Rhythm of our city – five interviews and playlists from our Electronic Music Production & Performance tutors

Experimentation, risk-taking and developing work distinct to your own vision is at the heart of our flagship Electronic Music Production & Performance course. We caught up with five of the tutors who guide our students through that journey – Benjamin Flesser, Daria Goremykina, Felicity Mangan, Martina Bertoni and Ricardo Tovar Mateus – and asked them about their inspirations, their practice and what they love about Berlin’s electronic music scene. Each tutor also created and shared a playlist of some of their favourite electronic music tracks and what they’re currently listening to.

Experimental cellist and composer Martina explores the liminal spaces between perception of space and sound in her music. She leads workshops on composition, composition for media, performance, sound design and entrepreneurship at Catalyst.

What inspires you or informs your music?

I draw from my experience in classical academia to make the music I enjoy listening to – we can call it experimental ambient. I am fascinated by creating and interacting with generative systems and by challenging the listener's perception of time. 

How would you describe your own practice/work?

I use my cello as a sound-generating machine and that feeds into processed architectures. I use recognisable compositional structures and patterns to frame everything. My drones, for example, are very textural, but evolve to something very harmonic – I find the element of control this adds to be deeply soothing when I listen to the final result.

How do you feel you help students challenge themselves and grow?

I help them understand that there’s no right or wrong when learning – that trusting ourselves is fundamental to the process of learning, discovery and art. We have to trust the hiccups that the process might bring, to trust our audience and to trust the results of our research. I invite them to be curious, vocal about their needs and doubts and try to empower them to take responsibility for making the work around their own art and identity. Teaching the importance of being critical rather than judgmental is also of fundamental importance.

What is your favourite aspect of the Berlin electronic music scene?

It’s constantly evolving. There’s always more than one eye that looks into the future, with ears attentive to analyse the present. I find that there’s quite a lot of oxygen to breathe here. And a unique kind of support and sense of community. 

Listen to Martina's playlist below.

Interdisciplinary composer, performer and curator Ricardo's work explores the intersection between visual art, music and performance. He leads workshops on entrepreneurship, major project development, music and society as well as advising third-year students on their dissertation at Catalyst.

What inspires you or informs your music?

My music is inspired by a diverse array of sources because I am engaged in multiple art forms and cultural narratives. I draw on the rich musical heritage of Colombia and meld these traditional sounds with the diverse textures of classical and experimental music. My work also taps into the dynamics of pop culture, using its aesthetics to challenge traditional boundaries and embrace various expressions of identity. 

How would you describe your own practice/work?

As an interdisciplinary Colombian artist, my work primarily focuses on creating and composing music that collaborates with various art forms, including dance and theatre. Often, I take the role of composer and performer, bringing together acoustic instrumentation and digital media to enrich these collaborations. My work blends elements from the rich traditions of classical music with experimental music and improvisation. 

How do you feel you help students challenge themselves and grow?

I strive to nurture their practice by recognising potential beyond their initial interests and encouraging them to explore new horizons. By challenging and expanding their artistic boundaries, I aim to broaden their appreciation for various aesthetic styles and techniques. I provide constructive criticism and motivation, fostering an environment where growth and experimentation are valued.

What is your favourite aspect of the Berlin electronic music scene?

Its inclusivity and diversity – not only in terms of musical styles but also in terms of identity and expression. Berlin offers a broad and open landscape where there's a niche for everyone, regardless of their background or identity. Whether you're into techno, house, ambient or experimental sounds, there's a vibrant community supporting each facet of the scene.

Listen to Ricardo's playlist below

Composer, performer, sound designer and instrument builder Benjamin works with modular synthesisers and manipulated or self-built electronics. He leads workshops on sound design, instrument and interface design, performance, creative technologies and advises third-year students at Catalyst.

How would you describe your own practice/work?

My practice includes electronic music composition and performance, instrument design, sound design, studio consulting, artist mentoring, curating events and education. I prefer to use simple tools to achieve complex results rather than using complex tools to achieve simple results.  

How do you feel you help students challenge themselves and grow?

I help our students to challenge themselves by practising critical engagement with music technology and aesthetics. Taking less for granted helps them to make more informed decisions in all aspects of artistic practice.

What is your favourite aspect of the Berlin electronic music scene?

I find it particularly interesting that it is not just one singular homogenous scene. Berlin offers a wide variety of elaborate and often artist-run concert series, festivals, venues, institutions, journals and so on that allow artists to present their work. Thanks to public funding, artists have the freedom to remain slightly removed from the market logic of the entertainment industry. For new music, sound art, historic and recent electroacoustic music, live electronics and conceptual music, this is indispensable and creates an atmosphere where serious work can be created while making it accessible to the public. At the same time, a variety of niche labels and small clubs are maintaining and transforming dance music and post-club culture in sensitive and diverse ways that defy stereotypes and nostalgia.

Listen to Benjamin's playlist below.

You could find classically trained musician Daria performing on the piano in a concert hall or a live set with finger-pads in a club, and in both environments she would thrive. She leads workshops on sequencing, synthesis and sampling, audio production and performance at Catalyst.

How would you describe your own practice/work?

I mostly combine playing piano with drones. In my home studio, I use a wide variety of synthesisers but when performing I focus on a smaller, more manageable set of hardware.

What inspires you or informs your music?

Instruments themselves inspire me for sure! It's interesting how a setup or a particular instrument defines what you can do with it… it defines the amount of freedom and possibilities we have.

How do you feel you help students challenge themselves and grow?

I use my understanding of performance and production to help students bridge the gap between these two topics.

What is your favourite aspect of the Berlin electronic music scene?

Getting to know people who are not only playing instruments but also inventing them! And regarding venues, I personally enjoy smaller places such as Morphine Raum, which allow space for experimentation.

Listen to Daria's playlist below.

Sound artist and composer Felicity specialises in sampling and using field recordings and found sounds to create quasi-bioacoustic music. She leads workshops on performance, approach in modern composition, electronic music studio skills and major project development at Catalyst.

How would you describe your own practice/work?

For my sound work, I sample the timbres and biorhythms of my field recordings and found sounds to create music that merges elements of electro-acoustic and electronic music composition techniques. 

What inspires you or informs your music?

Field recordings present unique sounds that inspire ideas for shaping my compositions for stereo or multichannel systems.

How do you feel you help students challenge themselves and grow?

I’m amazed and inspired to see how much students grow and challenge themselves through listening and feedback sessions with their peers and tutors, and their willingness to explore and experiment with their ideas and tools in workshops. 

What is your favourite aspect of the Berlin electronic music scene?

As an Australian who moved to Berlin in 2008, I discovered that the Berlin electronic music scene was unique because of the different settings in which electronic music is found. I’ve experienced many venues that are very approachable and open to supporting established and emerging artists, and the people in the scene are also very open.

Listen to Felicity's playlist below.

The Electronic Music Production & Performance programme opens many possibilities for a rewarding career within the music industry. The insight from our experienced tutors is just one key ingredient for how we help you uncover a path that is both meaningful and fulfilling to you as an individual. Alongside our unique facilities, project-based learning curriculum and international community of peers, you’ll have the city of Berlin at your fingertips – one of the most diverse, influential and prolific electronic music scenes in the world. Where better to explore your musical identity?

Find out more about our Electronic Music Production & Performance programme, and apply before 31 May for entry this September.