Festival 2015        25. - 28.6.2015


20:00 Spedition


Workshopkonzert Justka/Pierre + Special Guests

Tom Smith


Film: Uliisses


22:30 Gleishallen

Vernissage Installation Akos Rozmann - 12 Stationer




20:00 Spedition


Michel Chion

Adam Bohman

Marc Richter (aka Black To Comm)

Film: taneKUbus

Ewa Justka/ Lorah Pierre

Kiko C. Esseiva


Music on the BLO by:

Michel Chion

Marc Richter

Josef Anton Riedl


15:00 Hanseatenhof

RoLO Open Air

Christoph Ogiermann

Lauter Blech


20:00 Spedition



P. Kastner & Kommissar Hjuler und Frau

Jürgen Palmtag

Music on the BLO by:

Zbigniew Karkowski

Daphne Oram

Jürgen Palmtag


20:00 Spedition


Adam Bohman/ Kiko C. Esseiva

Junya Oikawa

Charlemagne Palestine with VB Schulzes Bernsteinzimmer/ Reinhart Hammerschmidt/ Milan Schell/ David Wallraf


Pixanfonax feat. Milan Schell


Music on the BLO by:

Junya Oikawa

Denis Dufour


Das REM-Festival präsentiert elektronische und elektroakkustische Musik zwischen E-Musik und Underground, Bandstücken und freier Improvisation. Neben internationalen Live-Acts spielen Komponisten ihre Kompositionen auf dem BLO, dem Bremer Lautsprecherorchester. Das BLO ist eine Installation aus über 200 Lautsprechern, die in Anlehnung an Francois Bayles legendäres Accousmonium entwickelt wurde. Neben den Konzerten in der Spedition am Güterbahnhof zeigt REM Filme, veranstaltet ein Open Air in der Bremer Innenstadt und präsentiert in einer Audioinstallation Ausschnitte aus dem sechstündigen Werk 12 stationer von Akos Rozmann.



LIVE: Adam Bohman (GB), Michel Chion (FR), DDAA (FR), Kiko C. Esseiva (CH), Kommissar Hjuler und Mama Bär (DE), HSV (DE), Lauter Blech (DE), Ewa Justka (PL) & Lorah Pierre (GB), Christoph Ogiermann (DE), Junya Oikawa (JP), Charlemagne Palestine (US), Pixanphonax (DE), Marc Richter (aka Black to Comm) (DE), Tom Smith (US), Troum (DE)

MUSIK VON: Denis Dufour, Zbigniew Karkowski, Daphne Oram, Josef Anton Riedl, Akos Rozmann u.a.


25.6.                          6,- €

26.-28.6.                    14,-/9,-

gesamtes Festival     40,-/ 25,-

Kartenvorbestellung unter:

0421/3399350 (AB)





25.-28.6.2015/ Spedition am Güterbahnhof/ jeweils 20 Uhr


Innenstadt-Open Air:


27.6.2015/ Hanseaten-Hof in der Bremer Innenstadt/ 15 Uhr




25.-28.6.2015/ nach Anmeldung jeweils ab 22 Uhr

Anmeldung in der Spedition oder unter rem@pgnm.de





Adam Bohman

"The Bohman aesthetic can be a dense and tangled thing to unpick and describe. Various and nefarious sounds and artistic influences merge and collide, Varèsian sound montage supporting spoken word material sourced from a pub menu, or frenetic juxtapositions between amplified shoe brushes and a frenzied tape cut-up of 17th Century instruments. Sound art which oscillates between states of the absurd and sonically grotesque, and highly articulate explorations of extra-musical sound."

