three little things – updates from the Haufster
Q&A for Chain D.L.K.
Building A Better Reality: A Benefit Compilation
third Bandcamp day
made a mixcloud of track #1s of recent bandcamp day purchases
Extinction Rebellion Berlin
Happy Record Release Day
CLARK2 sneak peek #1
Further escalation on the Greek islands, as coronavirus hits refugee camps
benefit release
Life & Death in Salzburg
100 years of female suffrage in Germany
Elliot Sharp plays live music to 1984
easter jam on mixcloud
easter jams with my bro
new stuff
Boris Hauf (Keyboards) und Alex Jezdinsky (Drums)
Solo and Duo with Morten Olsen this Sunday at Studio 8 in Berlin Wedding.
shameless mix 03 feat: Alessandro Cortini, TV Pow, Aaron Dilloway, Fennesz, Ø, No UFO’s, The Caretaker, Nicolas Jaar
Le Chien music vid
new record out
updated live schedule
not all was bad in 2016
solo at 17 jahre klingt org. part 2 featuring dd kern on a drum.
shameless mix #1
pics from feast
in anticipation of the reissue of CLARK here’s Frans De Waard’s 2005 review:
Le Chien featured in illustrious playlist on RADIO Z
more airplay for Clark
clark in good company. #OnTheWire on the BBC !
CLARK getting airplay in FRANCE. THANKS #RadioLibertaire
CLARK getting airplay in Turkey! thanks @acikradyo
20th edition of “The Parish News” featuring CLARK on #Mixcloud
#efzeg #sweetdeal
Next Delusion Trailer
THE PEELED EYE (review BILL MEYER, @dustedinc )
THE PEELED EYE (review JOHN EYLES, @allaboutjazz)
“In three seconds from zero to twelve tones.” The Peeled Eye REVIEW
list of stolen instruments , please share
The Peeled Eye – review Ron Walkey
refugees welcome in der Sammelstelle in der Schmidt-Knobelsdorff-Str
new Shameless release
excerpt of the closing concert of round the creep of the wave line at the fern room
Boris Hauf Sextet at Constellation
The Peeled Eye Candy
round the creep of the wave line
what moves moves – this weekend @ Uferstudios, Berlin
music for arditti
Blick ins akustische Spiegelkabinett
interview mica
Postmarks – Western Ave.
music for arditti
Eyes Know If A Little Tree Listens
Litó Walkey and Weld Company
More Postmarks reviews. Feelin the love. Thanks all!
Like that, like this
Postmarks National Parks reviews
what moves moves – premiere wednesday 12/11/13
new release: Postmarks – National Parks (Vinyl and CD)
instanded I turn
Litó Walkey – Weld Company – Stockholm
voltage drop
CONTROL SIGNAL – Premiere tonight
download now. LIKE THAT, LIKE THIS – up for grabs
For your Weekend Pleasure: Avandtgarde Home Entertainment (solo from 2002 on cranksatori)
what moves moves
Looks like we have a release date!
MAY3 2 0826 – DONE
▶ 0826 by boris hauf
Alex Berlin Like it
Audition Records · ar083
check this flowchart to fully understand what to expect on sunday 16 at ausland, berlin
TUB on June 16, 2013 at ausland, Berlin
In Memory of Jason Molina
The Road Becomes What You Leave
“Recording Josephine” – Magnolia Electric Company at Electrical Audio
“As long as there are sundowns, there will always be the West”
Animal Dances Kuopio
New shows added
7 Sound Recordings Before Thomas Edison
me and my buddy playing multiphonics…
13 jahre klingt org – 13 pics – dieb13
gepresste Hände erzeugen Druck
Ultimately it’s a curiosity that sounds like nothing else.
Good bye Lost Collie
Boris Hauf Chicago Sextet ‘Next Delusion’ – sound set out in the iris of the eye
2 more shows. I knew it!!!
Solo Organ Drone Noise in Berlin’s Awesome-n-est Reverb Chamber
Captain Beefheart’s Ten Commandments For Guitarists
10 Rules for Teachers and Students from John Cage
“egos in abeyance and empathy keenly evident” by Jesse Goin
Owl & Mack Loves It! in Awesome Sauce
Owl & Mack Loven It @ Schokoladen – Photos
Moses Williams and His One-String Instrument
Owl & Mack Loves It!
Loves it! in Berlin…
things could go in any direction…
a consistent study of contained tension and contrasts
New 7 inch MP3
Boris Hauf Zeit-Ton Portrait Ö1
importance of concentration and close listening
Mixture of European concepts and American know-how
In Rotation
EFZEG melden sich zurück
become the medium of contemplation
Owl & Mack lyrics
store full of efzeg
Salute to Levon Helm
Solo Sax Show – Levon Helm Tribute
Next Delusion Profile on SWR2
Next Delusion – out now!
Postmarks – Western Ave. Out before Xmas 2011!
TUB track – out sometime soon, apparently…
Proxemics – out since September 2011
Texas 71


