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We're back with Season 5 of CAP Selects: our weekly series showcasing the exceptional work of our second-year Creative Audio Production & Sound Engineering students. During the first semester, students are tasked with writing a five-track album from scratch that realises a creative vision. The brief allows them to explore any concept they choose, with two key requirements: one track must involve collaboration, and another must be a cover or reinterpretation of an original work. Creating a full album marks a significant milestone for our students as they discover and expand the boundaries of their creative potential.

Take a listen to and read about our week-by-week selections below.

About CAP Selects
Season 5 of CAP Selects is a weekly series showcasing the exceptional work of our Creative Audio Production & Sound Engineering students. During the second-year of study, students are tasked with writing a five-track album from scratch that realises a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work.

This week is ÆKAALI's Prime Heifer. Here’s what ÆKAALI said about their project:
"The vision for this album was to create themes for the selected characters from the game “The Sims 2” for Nintendo DS; broadly, I wanted to focus on videogames themes. For this project I didn’t want to create exactly loops, but mainly songs where each piece goes to represent the vibes of one of the figures, telling a small story. In the original game, not all of the characters have their own music, also the compositions are more prompt on being light and cartoonish if that’s the word. In my case, I used these characters as reference and transposed everything into my style, which is a little more serious and darker."
Find out more about the CAP programme here: https://catalyst-berlin.com/music/course/creative-audio-production-sound-engineering

CAP Selects: Albums S5 | Prime Heifer by ÆKAALI by Etikett Radio

"The vision for this album was to create themes for the selected characters from the game “The Sims 2” for Nintendo DS; broadly, I wanted to focus on videogames themes. For this project I didn’t want to create exactly loops, but mainly songs where each piece goes to represent the vibes of one of the figures, telling a small story. In the original game, not all of the characters have their own music, also the compositions are more prompt on being light and cartoonish if that’s the word. In my case, I used these characters as reference and transposed everything into my style, which is a little more serious and darker."

About CAP Selects
Season 5 of CAP Selects is a weekly series showcasing the exceptional work of our Creative Audio Production & Sound Engineering students. During the second-year of study, students are tasked with writing a five-track album from scratch that realises a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work.

This week is Emile Champion-Osselin's Notes. Here’s what Emile said about their project:
"With the creation of this project, my vision was one of variety, with elements of post-rock, post-punk, noise and electronic all mixed in. My ambition is to combine a multitude of sounds in a way that feels coherent, different genres channeled through my own style. Emotions are integral to my work, and I hope for the audience to feel the way I want them to feel, or even better, feel a way I don’t even anticipate. Therefore, not to influence your opinion too much, I always prefer for my music to do the talking rather than myself."

Find out more about the CAP programme here: catalyst-berlin.com/music/course/creative-audio-production-sound-engineering

CAP Selects: Albums S5 | Church by Emile Champion-Osselin by Etikett Radio

"With the creation of this project, my vision was one of variety, with elements of post-rock, post-punk, noise and electronic all mixed in. My ambition is to combine a multitude of sounds in a way that feels coherent, different genres channeled through my own style. This contrast of distinct sounds allows me to create dynamic pieces, juxtapositions that hopefully generate tension, discomfort, satisfaction and excitement within the listener.

Emotions are integral to my work, and I hope for the audience to feel the way I want them to feel, or even better, feel a way I don’t even anticipate. Therefore, not to influence your opinion too much, I always prefer for my music to do the talking rather than myself."

About CAP Selects
Season 5 of CAP Selects is a weekly series showcasing the exceptional work of our Creative Audio Production & Sound Engineering students. During the second-year of study, students are tasked with writing a five-track album from scratch that realises a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work.

This week is Dripping Sun's Release. Here’s what they said about their project:
My album Release is inspired by the sounds of 80s new wave and 60s psychedelic music. It blends vintage elements with modern production, creating a unique mix of old and new. The process of making this album was a journey in itself. I spent time exploring the music of the late 70s and 80s, diving deep into the new wave movement. As I discovered artists and tracks I’d never heard before, I found myself drawn to the spirit of that era. Their use of synths, basslines and atmosphere sparked my creativity and shaped the sound of Release.


CAP Selects: Albums S5 | Release by Dripping Sun by Etikett Radio

"My album Release is inspired by the sounds of 80s new wave and 60s psychedelic music. It blends vintage elements with modern production, creating a unique mix of old and new. The process of making this album was a journey in itself. I spent time exploring the music of the late 70s and 80s, diving deep into the new wave movement. As I discovered artists and tracks I’d never heard before, I found myself drawn to the spirit of that era. Their use of synths, basslines and atmosphere sparked my creativity and shaped the sound of Release."

About CAP Selects
Season 5 of CAP Selects is a weekly series showcasing the exceptional work of our Creative Audio Production & Sound Engineering students. During the second-year of study, students are tasked with writing a five-track album from scratch that realises a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work.

This week is Dripping Sun's Release. Here’s what they said about their project:
I wanted to create something that kept me grounded in what I had already dabbled with while also trying out something new. I accidentally stumbled into one of those nature documentaries where they talked about their use of foley in post-processing and the art of recording sound in the field with microphones. It definitely caught my attention.

CAP Selects: Albums S5 | RingBahn by Placeholder by Etikett Radio

"I wanted to create something that kept me grounded in what I had already dabbled with while also trying out something new. New techniques, maybe put my hands on a new piece of technology, try things not a lot of people use, for good or for worse. I accidentally stumbled into one of those nature documentaries where they talked about their use of foley in post-processing and the art of recording sound in the field with microphones. It definitely caught my attention as I ended up using a lot of foley and field recordings in my production throughout."

