The audiovisual quartet "the gegenschein" unites experimental intermedia artists Tobias Daemgen & Moritz Ellerich with seasoned electroacoustic free-improvisers Achim Zepezauer & Jim Campbell in an immersive, full-room performance experience that affords every single eye & ear a privileged position. Born out of an equal love of light & the dust that catches & reflects it, the quartet has gone to great lengths to indulge their need to create new instruments of expression, often from their relics of past ages & the cast-off underperformers of consumer culture. With their repurposed & prepared cassette multitrackers (the unique Cassette Scratch Orchestra), their nofi Shredapters, their custom-built optoacoustic instruments such as the Haptonium and the Godzilloscope, or their complex sound sensitive lightobjects like the Laser-Octopus and the LED-Suitcase-Prawn, the gegenschein explore the artificial generation of tenuous counterworlds, somewhere in a shifting space between science & its speculative sister. Equal emphasis is given to the relative certainty of reactive chemical & physical processes & the liberating possibilities of generous doses of chance. Organic, elemental-building-block & grainy leaf-vein motifs, dancing & spinning in Petri dishes under the influence of DIY sound-to-light translation modules, hint at the absurd promise of sonic reanimation. Every single scratch, pulse or drone das the potential to alter the 3D projection & laser environment & increasingly the scattered light has also begun to influence the music through the use of unique sensor arrays. Indeed, the gegenschein aim to make every performance singular & site-specific, in particular through their "speaker garden" concept, which sees them preparing a multi-speaker installation throughout the performance space, with their own collection of resurrected woofers & tweeters, at times fed remotely by lasers; given the opportunity they will even doggedly transform resonant spaces, for examples windows, vaulted ceilings or alcovers, in to equal, ragtag recruits to the ranks of these sound system survivors. Taken as a whole, the refreshing result is an abstract, affective audiovisual world, through & in which the audience can alternately walk, or observe from the fringe or stake out a position near the central experimental-club-laboratory island and simply delight in the dials & buttons, the mirrors & bubbling, the curious origins of this engaging optisonic counterglow.

The Gegenschein