Bed is Boris Hauf and Michael Hartman

Do Less More Often is the music they make.

This music is about finding a path through the mundaneness of the day-to-day to create purpose and meaning. It is about finding a meaningful way to pass the time, making music with your friends. There are mostly synthesizers, there are subtle pulses and pounding beats, there are gentle drones and harsh noises, there is light and dark, and there is a way to stay connected across distance, time, and clutter. There is the optimism of family and friendship pushing against the cynicism of the oligarchy.

In 2020 we released an album and raised funds for Berlin and Chicago based foodbanks. T-shirts were designed by Julian Lars Gosper, printed on Next Level Apparel shirts which are produced environmentally friendly, and sweat-shop and child labor free.

In the photo below Michael is wearing one of the Tshirts, Boris isn’t.



Boris Hauf 
(Shameless Records, 2020)
Double LP white vinyl, Gatefold
Release: 24.4.2020


Bio: Boris Hauf Bio


If time looked like music, it could be close to Boris Hauf’s new album, CLARK2. The 12 titles are an immersion in a space suspended from the celestial arches of a universe larger than our imagination.”– Roland Torres

“All this scratchin’ is making me glitch.”
-Kevin Press

“It’s rare that a single album in one style can justify and maintain an 80-minute duration, especially one with such a minimalist approach as this has at times- but it’s a testament to the balance and control that’s been put into this that it really is worthy of it. It’s filmic and grandiose, yet never over the top. Brace yourself for a beautiful musical deep space science fiction adventure on this one.”
– Stuart Bruce

“I don’t know, it makes my eyes hurt.”
– Naima


Thomas Binder-Reisinger


Julian Lars Gopser

Promo Shots

Boris Hauf promo pic

Credits: Frank Mueller & Julian Lars Gosper


Extinction Rebellion Red Rebels (promo trailer)
Musik: Boris Hauf (2020)

Boris Hauf (shameless, 2020)

BED – Michael Hartmann & Boris Hauf (shameless, 2020)

On the Pulse of Morning (feat. Maya Angelou)
compilation (shameless, 2019)

Boris Hauf & Max McCormick (shameless, 2019)

Naked Lunch (Lotterlabel,2018)

Boris Hauf (shameless, 2017)

Naked Lunch(Lotterlabel,2017)

NEXT DELUSION (shameless, 2016)

couscous (noise appeal, 2016)

The Peeled Eye 
The Peeled Eye (shameless, 2015)

National Parks
Postmarks (monotype, 2013)

couscous (pumpkin records, 2013)

Next Delusion
Boris Hauf Sextet (cleanfeed, 2012)

Hauf/Hess/Jackson/Juun (Creative Sources, 2011)

Echtzeitmusik Berlin (compilation) (mikroton, 2011)

Joelle LeandreLive at the Ulrichsberg Kaleidophon 

Hangin’ out in between
10 Jahre bessere Farben (compilation) (microton, 2010)

Adam Sonderberg/Boris Hauf (homo38, 2010)

Lontano-Homage to Giacinto Scelsi 
efzeg / compilation (modisti, 2010)

Meril Wubslin 1. 
(Saiko Records, 2010)

White Dog 
film music by Boris Hauf, Goatisland/Lucy Cash: A Last, A Quartet, 2009

BulBul+Hauf’bad bonn’ compilation (three four records, 2009)

Chicago Sound Map 
(kuronekomusic, 2008)