About CAP Selects
Season 5 of CAP Selects is a weekly series showcasing the exceptional work of our Creative Audio Production & Sound Engineering students. During the second-year of study, students are tasked with writing a five-track album from scratch that realises a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work.

This week is She noise's instant. Here’s what they said about their project:
Modern technology has made life incredibly convenient, but this ease comes at a cost. With endless choices in the digital world, society has grown detached from real experiences and emotions. Our mini record highlights the overwhelming nature of modern consumerism and how it shapes our lives, leaving us with a lot of places we can escape to at the touch of our fingertips.



CAP Selects: Albums S5 | instant by She noise by Etikett Radio

"Modern technology has made life incredibly convenient, but this ease comes at a cost. With endless choices in the digital world, society has grown detached from real experiences and emotions. Our mini record highlights the overwhelming nature of modern consumerism and how it shapes our lives, leaving us with a lot of places we can escape to at the touch of our fingertips. Using only analog instruments and avoiding overproduction, our project reflected on how this saturation has made it harder for society to find joy and meaning beyond the digital realm. With this in mind, I put a lot of thought into the pre-and post-production process of this recording, carefully selecting the right gear, mics, and mixing techniques to fully convey the message behind this project."

About CAP Selects
Season 5 of CAP Selects is a weekly series showcasing the exceptional work of our Creative Audio Production & Sound Engineering students. During the second-year of study, students are tasked with writing a five-track album from scratch that realises a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work.

This week is orvokki's . Here’s what they said about their project:
Horros EP (english translation examples: hibernation, stagnation, lethargy) is an exploration of my identity as a musician and as a person. The themes for the EP circle around neurodivergence, sexuality, privilege and national heritage by using metaphors from Finnish folklore tales intertwined with my own personal experiences. The tracks vary from fun lighthearted poppy sounds to more abstract and heavy noises symbolising what it means to be a sensitive individual in this performance-driven society.

Find out more about the CAP programme here: catalyst-berlin.com/music/course/creative-audio-production-sound-engineering

CAP Selects: Albums S5 | Horros by orvokki by Etikett Radio

"Horros EP (english translation examples: hibernation, stagnation, lethargy) is an exploration of my identity as a musician and as a person. The themes for the EP circle around neurodivergence, sexuality, privilege and national heritage by using metaphors from Finnish folklore tales intertwined with my own personal experiences. The tracks vary from fun lighthearted poppy sounds to more abstract and heavy noises symbolising what it means to be a sensitive individual in this performance-driven society.

I challenged myself to not take the easy route when it comes to sampling. I scoured the streets of my neighborhood and went through every “zu verschenken” (“to give away”) pile/box I found and ended up with close to twenty random CD’s and an interesting looking seashell which I used as the cover. I compiled a large sample pack full of different textures, one-hits, drums, instrumental loops and vocal chops and used them while producing this EP. The end result is a very personal and unique compilation of genres, ideas and atmospheres that invites the listener to get immersed in the textures and spaces without necessarily having the need to understand the lyrics for one to understand the music. The feeling of a song is what matters the most to me."

About CAP Selects
Season 5 of CAP Selects is a weekly series showcasing the exceptional work of our Creative Audio Production & Sound Engineering students. During the second-year of study, students are tasked with writing a five-track album from scratch that realises a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work.

This week is Laura's SHADE. Here’s what they said about their project:
“SHADE” is an experimental and eclectic compilation that merges electronic and organic sounds. It’s a homage to nature and the divine feminine. Laura’s mission is to create a balance between complimentary energies through sound and emotion. Natural/electronic, feminine/masculine, soft/harsh, dark/light, mind/body. Laura fuses musical influences with field recordings of nature and organic/virtual instruments that emulate it. As a whole, it is covered by a veil of dreaminess that gives the listener a chance to disconnect from this reality for a few minutes and immerse in a different one. 

Find out more about the CAP programme here: catalyst-berlin.com/music/course/creative-audio-production-sound-engineering


CAP Selects: Albums S5 | SHADE by Laura Mainard by Etikett Radio

“SHADE” is an experimental and eclectic compilation that merges electronic and organic sounds. It’s a homage to nature and the divine feminine. Laura’s mission is to create a balance between complimentary energies through sound and emotion. Natural/electronic, feminine/masculine, soft/harsh, dark/light, mind/body. Laura fuses musical influences with field recordings of nature and organic/virtual instruments that emulate it.

As a whole, it is covered by a veil of dreaminess that gives the listener a chance to disconnect from this reality for a few minutes and immerse in a different one. 

"I aim to connect people through my musical dreamscapes and poetry. Born in Santiago, Chile, I grew up in a vibrant artistic environment intertwined with nature, my greatest muse. Berlin's vibrant atmosphere and rich cultural scene provide me with the opportunity to expand my musical horizons. Here, I draw inspiration from dreams, the natural world, nostalgia, and my personal journal entries. My music explores the sensory world by playing with textures, layers, samples and harmonies."

Listen to a series of selected albums created by our Creative Audio Production & Sound Engineering students.

CAP Selects Season 5: listen to our student albums of the week

We’re excited to announce that one of our 27 studios is now home to a newly-installed 7.1.4 speaker system (on permanent loan from ADAM Audio) and Dolby Atmos software.

The next generation of sound systems are those with spatial sound, and students from across our School for Music & Sound will now be able to use and explore this revolutionary technology. Our students can now create and mix immersive sound to a professional standard, working three-dimensionally – positioning sound and manipulating the sound space itself.

Dolby has been leading the way in this breakthrough field and the Dolby Atmos software is the industry standard. Through Atmos, Dolby is the strongest force behind bringing immersive audio to consumers, making its technology especially relevant for sound designers working within the film or gaming industry.

