Emilie Škrijelj (1987) explores the accordion in its smallest folds and uses it both as a percussion instrument and a generator of electroacoustic materials. Inspired by her research around the turntable, modular synths and field recording, she brings the accordion to the abstract territory of electronics by manipulating the bellows, rubbing its contours and exploring its extremities.
www.emilieskrijelj.com

Michael Thieke (1971) is a Berlin-based clarinetist, composer, and performer who is equally at home across a broad range of musical environments. He is exploring the minutiae of sound, timbre and noise, with a particular interest in microtonality and related sound phenomena. The qualities of slowness are another field of his research. He has a preference for long-term collaborations and collective work. Thieke has performed throughout Europe, Asia, and the Americas, and his recordings appear on more than fifty releases.
www.michael-thieke.de

Tom Malmendier (1984) approaches improvisation as the natural and central foundation of his musical practice. He is drawn to transdisciplinary projects and often collaborates with dancers, visual artists, and poets.
www.tomalmendier.com

BRUINE is a project that lies somewhere between a concert and a sound installation. A subtle constellation of objects and sounds unfolds into an abstract, minimalist landscape with an electroacoustic tint.

At its core, BRUINE expands the instruments through an array of loudspeakers – selected or modified to tint, distort, and filter their sound. Each instrument feeds into a constellation of speakers arranged among objects on the floor. This system creates a range of listening points that disrupt the conventional relationship between acoustic and amplified sound. Depending on the listener’s position, effects of multiphony, fragmentation, and saturation emerge. BRUINE creates a space for attentive perception, where listening turns into an active and deliberate gesture – and sound takes on a visual dimension.