We put the Mitter back into Sill 
POLE KoFoMi#12 (ein_klang, 2007)

Fuckhead (Mosz, 2007)

It’s a Dirty Job but Somebody’s Got to do it 
compilation(imjlabel, 2016)

Boris Hauf/Konrad Rennert (Hammerrecords, 2016)

Kyle Bruckmann/Werner Dafeldecker/Boris Hauf (formed records, 2016)

efzeg (hathut, 2016)

4 Compositions Ulrichsberg 
Anthony Braxton Tri-Centric Ensemble (LEO,2016)

Soft Left onto Westland 
Boris Hauf (Mosz, 2005)

lozenge (sickroom records,2005)

Boris Hauf(Sijis, 2004)

3 Farben: Weiss 
Ruth Weiss/Lukas Knoefler/Achim Tang/Boris Hauf (oebv-gft,2004)

efzeg (enOf, 2004)

Television Power Electric 2 
(Kuro Neko Music, 2004)

efzeg (charhizma, 2003)

we put the we back in banking 
Hartman/Roberts/Hauf (artonal, 2003)

you’re gonna need someone in your bed 
Hartmann/Hauf (boxmedia, 2003)

Cinnamon Tofu Wings 
hearings compilation (Transacoustic Research, 2003)

efzeg (grob, 2002)

Say No 
Sonderberg/Hauf (longboxrecordings, 2002) 

efzeg (staalplaat, 2002)

america says farewell 
TV Pow (En/Of, 2002)

Avantgarde Home EntertainmentCustomer Edition 
Boris Hauf (crank satori, 2002) 

No turn on red 
Boris Hauf (Tu M’p3, 2002)

Easy to Assemble, Hard to Take Apart 
Patrick Pulsinger (Cheap, 2002)

Lozenge (sickroomrecords, 2002) 

At The Edge 
Essl/Hauf/Siewert (manymusics, 2002)

efzeg (durian, 2000) 

— – – 
Sonderberg/Hauf (longboxrecordings, 1999) 

efzeg (Extraplatte, 1998)

The Eschelberg Takes 
Hauf/Neugebauer/Leutgeb (strynx, 1998) 

The Male Comedy 
Fuckhead (Mego, 1998) 

Das Eigene 
Novotny/Kurzmann/Lehn/Mütter/Hauf (oebv-gft, 1998)

video arena 
Fuckhead (PA 12, 1995)


CLARK2 Shameless 2020 (VINYL)
CLARK Shameless 2017 (VINYL)
Hangin’ out in between (10 Jahre bessere Farben, microton -2010)
Soft Left onto Westland Mosz, 2005
Clark sijis, 2005
Avantgarde Home Entertainment Customer Edition crank satori, 2002


BED – Do less more often (Shameless, 2020)
Naked Lunch – Here come the Bells [lotterlabel], 2018
Naked Lunch – So Sad [lotterlabel], 2017
couscous – EISEN noise appeal, 2016 LP
Next Delusion shameless, 2016 LP
The Peeled Eye shameless, 2015 LP
Postmarks – National Parks MonotypeRec, 2013 CD & LP
Boris Hauf Sextet – Next Delusion Clean Feed, 2012
Postmarks – Western Ave Luminesence, 2010
Proxemics -Hauf/Hess/Jackson/Juun creative sources, 2011
Hauf/Sonderberg – schamlos
Chicago Sound Map kuronekomusic, 2008
Hauf/Rennert – doomsdays Hammer Records, 2005
Hauf/Dafeldecker/Bruckmann – wane creative srouces, 2006
Ruth Weiss/Lukas Knöfler/Achim Tang/Boris Hauf – 3 Farben: Weiss grabenfest, 2004
Hartmann/Hauf – You’re gonna need someone in your bed
Hauf/Sonderberg – say no Canthor, 2001
America says farewell – Tv Pow + Boris Hauf En/Of, 2002
Sonderberg/Hauf — – – longbox recordings, 2002
Hauf/Neugebauer + Leutgeb – The Eschelberg Takes
Das Eigene – Novotny/Kurzmann/Lehn/Mütter/Hauf” grabenfest, 1998