Musicians gearing up to stream their tracks using spatial technology on Apple or Tidal will need to do so through Dolby Atmos, and many record labels are remixing their catalogues to take advantage of spatial audio. 

We can’t wait to see how our students will use this new technology in new and exciting ways. Watch this space!

"The brand-new Dolby Atmos studio is the latest addition to our astonishing array of studios, next to four large-scale recording and production studios, a mastering suite and two ambisonic production and performance spaces. On top of the in-depth engineering experience we already offer to our students, they will now be able to dive deeper into the world of immersive sound for music and film productions."

– Florian Zwietnig, Creative Audio Production & Sound Engineering Programme Lead

Read about new immersive audio avenues for our students to explore

Our brand-new Dolby Atmos spatial sound studio

Our annual awards ceremony marks the end of our school year. For its sixth edition last month, 73 students were nominated for 14 awards, including Best Actor, Outstanding Collaborator and Best Film, which was selected by an external jury of film industry professionals. This year the awards evolved from the "Catalyst Film Awards", to the "Catties".

In proper Catalyst fashion, we celebrated with a party that reached across schools and programmes, hosted an eye-watering variety of talent and went on well past midnight. Our riverside facilities transformed to accommodate 27 performances, four live radio sets, four installations and 15 film screenings.

The awards were hosted by Acting graduate and rising comedy star Merlina Parrot, who brought the house down with her Oscars-style jokes that did not hold back. Aside from sly (and not so sly) digs, Merlina introduced the tutors who announced first nominees, then winners. As well as a beautiful acoustic performance by Electronic Music Production & Performance student Nikolas Wilson, this year’s ceremony evolved to include awards given to students within the School for Music & Sound. The awards also marked a successful completion of the first year of our  new Music & Sound Design for Visual Media programme.

Special recognition goes to the Golden Gorilla and Spirit Award winners, celebrating outstanding creativity and community spirit. The Golden Gorilla is awarded to the artist who has gone above and beyond within their practice. This year, it was awarded to Electronic Music Production & Performance third-year Marius Hay-Smith (along with an award for Outstanding Creative Vision). The Spirit Award went to second-year Creative Audio Production & Sound Engineering student Hari Krishna for personifying the Catalyst spirit of collaboration and community. Hari has been a pillar within our community since joining two years ago – a well-deserved win!

Cattie Awards 2024

A stellar jury of industry experts, composed of Lillah Halla, Julia de Castro, Kristian Petersen, Juli Széphelyi and Sina Ataeian, judged the Best Film category. Their extensive collective experience in directing, screenwriting, sound and camera work, multidisciplinary arts and curatorial roles brought a broad perspective of the film industry.

“All five films in the competition impressed us with their visual and aesthetic quality. Each one tackled important existential topics, emotions, universal fears, and social issues with great skill and sensitivity.”

Five films, by Film Production students Sonia Kharitoniouk, George Jenkins, Hanna Mirtel Paas, Kaito Sashihara and Calen Dawkins, were nominated for the award. The winner, and recipient of the €1,000 Distribution Prize, was George’s exploration of death, identity and the quest for truth in his film “Goodbye To God”. The film tells the story of an astronaut navigating the cosmos and confronting existential questions while surrounded by celestial beauty.

“All five films in the competition impressed us with their visual and aesthetic quality. Each one tackled important existential topics, emotions, universal fears, and social issues with great skill and sensitivity. However, some films stood out for their willingness to take risks.

One film in particular captured our attention and admiration. We were particularly impressed by the director’s courage in exploring different sources and styles, crafting a hybrid language that, even in its imperfections, shines with a genuine and engaging search for a unique voice.

For its bold risk of mixing genres, styles, and looks, and for the way it forges a compelling stream of consciousness, expanding and reflecting on time and our fictional memories, we are proud to award the prize to “Goodbye to God,” directed by George Jenkins.”

Unforgettable moments at the student-led Pulse: Summer Edition

After the ceremony ended, Pulse: Summer Edition – a mini festival, with multiple stages and installations to explore – kicked off. Although supported by our team, the Pulse party was led by students, earning organisers a more in-depth understanding of events management and giving our students a platform to showcase their projects.

“It was a really cool way to show some of what us music techs do and being able to connect to the students that we work with every day” 
– Toto, Catalyst music technician

The first installation that greeted party-goers at the entrance was by Visual Effects, Digital Arts & Animation second-year Alena Borodina. Her interactive installation encouraged participants to reflect on their actions and their consequences, communicating the idea that constant movement and active engagement are key to shaping one's destiny and achieving freedom. Just down the hall in our Theatre, a packed audience caught an electric performance from fledgling five-piece psychedelic/post-rock band Stereo Hues, who draw inspiration from Jimi Hendrix and Red Hot Chili Peppers.

“I am so grateful not only for what I’ve learned at my time at Catalyst but for the people who showed up and shared the love for the music we’ve created.” 
– Delan Fernando, Stereo Hues

An ambient live performance at sunset by Creative Audio Production & Sound Engineering second-year Laura Lengua blended dance and visual artwork with music, taking inspiration both from Venezuelan folk music and Berlin’s electronic music scene. Once the party was in full swing, Acting third-year Rhys Williams presented a burlesque/cabaret performance that transitioned into vogue, setting the tone for an unforgettable event.

This year saw the return of Etikett Radio, our student-run radio station. Community member and Etikett regular Sébastien Huet opened the booth with his jazzy Wanderlust show, followed by Creative Production (Music) MA student Joshua Mellard whose instalment of Early Evening Etikett w/ Josh Em used an eclectic range of contemporary electronic dance music styles to play with mood and narrative. 