(Hundred Years Gallery)


Michel Chion

Michel Chion was born in 1947 in Creil (France). After literary and musical studies, he began in 1970 to work for the ORTF (French Radio and Television Organization) Service de la recherche, where he was assistant to Pierre Schaeffer at the Paris’ Conservatoire national de musique, producer of broadcasts for the GRAM, and publications director for the Ina-GRM, of which he was a member from 1971 to 1976. It was there that he met Robert Cahen, composer and video artist, and with whom he entered into a long-lasting friendship and collaboration.
Parallel to these activities, he composed musique concrète works in the studios of the GRAM including Requiem (Grand prix du disque 1978) and several concrète melodramas, a dramatic form which he inaugurated in 1972 with Le prisonnier du son (The Prisoner of Sound) and continued with Tu, 1977-85, La tentation de saint Antoine, 1984, and Nuit noire, 1985. Also worthy of mention are La Roue, cycle du quotidien, 1972-85, 24 préludes à la vie (24 Preludes to Life), Variations, and Sonate, 1989-91, Crayonnés ferroviaires, 1992, Credo mambo, 1992 — realized at Musiques & Recherches (Ohain, Belgium) —, Gloria, 1994… all works for which he developed original compositional techniques.





Founded in 1977 by three artists from the Fine Arts in Caen: Jean-Luc André, Sylvie Martineau-Fée, Jean-Philippe Fée; DDAA is one of the leaders throughout the independent scene, experimental French industrial years 80s, and in terms of their approach highly artistic, unique, thoughtful, and careful, brilliantly illustrated by their own label ILLUSION PRODUCTION, he is undoubtedly one of the finest examples of the French underground for the past thirty years!

From a music post-punk/avant-garde/surréaliste made ​​improvisations and collages, DDAA creates a world of the strange, captivating, borrowing naivety and emotional. Eternal travelers from the imaginary (in space and time), after having ventured into Africa (1980), Japan (1982), in Tsarist Russia in the 19th century ("Les Ambulants" 1984) in French poets of the 16th century ("Ronsard" 1988), or in countries Maracayace (2000), the DDAA painted his music as a spider spins its web in a maze imaginary boil. In 2007 the concept of the plasma occupies the music DDAA and is embodied in the CD "Cubic decay"(2012).

Since 2013, DDAA develops in its performance the concept of "hazy world" that will defragment the real world. Last product that illustrated the concept: 10” ELECTRIFICATION, cd HAZY WORLD.


Kiko C. Esseiva


DIY noisemakers,obsessivelymade of wood, springs, cranks ormotorsand accompanied by tape recorder.

Between improvisation and preparation, games with the accidental, the uncontrollable and fragile. Let go or lose the reins in the world of motors ?


Kiko C. Esseiva is working with both traditional, self made instruments and sound objects mixing them with field recordings to produce rich and intriguing electroacoustic soundscapes of musique concrete nature.

Solo + duo with Adam Bohman.



"I guess what I'm saying is that I don't want to know what HSV stands for any more than I want to know if I heard a saxaphone or guitar before. I want to let my mind wander and imagine just as I like to let my mind do with the music." (Raised by Gypsies)


Ewa Justka

Ewa Justka is a polish electronic noise artist, hardware electronics teacher and instruments builder based in London.
Ewa has performed at Network Music Festival, Birmingham, UK; Supernormal Festival Oxfordshire, UK, Club Transmediale Festival, Berlin; Exploding Cinema, Goldsmiths College, London, UK; STEIM, Amsterdam, NL; Moving Forest, Chelsea College, London, UK; Colour out of Space, Brighton, UK; Beam Festival, Brunel University, London, UK; Cafe Oto, London, UK and more.

Ewa's Optoelectronic Noise Performance is an audio-visual live transmission of erupting current synchronized with fluorescent, throbbing light. The discordant signals generated by the obsolete electronics abruptly invade the body by surrounding it with dissonant frequencies and corrupted hard techno providing tangible, multi-sensory experience.


Duo with Lorah Pierre + Workshop


Peter Kastner & Kommissar Hjuler und Frau

Colaboration of infamous Flensburg-performance-couple Kommissar Hjuler and his wife Mama Bär with Hamburg based experimental musician Peter Kastner.

Their act is a version of Throbbing Gristle's / COUM transmission's "something came over me" in German language as live-improvisation for distorted keyboard, electric guitar, contact microphones and installation of found objects, male and female voices.


