NOISM # 1: Burnt Friedman in Novi Sad, concert and public lecture, June 9 and 10, 2018.

NOISM # 1: Burnt Friedman in Novi Sad


2K + Burnt Friedman LIVE

Concert: Studio M, Saturday, June 9, 2018 at 9 p.m.

Tickets in presale 300 rsd, at the door of Studio M on June 9 400 rsd.

Pre-sale from June 1.


"Rhythm between World and West"

Workshop and public lecture: CK13, Sunday, June 10, 2018, at 6 p.m.

Admission is free with a voluntary donation.


Burnt Friedman's visit to Novi Sad is the result of many years of cooperation between the organizations, the Institute for Culture of Vojvodina, Dis-patch, Improstor, and CK13 with the support of the Goethe Institute from Belgrade and the City Administration for Culture of the City of Novi Sad.


Burnt Friedman will hold a demonstration of his work and a public lecture in Novi Sad on Sunday, June 10: "Rhythm between World and West" - where he faces the key issues of today's music practice, through research and with the desire to determine the basic differences between so-called Western and non-Western music in their approach to rhythm and how it relates to the dominant notion of Western music.

For decades, Burnt Friedman has been one of the main characters in drama on the world stage of alternative electronic music. But not as an actor, but as a doctor-scientist who performs serious research on rhythm & sound and as a doctor-performer, a multi-instrumentalist who turns his research into a performance with ritual intentions, on electronic instruments. (Electronic music is not a fitting term to explain the synthesis of acoustics, electronics, and current live performance that has elements of both composition and improvisation, without relying on prior programming.) label concerts, archive, screenings, interviews, video listening discography until 2011, continued


The workshop and public lecture with Burnt Friedman is realized through the program New forms of research of contemporary music produced by & Improstor, Novi Sad.

New forms of researching contemporary music is a program that has developed through the joint work and interest of and Improstore, which have been nurturing the development of improvised music for years. By implementing interactive workshops, through multi-day workshops and the process of joint creation and performance, we want to enable new levels of music production. This goal is not only artistic but also has a social dimension, because, through this process of creating music, the hierarchy in music production and performance is questioned, erasing the boundaries between the roles of composer and performer. Therefore, the goal of the project is the politicization of art by turning composers into performers, performers into creators, through improvisation and joint work.

The realization of the project is designed to enable meetings and joint work between guest international artists / participants and local artists and participants through a series of music workshops, in the format of short-term artistic dispersals, creating new musical works, overcoming the boundaries of composer / performer roles and deepening musical intuition through the unpredictable. the process of working together. In this way, at the same time, local music production in the field of contemporary music in Serbia and the local scene and the need to overcome the existing gap between academic/institutional and non-institutional dealing with music is improved. Such mapping should present music as an artistic-political expression whose aesthetics can sublimate and embrace divergent influences (it is also a departure from traditional articulations through artistic changes, because it will enable open and unfettered development that will include new contemporary genres and genres of contemporary music, through jazz, improvisation, rock or electronics).




2K + Burnt Friedman LIVE

Concert: Studio M, Saturday, June 9, 2018, at 9 p.m.

Tickets: 300 rsd, in pre-sale from June 1, 2018, via Gigstix / at the door of Studio M on June 9, 2018, 400 rsd.


2K + is a permanent anti-festival of contemporary "classics and electronics" produced and organized by the Institute of Culture of Vojvodina, launched in 2017.


From the first microphone-percussion and synthesizer experiences recorded in 1980 and into the future, Burnt Friedman has been researching meta-rhythms in parallel with experimenting on electronic music equipment. The live performance is performed as a dance with sound and sample in the plural, Burnt Friedman fits up to 20 samples at the same time, while manipulating them themselves. In that way, with his electronic ensemble, he builds the sound architecture of the work that is created between him and the audience. In composing rhythms, he resorts to the restriction of private feelings in order to extract ritual perfection from the deeper layers. Although he grew up culturally on the German electronic planet, he is not framed in the Western way of understanding, he is not preconceived, but on the contrary encouraged to expand his research into the unknown, if it is exciting - freedom is something on which music depends most in its exposure (paraphrasis).

At the beginning of the year, his album "Anthology 1980-2017" was released, ie an anthology by Burnt Friedman, which includes selected sound recordings up to 37 years ago and which is, of course, insufficient to deeply examine/listen to his opus, but as a unique review, it delighted followers and can serve as the first filter of new listeners. The compilation offers a historical overview of production methods and techniques (tape, Atari, Midi, sampler, hard disk recording, digital audio tape) as well as work on percussion, synth, various toys, samplers. jobs, so that too can be traced to Burnt’s intentions and styles.

Burnt has performed and published works such as Drome, Some More Crime, Electric Romeo, Nonplace Urban Field, Toxh. With bands Excursions et Visites, Nu Dub Players, Shank, Root 70, Nine Horses, The Ambassadors, Flanger. With musicians such as Uwe Schmidt aka Senor Coconut / Atom Heart, David Sylvian, Jaki Liebezeit (recently deceased drummer of the band Can, with whom he released 5 records, perhaps future classics, under the common name: Secret Rhythms), Reza Mortazavi, and many others the second. He remixed or revived dozens of songs by electronic infusion. Friedman’s label Nonplace has released about 50 releases so far.

Dis-patch is organizing a concert by Burnt Friedman in Belgrade on June 8, 2018, at the Drugstore Club:



"It's as if he has tapped into the pulse of the Earth itself in a way no one else has. By himself or in partnerships with Jaki Leibezeit of Can, and more, German artist/musician/producer Burnt Friedman has carved a unique and indescribable place for himself in the modern electronic scene through his subversive and challenging style and mastery of rhythmic languages. " (Orbits Festival 2018)

BURNT FRIEDMAN is one of Germany’s most long-established and highly rated electronic musicians with a career spanning almost 40 years. He was born in Coburg, Germany in 1965 and has lived in Berlin since 2009.

After initially being a student of art in Kassel, Germany, Burnt began to focus on music exclusively from the late 1980s onwards. He went on to attend the Academy of Media Arts in Cologne as a postgraduate student and began to publish his musical works along with his studio productions in 1979. He also began performing live around the same time, both of which soon attracted the attention of the Cologne electronic music scene. From there he progressed to various notable music collaborations throughout the 1990s on projects with the likes of Jaki Liebezeit, Hayden Chisholm, Root70, Atom as (as Flanger), Tim Motzer, Steve Jansen, and David Sylvian (as Nine Horses).

In 2000 Friedman launched his own record label, Nonplace, with 47 releases to date. Working under the solo artist name of BURNT FRIEDMAN, he sought to address the prejudices people had then about the authenticity of programmed music.
His studio and on-stage partnership with Jaki Liebezeit, the former drummer of CAN, dated 17 years. On the strength of their craft and universal musical vocabulary, they have consciously distanced themselves from the formulas of Western European and Anglo-American music.


(1) Faiku - fake haiku