As well as the pre-planned roster of sets, spontaneous back-to-back mixes from other show hosts added an extra layer of excitement. Lucid Lisa brought her record collection for her “Music that shaped us” show, spinning vinyl that got the crowd moving, while Creative Audio Production & Sound Engineering third-year Robert Pantzar brought the tempo up with a diverse techno set “Renegade Pulse”.

“Etikett has been such an anchor in being able to channel my creative identity into something that I can share with others” 
– Travis or Alice, DJ and regular Etikett host 

A huge thank you to all of our students and community members who took part in the event, and congratulations to all of our talented Award nominees. Thank you to Kaito Sashihara who captured the photos of the night and Dilinna Ike for creating the videos.

Read about our annual “Catties” awards ceremony including Best Actor, Outstanding Collaborator and Best Film

Pulse End of Year party awards 2024

Pulse: Catalyst End of Year Party & Awards 2024

Across six major concerts in two years, alongside the Rundfunk-Sinfonieorchester Berlin and the Tauchgold team, we have dug deeper into what is possible within the space between classical and electronic music performance. Always with the aim of opening up classical music to new – especially younger – audiences, the concerts in the Mensch, Musik! series became increasingly bold in their format and programming. We’re taking a moment to look back on the final concert in the series, “Mensch, Musik! #9 – Leading (Astray)”, which took place last month and was their most ambitious event yet. Many thanks to Felix Löchner for documenting the event so beautifully.

Samaquias and Emme's collaborative music production

Bringing us full circle, Electronic Music Production & Performance alumnus Samaquias Lorta returned to the Haus des Rundfunks last month to conclude the Mensch, Musik! series he helped to open during his performance back in October 2022. While Samaquias’ performance continued his explorations of live feedback systems, he used the theme of leadership to explore his practice from a new angle. Together with Emme Moises – collaborator, fellow Electronic Music Production & Performance alumna and former classmate – they performed their original three-part composition “Deflecting Prism”. Emme and Samaquias took turns to lead each other in the first two movements, before harmonising in their third movement.

Samaquias created sound using contact microphones on resonate bodies such as glass bowls or clay pots. His contribution was playful at times, leading the audience to a state of curiosity and at other moments rooted in reality, using noises that everyone would have recognised in a second – like coins rattling in a glass jar.

“Using objects not associated with sound creation is interesting because it colours the timbres in unexpected ways. This form of electronic composition is not seen often”

Meanwhile, Emme performed live on a modular synthesiser. At times, she played in a structured way, leaning into a precision that contrasted the unpredictable nature of Samaquias’ DIY feedback systems. For many in the audience, it may have been the first time they had heard this type of instrument. Emme turned dials and flipped switches to create sound through a variety of techniques, including patching, blending and harmonising that either led or responded to Samaquias.

You can find out more about the ideas that went into their performance in this interview conducted ahead of the concert.

Seamlessly mixing electronic music, orchestra and contemporary performance

Strengthened by the experience of the five previous Mensch, Musik! concerts, the interplay between orchestra, electronic music and contemporary performance was very fluid. Special guests Jocelyn B. Smith, Veronika Bachfischer and pupils of the Sophie Scholl School performed poems from Saul Williams’ and the late Thomas Kessler’s collaboration “said the shotgun to the head”. Audience member Christina, who attended both the first and last Mensch, Musik! concerts, commented on how the programme had evolved. Where Mensch, Musik #5 was more traditional in format, "Leading (Astray)" “interwove contemporary performance throughout the event”. 

The teenagers from the Sophie Scholl School formed a rap choir that moved around the concert hall, vocally and physically underscoring the emotive readings delivered by activist and singer Jocelyn B. Smith. Swiss composer and electronic music pioneer Thomas Kessler, who sadly passed away a month before the concert, received a special mention at the end of the show.

Ossagrosse’s visual installation in the Kultursaal showcase

After the performance, crowds mingled in the Haus des Rundfunk’s impressive Kultursaal, in which first year Music & Sound Design for Visual Media student Ossagrosse projected his short film installation “/Sleep”. Set in supermarkets, busy streets and other everyday environments, these AI- generated short stories were a reminder of the moment of technological advance we are living through, as well as our shared commitment to exploring these technologies.

Although this marks the end of the Mensch, Musik! series, you can continue experiencing some of the fruits of our ongoing collaboration with RSB with two June performances... 

On Thursday 20 June, Creative Production (Music) MA students Jonas Kern and Grgur Savic will be performing original pieces alongside five classical musicians in the Kuhlhaus, as part of the RSB’s chamber music series. Jonas, along with the acoustic musicians, will perform Electronic Music Production & Performance Certificate Lead Benjamin Bacon’s “Gesture Contours I-III” – a graphic modular score for acoustic and electronic instruments. The piece stems from projects from our HyperSynth collaboration with the RSB and uses graphic forms commonly seen when describing synthetic sound. Grgur Savic’s “ETERNAL FORCES OF SAVIGNY’S PRIME” is written for electronics, flute, oboe, clarinet, french horn and bassoon, and will combine analogue handcrafted techniques with digitised computer methods. Grgur’s animated graphic score encourages a creative approach and musical decision-making from those performing.

On the same evening at Kater Blau, you can see a longer rendition of Samaquias and Emme’s “Deflecting Prism” at the Atmosphères Vol. 3 listening sessions. The event will feature several Catalyst alumni and wider community members doing their thing in Berlin, including explorations of live visuals and painting with light as well as modular performances, discussions and DJ sets.

Looking back on the most ambitious event yet in the Mensch, Musik! series

Highlights from the final Mensch, Musik!

Highlights from the final Mensch, Musik! concert with RSB

Our Festival of Spatial Sound returned for its sold-out second chapter back in April this year. Over four nights, we were treated to an eclectic programme of multichannel performances, installations and fixed media compositions from Catalyst students, tutors, alumni and guest artists. 