Lauter Blech

Seit 1981 widmet sich das Bremer Blasorchester Lauter Blech der kollektiven Produktion und Wiedergabe schräger Klänge. Jenseits von traditioneller Blasmusik und volkstümelnden Melodien, stilistisch ohne Berührungsängste passt Lauter Blech unterschiedlichste Musiken seinem unnachahmlichen Sound und den jeweils aktuellen Anlässen an. Immer versehen mit einer gehörigen Portion Selbstironie und dem Hang zu musikalischen Stolpersteinen.

Ob Klezmer oder Klassik, Weill oder Westbrook, Eisler oder Satie, Filmmusik oder Trauermarsch, ob im Gehen, Stehen, Sitzen, Laufen oder Liegen:

Lauter Blech agiert bläserisch und percussiv absolut unerschrocken in Bahnhofshallen, Schwimmbädern,  Paternostern, Parks und Kirchen, auf Schrottplätzen, Theaterbühnen, Schiffen und Lastwagen, auf Rolltreppen und Demonstrationen. Dabei macht die 14köpfige Band auch vor Konzertbühnen und zeitgenössischer Musik nicht halt. 


Christoph Ogiermann

Ogiermann, komponiert, improvisiert, kuratiert....


Junya Oikawa

Electro-acoustic composer / Sound artist
Junya Oikawa (b.1983 Sendai, Miyagi Japan) lives in Germany as a guest artist of ZKM.


Plastic Recollections 6

"Plastic Recollections series" is the sound project Junya Oikawa has started since 2004, to find various "sound world" produced from the noises of a single object, and structure them organically in the space. He has presented several compositions made with clattering sound of MD, noises of a piano, friction of a cement block, melting sound of polystyrene foams and so on.

This work was created for his solo-concert at the Fohhn IOSONO LAB with its 3D system, commissioned by Kunststiftung Baden-Württemberg in April 2015.

It is composed by the sound of a snare drum. Sound texture produced by the attack of this snare drum repeats both static and dynamic transformation instantaneously as if sound cells are split up in the space.

It is an attempt to redefine the relationship between the fragments of sound and development of the work as an organic structure to create spatial punctuation and paragraph in the form of sound, and arrange them in the stereophonic space of the Fohhn using IOSONO system.

This time he will perform the BLO using stereo mix sound.



Charlemagne Palestine

Last time I did a work in Bremen was in 1976 when I was commissioned by Pro Musica Nova,
Hans Otte, and Radio Bremen to create The Golden Mean for 2 Bösendorfer Imperials!!
So for a festival 39 years laterr,,,, what can you propose in the NOWWW???

Jürgen Palmtag

Studium der Malerei/Grafik an der HdK Berlin, diverse

Stipendien, zuletzt 2005/2006 Cité des Arts, Paris, div.

Workshops/Lehraufträge, u.a. Staatliche Akademie der

Bildenden Künste, Stuttgart, Hochschule für Künste, Bremen,

Staatliche Akademie der Bildenden Künste, Karlsruhe

Arbeitet als Bildender Künstler in den Bereichen Zeichnung,

Text, Projektion, Foto, Video. Zahlreiche Ausstellungen seit 1976

Experimentelle Musik, analog und digital, Soundtracks und

Hörstücke, Konzerte (solo und mit Emmerich Györy als:

„PIXANFONAX“)  eigenes Label:  „Roruys Imifest“

 ARD-Hörspielpreis , Hörspielproduktion beim SWR Baden-Baden, Kurator der Reihe „Kernmacherei“ (mit E. Györy)


Lorah Pierre

Lorah operates as a mobile educator and technical demonstrator running workshops in hardware electronics.

Lorahs utilises experimentation within hardware electronics, centred on developing systems that expose technologies chemical and physical properties. feedback, manipulation and hacking results in the sonification and optical realisation of materials.

Lorah has installed and performed work nationally and internationally;[SPACE]/Permacultures, london, UK; Digital festival, brighton, UK; City of Women festival, ljubljana, slovenia; SUPERNORMAL: experimental arts and music festival, oxfordshire, UK; Colour Out of Space: international experimental sound festival, brighton, UK;Rhizome festival, bonn, germany; CTM festival, berlin, germany; Fort Process, newhaven, UK.  



