Body Resonance originates from Tina Mariane Krogh Madsen’s extensive Body Interfaces performance work. The research deals with the threshold condition of the body and how it interacts with specific places and environments, creating a critical dialogue and engagement. Body Resonance takes literally the direct confrontation between spatial structures and the body, whereby the soundscape is a recording of the artists body moving while hitting against the walls and floors of an echoing empty space. These actions were created in the Hof Art Studio at the Skálar Sound Art Residency in Seyðisfjörður (IS), November 2015. The sounds of both the flesh of the body interacting with the surfaces, its echoes, as well as the silent passages in-between, together create a composition based on movement, intensity, and anticipation. In the installation, the recorded sound is installed, played and relocated in the frontal space of Liebig12, with only a transcript of the actions as a guide for the listener. The space of Liebig12 will only be inhabited by the play-back of the sounds recorded, giving the visitors the opportunity to create their own connections, with a given choice to read the transcribed notated actions together with the sounds, or simply just listen to the sounds themselves.
A crucial part of Madsen’s work is to recreate and reactivate performative processes. The artist will therefore do a durational processual notation responding to her own body sounds of the installation for a variable duration every day in the back space of Liebig12. The front space and the back space will be visually separated, to give the installation its own space, and the artist working in response to the sounds an additionally own concentrated space. Total sonic separation is, however, not possible, nor intended. During these actions the sound of the notation will fusion together with the sounds of the installation, and thus create a new site-specific soundscape and mode of expression.
The transcribed actions are available for purchase as a printed artist booklet, specially produced for this installation.

Body Resonance (action for installation)

demo for the upcoming Notstandskomitee 2018 album

Invariant Culture

TMS is an experimental noise-performance project by Malte Steiner and Tina Mariane Krogh Madsen.

The format of the TMS project is improvisational performances built out of Steiner and Madsen's sonic interactions, where noise-scapes and complex structures emerges from intense layering of various sonic in- and outputs. The physical interaction with materials has an additional focus in TMS' performances, and thus to create a more performative and visual sound experience. The choice of elements for each performance is important, where each plays an important role in the sound as well as in the visual character of the performance. The inputs are analogue as well as digital;  modulated, transformed and distorted.

Profile picture from performance at Electropixel 2015. Photo by Xoel Friere.