Curated by Creative Audio Production & Sound Engineering Certificate Lead Georg Hilmarsson and Electronic Music Performance & Production Certificate Lead Ben Bacon, the festival aimed to redefine perceptions of space and sound and venture into uncharted sonic territories. The full line-up, also featuring guest artists including Austrian composer Peter Ablinger, is on the DICE event page. 

Relive some of the highlights and artist interviews by watching the video below.

From All Sides: Festival of Spatial Sound 2024 highlights

Featuring music by Catalyst students Gabriel Venegas, Hari Krishna, Guillaume Martignier and Marius Hay-Smith

Artwork by Visual Effects, Digital Arts & Animation student Leo.

Keep reading about our electronic music events in Berlin

Festival of Spatial Sound 2024 by Catalyst. Watch our highlights video!

From All Sides: Festival of Spatial Sound

Join us on Friday 24 May at Haus des Rundfunks for the final concert in the Mensch, Musik! series, where we'll explore the complexities of leadership in collaboration with the Rundfunk-Sinfonieorchester Berlin.

At Mensch, Musik #9 – “Leading (Astray)” – you’ll experience a mix of classical music interwoven with contemporary performance and live electronic music, featuring a teenage rap choir, a collaborative performance by our Electronic Music Production & Performance alumni Samaquias Lorta and Emme Moises, an immersive installation by Music & Sound Design for Visual Media student Ossagrosse and of course the RSB orchestra. Below, we interviewed Samaquias and Emme to find out what we can expect from their multi-movement composition at the event.

At the heart of the Mensch, Musik! series is the goal of making orchestral music accessible to younger generations, both on stage and in the audience – this edition will be centered around Saul Williams’ and Thomas Kessler’s collaboration “said the shotgun to the head”, which explores patriarchy and the coming of a female messiah. 

Tickets for the Mensch, Musik! #9 performance at Haus des Rundfunks on Friday 24 May are available here.

Samaquias, in October 2022, you were the first of our creative community to perform alongside the orchestra. How has your approach to storytelling through electronic music changed since then?

Samaquias: Over the last year, I have detached myself from using the cello or a laptop. Instead, I have been creating sound from resonate bodies such as contact microphones on glass bowls or clay pots. Using objects unassociated with sound creation is interesting because it colours the timbres in unexpected ways. I will lean heavily into this process for the upcoming performance – it's something audiences don’t see very often.

“Focusing on community in a time of fragmented ideologies and polarisation is, for us, one form of leadership.”
– Samaquias Lorta

What can you tell us about this performance? 

Emme: “Deflecting Prism” is a live three-part composition. It is a collaborative sonic adventure, where we will manipulate each other's sounds. I will use an octatrack and eurorack modular, Samaquias with his DIY feedback network. 

How will this relate to the theme Leading (Astray)?

Emme: We explore the theme of leadership by asking how we influence each other – who takes the lead in creating the sounds and who manipulates them? We’re thinking about the responsibility and consequences of leading and the complex interaction between the parts involved.

Samaquias: Each movement, one of us will start, and slowly the other person takes over with the goal to interpret each other's work through our unique approaches. I won’t spoil anything but Tauchgold has done a phenomenal job at creating a larger narrative around our work and how it fits together with other composers.

“We explore the theme of leadership by asking how we influence each other – who takes the lead in creating the sounds and who manipulates them?”
– Emme Moises

What is the key idea you want the audience to take away from your shared performance?

Samaquias: Focusing on community in a time of fragmented ideologies and polarisation is, for us, one form of leadership. I am lucky to have known Emme as a friend and artist throughout my entire Berlin journey – so we used our shared sense of camaraderie and its potential to heal as a foundation for this performance.

Other than technical ability, what hard skills from your time on the Electronic Music Production & Performance course are you bringing with you in order to prepare and perform on the night?

Emme: I graduated a few years ago, so I would say the most valuable thing I’m bringing with me is the musical possibilities of connection. I have known Sam since my first day at class and then continued being friends and musical collaborators since. Meeting like-minded people, exchanging art views and having physical places to experiment sonically is incredibly important.  For me, the community aspect is everything.

After the concert, make sure you stay for a drink and see the site-specific multimedia installation in the foyer of the Der Große Sendesaal. “/Sleep” is an installation of several short films made as a collaboration between Music & Sound Design for Visual Media student Ossagrosse and AI. As we observe various scenes from daily life, such as supermarkets and busy streets, little clues emerge that reveal a sense of detachment – something in the narrator's voice or the look of the characters. Are they fully human? The result is a stream-of-consciousness rendering of the world around us, tinged with a sense of mystery and dream-like meandering.

Find out about the final chapter of the Mensch, Musik! series – #9 "Leading (Astray)"

Musical explorations of leadership

Musical explorations of leadership at the final Mensch, Musik! concert with RSB

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 and Martina Bertoni – 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.

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. 

Circles

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.

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.  

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.

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.

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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.

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.

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.

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

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.

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.

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. 

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

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. 

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.

Felicity Mangan - Dolphin Tricks

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.

Listen to playlists curated by our Electronic Music Production & Performance tutors

Rhythm of our city

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

We're back with Season 4 of CAP Selects: our weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering students centre-stage. Students are tasked with writing a five-track album from scratch that realises a creative vision. They can explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work. Envisioning and creating a full album is a huge step forwards for our students exploring their own creative potential.

About CAP Selects
Season 4 of CAP Selects is a weekly series that puts the outstanding work of our Creative Audio Production & Sound Engineering students at centre stage. During their second year of study, students are tasked with writing a five-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work. 