Emmerich Györy, guitar, electronics

Jürgen Palmtag, voice, electronics

Milan Schell, drums, electronics


extreme/alltagsrauschen/aus-und-einbrüche/sprachimitationen/unvorherhörbares/egalwie/null kategorisierung/mithören und abhören/laut und leise/du sollst nicht langweilen/kopfpulsieren/stakkatoheulen undundund- und schlussmachen-


pixanfonax, seit 2007  unregelmässigst an den verschiedensten orten  in unterschiedlichsten konstellationen auch bei festifallen überraschend in erscheinung getreten –sozusagen bekannt in und übersee, jetzt mit milan schell zum trio geworden…

lp-veröffentlichungen beim label:  roruys imifest


Marc Richter (aka Black to Comm)

Was ist vermeintlich normales Hören und wie äußert sich eine gestörte Wahrnehmung? Wie hört man mit geschlossenen Ohren? Aus einer ursprünglich rein musikalischen Idee setzte sich Marc Richter aus Hamburg – sonst unter dem Namen »Black To Comm« aktiv – mit dem eigenen Tinnitus und dem Hören an sich auseinander und schuf seine erste am ZKM | IMA entstandene elektroakustische Mehrkanalinstallation. Sinustöne, verfremdete menschliche Stimmen, Atemgeräusche und elektronisch bearbeitete Aufnahmen akustischer Instrumente bilden ein labyrinthisches Vexierspiel: Verschiedene Klangquellen verwandeln sich durch sog. Faltung (Konvolution) zu neuartigen Sounds, die weder natürlich noch künstlich erscheinen. Menschliche Geräusche verschmelzen mit Bläser- und Streichersamples, Sinustöne morphen in Metallklänge. Akustische Täuschungen verwirren den Hörer, aus trügerischer Stille wachsen langsam dichte Noise-Wolken. Tiefe Bässe definieren den Raum. Einzelne Töne werden zeitweise fokussiert, in anderen Momenten werden großformatige Panoramen präsentiert.


Tom Smith

Experimental Music Mash Up Mastermind, granular horror-rock-jazz- vocalist, founding member of the international noise-collective To Live And Shave In LA, Rope Cosmotology, Merkwürdig Riechen and lots of other projects (with Kevin Drumm, Aaron Dilloway etc.). Since he moved from Miami to Hannover Tom has released about 400 CDs by himself and others on his own label Karl-Schmidt-Verlag. Besides some books, tapes, CDs, "loop-diary" and a 72-CD-Box.


Began making music at nine - shortwave radio and turntable manipulation. (Just wicked child's play, but ideas quickly coalesced.) Joined an African-American funk ensemble at 13. Within minutes of his debut, received an ear-nuzzle and a beer. Hooked. Enrolled in an electronic music class at university in 1974; joined the staff of its radio station the same year. Initial electro-acoustic compositions recorded (often in collaboration with Don Fleming) in 1975. During off-hours at the station, emboldened both by the aesthetic promise of punk and Lee Perry's titanic Super Ape, subverted production facilities to create fractured dub versions of extant, "underdone" releases. Moved to NYC in 1977; kept eyes peeled. Migrated next to Athens, Georgia; formed Boat Of (1979-83). Moved to DC, resurfaced as Peach of Immortality (1983-91). Amidst turmoil, signed on with Pussy Galore (8/85 to 2/86). Initial TLASILA demos were recorded by TS in May 1990. Smith moved to Miami in 1991 and perfected the TLASILA template. Rat Bastard and Ben Wolcott were aboard by 93-94. Moved to Germany in 2008.



TROUM is a duo located in Bremen, Germany, established in early 1997. The two members "Glit(s)cH" and "Baraka[H]" were active before in the influential post industrial group MAEROR TRI (which existed from 1988 to 1996). TROUM is the old German word for "DREAM". The dream seen as a central manifestation of the UNconscious symbolizes the aim of TROUM to lead the listener into a hypnotizing dream-state of mind, a pre-verbal and primal consciousness sphere. TROUM uses music as the direct path to the Unconscious, pointing to the archaic "essence" of the humans inner psyche. TROUM tries to create music that works like a direct transformation of unconscious matter.

