Contact & booking requests:
rauschgoldsound@email.de

My life is full of music. Playing, teaching and discovering music is my greatest joy.

Mixed-genre electronic and algorithmic compositions.

+ @riolabel @initinit

Benedikt Frey is many. Or just one? He is a composer. An arranger. A DJ. A Liveact. A ghost producer. A fan. He also plays in bands like INIT, or Dolphins or KEYS +++ produced the last two albums for Chris Imler. Downbeat in experimental dub zones. The goat for Edits and remixes. When house was his nation, he used to listen to pen names like Suedmilch or Venedikt Reyf. He still likes the music formed under their umbrella, but today his tomorrow is not echoed in yesterday. His sound signature moved on. Into the open. He founded labels like R.i.O. or Serious Trouble. 

He lives in Berlin. Physically. In mind Benedikt Frey is at many places. Traveling far thru his home studio that is a flat a studio a flat an instrument a record collection a flat a studio. Everywhere gear, vinyl, tapes, instruments, rooms for spontaneous sonic notions, these moments, when a sudden strike of stimulation falls. He is inspired a lot. For music to dance. Music for films. Music for live shows. Music for dancing glows. Techno, house, downbeat, ambient, jungle, electronics outside the norms. Those transportive ones. Jamming with others. Jamming with his mind. In Berlin Wedding, North of the town, where the lights dimmed low, neighbors share the flow, and a small river runs slow.  As a DJ he plays here, there, everywhere. Big clubs, small shacks, festivals, gatherings. From fast to 90 BPM - as he feels. 

For himself. For the crowd. In the spur. He still remembers his club kid days. Going to dance with friends. Down there in Offenbach. Doing the Robert Johnson. Collective emotions for a better tomorrow. These he still seeks. In his music. His shows. His collaborations. You can book him for a party. For enlightenment. For ecstasy or introspective perspectives. Dancing slow, whilst pirouetting a high-pitched show. 

Since more than a decade. His own music is out there, too. Bringing his spirits in sound. On his own labels. On international imprints like ESP Institute, Hivern Discs, Craigie Knowes, or Emotional Response. Solo works. Driving ones. Slow drills. Teased during his DJ dates around the planet. 

The music plays day and night. Inspiration comes. From a simple kick drum. A movie sequence. A bird on the sill. A picture, totally still. Can’t kick that feeling when it hits. Benedikt Frey. In dreams. In streams. In music. Emotions. Situations. At night. In those flashy lights, when it bites.

24.5. b2b with NVST, Kauz Zürich
10.05. Säälchen, Berlin
26.04. Zentralwäscherei, Zürich
25.04. b2b Philipp Otterbach, Arkaoda, Berlin
04.04. Sameheads, Berlin
13.03. Säule, Berlin
22.02. Kegelbahn, Luzern
21.02. Fribourg, CH

---- BYE24

17.12. Kiosk Radio,  Bxl
15.12. Curly Teeth b2b w. NVST, Bxl
30.11. Panorama Bar, Berlin
16.11. La Culottee, Paris
19.10. LAF, Pforzhyme
05.10. Sameheads, Berlin
28.09. Buka, Milan
21.09. Chemiefabrik, Zürich
14.09. Ausland, Berlin
16.08. Salon Des Amateurs, Düsseldorf
21.07. Am Bach Festival, Lucerne
05.07. Kappa Futur Festival, Turin
14.06. Masters, Zagreb
18.05. Outracena, Lisbon
27.04. Arkaoda, Berlin
24.02. Macadam, Nantes
26.01. Sameheads, Berlin

In the trend-driven universe of electronic dance music, Gregor Tresher is the rare artist who transcends such cycles. His secret? A relentless focus on melody and timbre, timeless musical elements that other producers often undervalue. Just as a painting or a photograph appears to move if one stares at it long enough, close listening to the stratified grooves and melodies in Tresher's music reveals an organic universe of shifting sound.

A native-born Texan, John Michael Pekowski, PhD (b. 1975) began composing music at age 11. Simple improvisations on the family upright piano were followed by electronic compositions in BASIC code on the TI-99 computer.

In Junior High (1988) he was elected President of the Science Club, served as Social Chairman of the band, was awarded the John Philip Sousa Award, and was a featured soloist on trumpet. In High School (1994) John was section leader, co-principal trumpet of LYSO, Jazz One soloist (TTU Band Camp), and TMEA All-State Concert Band participant.

He was a member of the Texas Tech University Jazz One, Symphonic Band (1994-2002), recorded with the fee-improvisation ensemble YATE, his dissertation greatly advanced our understanding of the hierarchical organization of pitch-interval cycles within a voice-leading context, and was in contention for the Graduate Achievement Award.

The world premiere of his composition Jest of Moonlit Point for Pierrot Quintet, took place in 2024 and was performed by the Texas New Music Ensemble conducted by Bill Tacket. In 2021 Forest of the Birdsong for soprano sax (David Dees) and piano (Nataliya Sukhina) was premiered at Crickets Theater / Buddy Holly Hall.

Dr. Pekowski continues to compose classical instrumental. Recent works include String Quartet Suites No. 1-9 (2019-2022), Jest of Moonlit Point for Pierrot Quintet (2024), Brookhollow Bayou for Solo Flute (2024), and Suite for Orchestra No1-No2 (2023-2025).

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