This week is Laura Lengua’s Permance. Here’s what Laura said about the album:
”Permanence is an Ambient concept album that gravitates around the concept of death. I wanted to reimagine and rewrite the narrative of death’s finality. I proposed instead that death isn’t final, but rather the medium used to transform life's tangibility. Permanence attempts to imagine the answer to the question “what comes next?” by diving into five different soundscapes. Each contemplates different imagery or my own personal philosophies.”

Find out more about our CAP programme here: https://catalyst-berlin.com/music/course/creative-audio-production-sound-engineering-ba-degree

CAP Selects: Albums S4 | Permanence by Laura Lengua by Etikett Radio

"Permanence is an ambient concept album that gravitates around the concept of death. I wanted to reimagine and rewrite the narrative of death’s finality. I proposed instead that death isn’t final, but rather the medium used to transform life's tangibility. Permanence attempts to imagine the answer to the question 'what comes next?' by diving into five different soundscapes. Each contemplates different imagery or my own personal philosophies."

About CAP Selects
Season 4 of CAP Selects is a weekly series that puts the outstanding work of our Creative Audio Production & Sound Engineering students at centre stage. During their second year of study, students are tasked with writing a five-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work. 

This week is ioi’s Heimweh. Here’s what Hari said about their project:
”‘Heimweh’ is the German word for homesick. This album is the emotional journey between being familiar to being estranged. Home can be anything ranging from a place to a person to an emotion. These concepts are thin lines and can very often be antonyms.“
Find out more about our CAP programme here: catalyst-berlin.com/music/course/creative-audio-production-sound-engineering-ba-degree

CAP Selects: Albums S4 | Heimweh by ioi by Etikett Radio

"‘Heimweh’ is the German word for homesick. This album is the emotional journey between being familiar to being estranged. Home can be anything ranging from a place to a person to an emotion. These concepts are thin lines and can very often be antonyms. The contrast between the elements of each chapter in this sonic book are carefully chosen and sculpted. This album staves away from the use of drums and is more texturally oriented. Produced completely in the wonderful Funkhaus, this album has a visceral emotional concept that is open to interpretation as the boundaries of understanding set to this album are intentionally quite broad."

About CAP Selects
Season 4 of CAP Selects is a weekly series that puts the outstanding work of our Creative Audio Production & Sound Engineering students at centre stage. During their second year of study, students are tasked with writing a five-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work. 

This week is M.M.Ferreira’s Saturation. Here’s what Matheus said about their project:
“It took me a while to hone the conceptualization in a way that made sense for me and that could fit into a single word: Dehumanization. Even though dehumanization is the main theme of the album, it is backed up by several sub-themes: loneliness, isolation, resentment, anger, exhaustion, despair, and numbness.”

Find out more about our CAP programme here: catalyst-berlin.com/music/course/creative-audio-production-sound-engineering-ba-degree

CAP Selects: Albums S4 | Saturation by M.M.Ferreira by Etikett Radio

"It took me a while to hone the conceptualization in a way that made sense for me and that could fit into a single word: Dehumanization. Even though dehumanization is the main theme of the album, it is backed up by several sub-themes: loneliness, isolation, resentment, anger, exhaustion, despair, and numbness.

To get to the main theme of my conceptual album I took my time to think about what constitutes a good concept, and for me, it had to start with limitations. By setting a framework to work with, I began to have a clearer and more cohesive plan. I was heavily influenced by images to compose the songs, so I gathered images that would be a visual representation of the world I had in mind, and that inspired me to compose."

About CAP Selects
Season 4 of CAP Selects is a weekly series that puts the outstanding work of our Creative Audio Production & Sound Engineering students at centre stage. During their second year of study, students are tasked with writing a five-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work.

This week is Crycheek’s broken_links. Here’s what David said about their project:
“crycheek set out to on a trip down the memory lane to revisit old ideas from his musical beginnings stored on his hard drive, which he then repurposed. With the help of granular synthesis, re amping through his old Roland CUBE amp in his childhood bedroom or time stretching samples of his friends talking and laughing together, and playing the hand pan in his best friend’s garden, he tries to evoke those memories and cherish them.”

Find out more about our CAP programme here: https://catalyst-berlin.com/music/course/creative-audio-production-sound-engineering

CAP Selects: Albums S4 | broken_links by Crycheek by Etikett Radio

"Crycheek set out to on a trip down the memory lane to revisit old ideas from his musical beginnings stored on his hard drive, which he then repurposed. With the help of granular synthesis, re amping through his old Roland CUBE amp in his childhood bedroom or time stretching samples of his friends talking and laughing together, and playing the hand pan in his best friend’s garden, he tries to evoke those memories and cherish them.

The cover art features a rather oddly looking doorbell. It is from the apartment he spent his teenage years in, showing us the view to the street, with cars passing by. It encloses the idea of traveling back, ringing the doorbell with the hope that someone will open."

About CAP Selects
Season 4 of CAP Selects is a weekly series that puts the outstanding work of our Creative Audio Production & Sound Engineering students at centre stage. During their second year of study, students are tasked with writing a five-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work.

This week is Diego Verissimo's Light Trail. Here’s what Diego said about their project:
"With my work, I aim to explore sound design through unconventional and innovative synthesis
techniques while sharing my passion for underground music. Influenced by the techno scene, electronics, funk, and jazz, I aim to push the boundaries of electronic music. My goal is to be able to translate my techniques and sonic interests in different genres, creating unique sonic experiences while keeping a recognizable identity."