TROUMs compositions are influenced by post-industrial, dark ambient and minimal /drone-music.

Both members use guitar, bass, voice, accordion, balalaika, flutes, pipes, mouth-organ, melodica, gongs, field recordings, loops, pre-recorded-tapes and a diversity of sound-objects to build a kind of multi-layered and highly atmospheric dreaming-muzak. Their sound could be described as “dark atmospheric ambient industrial”, "transcendental drone" or just “Tiefenmusik”. TROUM doesn't work with synths, samplers or computer-soundsources, the sounds are created "by hand" to reach a broader sensibility. TROUM uses a spiral as their logo, expressing the trance-inducing potential of the music and the wish to reach inner, deeper spheres of the mind with it. Music seen as a door to unknown & alien dimensions with pre-verbal and pre-symbolic origins. Music as an expression of the mystery of existence itself: A tool for the eternal psychic renascence.







von Werner Nekes. Musik: Helge Schneider, Anthony Moore

1982, 35/16 mm, color, 94 min., English/German dialogue

After Ulysses by James Joyce, The Odyssey of Homer, The Warp by Neil Oram. Team: Bernd Upnmoor, Birger Bustorff, Dore 0., Herbert Jeschke, Volker Bertzky, Gisela Schanzenbach. Astrid Nicklaus, Werner Nekes. Music: Anthony Moore, Helge Schneider, musicians from the Science Fiction Theatre of Liverpool. Cast: VA WölfI, Tabea Bloomenschein, Russel Denton.

"Nekes' films derive from and thrive on Art, set light, color, man and music in estranging motion and show disconcerting, stimulating possibilities for play. It is in experiments such as these that the language of film is developed." (Brigitte Jeremias, Frankfurter Allgemeine Zeitung, Oct. 14,1982)

"It is not easy to animate poetry visually since the fascinating Power of the imagination is all too easily numbed by pictures. Nevertheless, Uliisses is a masterpiece." (Doris J. Heinze, Oct. 1982)


"Film of the year" (London Filmfestival 1982), "Goldener Filmdukaten" (Internationale Filmwoche Mannheim 1982), "Placa da Prata" (Festival Internacional de Cinema, Portugal 1983), Preis der Arbeitsgemeinschaft der Filmjournalisten e.V., 1983, Prädikat "Besonders wertvoll".

 t a n E K u b u s

von Kommissar Hjuler/ Mama Bär

Musik: Hans Joachim Hespos/ Kommissar Hjuler/ Mama Bär

Der Film stellt den Einfluß und das Zusammenspiel von Natur und technologisiertem Neuzeit-Menschen dar, zum einen musikalisch durch die reinen Naturgeräusche, in die die elektro-akustische Musik eingebettet ist.
Es war für uns nicht so einfach, das vorgegebene Film-Material in den direkten Kontext zu bringen. Es zeigt ja Hans-Joachim hespos und Christoph Ogiermann in der Natur,, hier mal als "Park" angenommen.
Die Idee zum Gegenüberstellen von Natur und von Stadt kam mir, als ich im Wald gefällte und zum Abtransport bereit liegende Bäume sah.
Auf die Bäume waren Zeichen und Nummer gesprüht, das empfand ich als eine Art NACHRICHTEN DES WALDES, rein Subjektiv. Diese Zeichen (oder besser landwirschaftlichen Kennzeichnungen ) sind am Ende des Filmes auch immer wieder zu sehen.
Zum anderen sah ich die Verbindung zwischen abgelegenem Wald und der Stadt (als neuzeitlichem Wohnraum des Menschen) in den Bahnschienen, die ja u. a. direkt sonst durch eher unberührte Natur verlaufen, so wie sich ein Krebsgeschwür oder einen bestimmte Zelle tentakelarmig ausbreitet, so greifen diese Schienen in die Natur.
Aus diesen einzelnen Impressionen entstand dann der Film " t a n E K u b u s " , der gwissermaßen Natur und Technik einander gegenüber stellt, abgrenzt  aber auch wieder verbindet.