Find out more about our CAP programme here: https://catalyst-berlin.com/music/course/creative-audio-production-sound-engineering

CAP Selects: Albums S4 | Light Trail by Diego Verissimo by Etikett Radio

"With my work, I aim to explore sound design through unconventional and innovative synthesis techniques while sharing my passion for underground music. Influenced by the techno scene, electronics, funk, and jazz, I aim to push the boundaries of electronic music. My goal is to be able to translate my techniques and sonic interests in different genres, creating unique sonic experiences while keeping a recognizable identity.

Through my compositions, I seek to capture the unexpected and provide total immersion, whether on a dance floor or in a contemplative moment. My work reflects my love for experimentation while inviting the audience to discover new musical horizons."

About CAP Selects
Season 4 of CAP Selects is a weekly series that puts the outstanding work of our Creative Audio Production & Sound Engineering students at centre stage. During their second year of study, students are tasked with writing a five-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work. 
This week is Nilgün’s Broken Patterns. Here’s what Nilgün said about their project:
“This album represents 2 worlds coming into contact to collide: acoustics and electronics, east and west, atrocities happening around us, and our daily habitual patterns. Breaking Patterns is never easy nor unpainful. However, it is fundamental for healing and development.”

Find out more about our CAP programme here: catalyst-berlin.com/music/course/creative-audio-production-sound-engineering-ba-degree

CAP Selects: Albums S4 | Broken Patterns by Nilgün Özer by Etikett Radio

"This album represents 2 worlds coming into contact to collide: acoustics and electronics, east and west, atrocities happening around us, and our daily habitual patterns. Breaking Patterns is never easy nor unpainful. However, it is fundamental for healing and development."

About CAP Selects
Season 4 of CAP Selects is a weekly series that puts the outstanding work of our Creative Audio Production & Sound Engineering students at centre stage. During their second year of study, students are tasked with writing a five-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work. 

This week is Quakes’s Construction. Here’s what Quakes said about their project:
“As a producer skilled in crafting compelling instrumentals, I sought to challenge and expand my artistic position with an ambitious album project. Historically, my musical endeavours predominantly involved solo work, emphasising instrumental compositions, and occasionally incorporating vocal samples. However, driven by a desire to evolve as an artist and contribute to every facet of the music-creation process, I identified key skills – lyric writing, singing, vocal production, collaboration, and vocal mixing – to serve as the pillars of my artistic exploration.”
Find out more about our CAP programme here: catalyst-berlin.com/music/course/creative-audio-production-sound-engineering-ba-degree

CAP Selects: Albums S4 | Construction by Quakes by Etikett Radio

"As a producer skilled in crafting compelling instrumentals, I sought to challenge and expand my artistic position with an ambitious album project. Historically, my musical endeavours predominantly involved solo work, emphasising instrumental compositions, and occasionally incorporating vocal samples. However, driven by a desire to evolve as an artist and contribute to every facet of the music-creation process, I identified key skills – lyric writing, singing, vocal production, collaboration, and vocal mixing – to serve as the pillars of my artistic exploration."

About CAP Selects
Season 4 of CAP Selects is a weekly series that puts the outstanding work of our Creative Audio Production & Sound Engineering students at centre stage. During their second year of study, students are tasked with writing a five-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work.

This week is Aneesh's Introspection. Here’s what Aneesh said about their project:
“I wanted to create tracks which made listeners think about themselves and become aware of the thoughts that they are having. The approach of this album also represents my introspection and process of dealing with thoughts and watching them as they come and go. The album cover is made by Madison Branch; it depicts an abstract form of eyes, which are supposed to represent looking at yourself or in other words, watching your thoughts and actions.”
Find out more about our CAP programme here: catalyst-berlin.com/music/course/creative-audio-production-sound-engineering-ba-degree

CAP Selects: Albums S4 | Introspection by Aneesh Chengappa by Etikett Radio

"I wanted to create tracks which made listeners think about themselves and become aware of the thoughts that they are having. The approach of this album also represents my introspection and process of dealing with thoughts and watching them as they come and go. The album cover is made by Madison Branch; it depicts an abstract form of eyes, which are supposed to represent looking at yourself or in other words, watching your thoughts and actions."

Klanginstallationen in Zusammenhang by Thilo Marx

About CAP Selects
Season 4 of CAP Selects is a weekly series that puts the outstanding work of our Creative Audio Production & Sound Engineering students at centre stage. During their second year of study, students are tasked with writing a five-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose – the only limitations to this brief is that one of the tracks must be collaborative and another must be covers or reinterpretations of original work. 

This week is Thilo Marx’s Klanginstallationen in Zusammenhang. Here’s what Thilo said about their project:
“I believe any process can be abstracted to musical form. Making and listening to music helps me get a felt understanding of the relationship between harmonious and disharmonious patterns in the world. I use recorded, improvised material as a starting point in reality. From the recorded sound I try to extract my personal perception by altering it through acoustic or electronic processing. The finished track is a documentation of that journey. Usually the trombone is cast as the main character, accompanied by broken, modified or self made instruments and set against field recordings. More than telling a story I try to create a space that the listener can set their own story into.”

Find out more about our CAP programme here: catalyst-berlin.com/music/course/creative-audio-production-sound-engineering-ba-degree

CAP Selects: Albums S4 | Klanginstallationen in Zusammenhang by Thilo Marx by Etikett Radio

"I believe any process can be abstracted to musical form. Making and listening to music helps me get a felt understanding of the relationship between harmonious and disharmonious patterns in the world. I use recorded, improvised material as a starting point in reality. From the recorded sound I try to extract my personal perception by altering it through acoustic or electronic processing. The finished track is a documentation of that journey. Usually the trombone is cast as the main character, accompanied by broken, modified or self made instruments and set against field recordings. More than telling a story I try to create a space that the listener can set their own story into."

CAP Selects Season 4: listen to our student albums of the week

Modular synthesis meets symphony orchestra⁠

Get ready for the next instalment of our collaboration with Rundfunk-Sinfonieorchester Berlin (RSB). The fourth performance in our collaborative series will feature Creative Production (Music) MA Programme Lead Richard Scott performing alongside the symphony orchestra itself and will explore themes of origin and homeland. Join us on Saturday 25 November for an interdisciplinary concert, featuring symphonic and electronic music alongside dance and text at the Haus des Rundfunks. Watch our new trailer of the Mensch, Musik! 2023–24 series below.

Mensch, Musik! RSB x Catalyst collaboration

Interwoven throughout the evening will be compositions by the maestro of modular synthesis – our very own Richard Scott. With a musical career spanning over four decades, Richard is renowned for pushing the boundaries of free improvisation, jazz and avant-garde composition. A restless collaborator, he has performed alongside musicians and artists from all over the world. This second performance of Mensch, Musik! #6.1 marks a return to full-scale performance with a symphony orchestra. The performance aligns with his artistic vision of creating unexpected encounters between different musical worlds and artistic disciplines. 

Conductor Ruth Reinhardt will be leading the symphony orchestra as it performs music by a diverse selection of composers, including Felix Mendelssohn Bartholdy, Hermann Berlinski, Dai Fujikura, Ursula Mamlok, Bohuslav Martinů, Aribert Reimann and George Walker. Mensch, Musik! is a series produced in collaboration with Tauchgold. 

After the concert, stay for a drink and immerse yourself in the site-specific and multimedia installation in the foyer of the Der Große Sendesaal. "Who do you think you are", by our Creative Production (Music) MA students Connor Oman and Joshua Mellard, explores the evening’s theme from the perspective of microorganisms. The post-human viewpoint reveals the complex and rich life of organisms that humans often overlook, reframing our perceptions. ‘Who do you think you are?’ is produced with help from Maria Vélez Gallo, Simón Guevara Wells and ShySam.

Don't miss this musical experience that blends classical and electronic spheres. Join us on Saturday 25 November at 19:30 at the Haus des Rundfunks for "Mensch, Musik! #6.1 Return to the Unknown". Book tickets here.

Read about the other outputs of our collaborative partnership with the RSB, including the Hypersynth project, here. 

Join Richard Scott back at the RSB to begin the 2023–24 season of Mensch, Musik!

Our brand-new programme in Music and Sound Design for Visual Media [MSVM], starting this September, offers full immersion into a world that combines sound production and visual media. On this programme, every step of the creation process of combining music, visuals and immersive experiences will become second nature, and who better to lead the programme than interdisciplinary specialist Gary Schultz. 

We caught up with Gary to get to know what informs his practice and learn more about the exciting possibilities of the MSVM programme.

Tell us about your professional journey within film, sound and music.

I had an early start composing music for dance when I was in college. I worked on a very meaningful collaboration with the Philip Glass Ensemble that really lit a fire in me. When I graduated, two important things happened. I worked as a producer and business manager in the VFX industry with amazing clients in VR, gaming, film, holograms, robotics, music videos, etc. It was incredible. 

Meanwhile, I was searching for something in my own music: a way to connect all my different interests in remix culture and soundscapes and to give everything a more human touch. I realised that to pursue the music I wanted to create, I needed to make my own film and video, which was the start of my alias Juniper Foam. So now, I usually combine the two in my own work and I also work as a director for other projects, like music videos and documentaries often dealing with sound.

Which music and sound works for visual media have sparked your imagination and shaped your practice?

Sometimes I love films where they only use music once or twice but it hits you like a sucker punch: films like "Beau Travail" by Claire Denis or "Syndromes and a Century" by Apichatpong Weerasethakul. "In the Mood for Love" by Wong Kar-wai is also amazing, but for the opposite reason; it's just constantly stirring your emotions. 

Sound-wise, any film by Lucrecia Martel is incredible and "Sans Soleil" by Chris Marker is completely mesmerising, especially for how the sound and image work together with the narrative: almost like a long-form music video. For similar reasons, I love "Fiorucci Made Me Harcore" by Mark Leckey. As for installation, "The Clock" by Christian Marclay comes from a great concept, but it's the execution of the music that makes it brilliant.

"Everything is on the table for artists today... The downside is that it becomes more difficult to define the common thread that holds your work together. If you can find what it is that you love... that's enough of a thread."

In your own words, what is the key premise of the MSVM programme and what makes it unique?

Our programme is unique for being interdisciplinary, wide-ranging and modern. In visual media, it's not the symphony that we hear, but rather the sweet spots. So instead of composing traditional concert music, we take shortcuts that connect instrumental composition with studio production. This gives our students much more time to work on augmented reality, gaming, art installation, as well as film and television, where they can specialise in sound. They can also become audiovisual artists who are comfortable working on both sides of the sound and image relationship.

How can the programme help our students discover their true passion and unlock their creative potential? 

Everything is on the table for artists today. We can work across media, outside genres and with any themes we want. The downside is that it becomes more difficult to define the common thread that holds your work together. If you can find what it is that you love, what you want to pursue, that's enough of a thread. Your voice will start to distinguish itself. Finding your voice isn't usually a straightforward path. You often need to produce a lot of work and look through the rubble to see what's important to keep. 

Our programme is designed to support this process. We have a project-based learning model where you produce new material all the time and get constant feedback from your classmates and any tutors you want. The goal isn't to become comfortable with quick deadlines, although this is a bonus: it's to put a lot of things into the world so you can recognise your creative potential and the path you want to pursue.

The programme is very interdisciplinary in its approach. Why, and what can students gain from this?

Programme Lead Gary Schultz shares his creative philosophy.