KROM – hathut 2006
PAY – En/Of 2004
WUERM – charhizma 2004
G9 – timesup/staalplaat 2002
BOOGIE – grob 2002
KATAPILA – sixpackfilm 2002
GRAIN – durian 2000


SEA-WATCH (Shameless, 2019)
TUB – Long Bow Drawn (Echtzeitmusik Compilation, microton 2012)
efzeg – MisterO (Lontano – Homage to Giacinto Scelsi, modisti, 2010)
BulBul+Hauf – Ab[end] (three four records, – 2009)
We put the Mitter back into Sill (POLE KoFoMi#12, ein_klang 2007)
It’s a Dirty Job but Somebody’s Got to do it Improvised Music from Japan – Special Issue Berlin (imjlabel, 2006)
Hartman/Roberts/Hauf – we put the we back in banking (artonal, 2003)
Cinnamon Tofu Wings (Transacoustic Research hearings, 2003)
Essl/Hauf/Siewert – At The Edge (manymusics, 2002)
No turn on red (Tu M’p3, 2002)


couscous Trans (pumpkin, 2013)
Insturmentatrium – Boris Hegenbart (Monotype, 2012) [Hauf on Fender Rhodes]
Joelle Leandre Tentet – Can you hear me (Leo Records, 2011) [Hauf on Tenor and Barisax]
Meril Wubslin 1. (Saiko Records, 2010) [Hauf on SopranoSax]
Fuckhead – Lebensfrische (Mosz, 2007) [Hauf on Tenorsax & Piccoloflute]
Anthony Braxton Tri-Centric Ensemble – 4 Compositions Ulrichsberg (Leo Records, 2007) [Hauf on Tenor & Sopranosax]
Lozenge – undone (sickroom records, 2005) [Hauf on Tenorsax]
Patrick Pulsinger – Easy to Assemble, Hard to Take Apart (Cheap Records, 2002) [Hauf on Tenorsax]
Lozenge – Mishap (sickroomrecords, 2002) [Hauf on Tenorsax]
Fuckhead – The Male Comedy (Mego, 1998) [Hauf on Tenorsax]
Fuckhead – video arena (Paragoric 12, 1995) [Hauf on Tenorsax]



The Woman Who Swallowed Her House (feature film, dir. Frauke Havemann)

Mitgefühl und Ohne (FransHenschl, Feld Theater)
Robolove (feature film, dir. Maria Arlamovsky, geyrhalterfilm)

Short of Shape – a duet with Litó Walkey
The Parts of the Belly – new piece by Zoe Knights
Now and Then – new piece with Christina Ciupke and Jasna Vinovrški,
Come here dust and hair – Created and Performed by Litó Walkey, Sound by Boris Hauf, Lighting by Dinis Machado

Monowi Nebraska (dir Lilo Mangelsdorf, 2017)
Im Wind – Theater for children with Cinira Macedo and Martina Couturier
At Close Distance – Christina Ciupke, Ayşe Orhon (Berlin)
New Piece with Martin Nachbar

object of discomfort (with Christina Ciupke and Igor Dobricic, Berlin)
life and death of a melody (with Christina Ciupke, Berlin)
Ich bin’s, deine Schwestern (with Martin Nachbar & Gabi dan Droste, Hannover)

round the creep of the wave line Boris Hauf and Keefe Jackson @ Lincoln Conservatory, Chicago.
Thingamajig (with Martin Nachbar and Bruno Pocheron, Berlin, FFT)
Miles and Miles (with Karen Christopher, Sophie Grodin, Litó Walkey)

Hidden Body (with JeeAe Lim, Uferstudios)
What Moves Moves – resurrection (with Christina Ciupke)
Affording Efforts (with Martin Nachbar and Bruno Pocheron)
music for arditti – commissioned piece for Arditti Quartet‘s 40th year anniversary, premiere musikprotokoll 2014

What Moves Moves (with Christina Ciupke)
Gepresste Hände erzeugen Druck (with Julian Weber, Claudia Tomasi, Cinira Macedo)
Animal Dances (Group Piece with Martin Nachbar)
Control Signal (with Karen Christopher & Sophie Grodin)

Untitled Solo (with JeeAe Lim, Berlin)
Animal Dances (Solo) (with Martin Nachbar and Marion Montel, Vienna, Bristol, Oslo, Kuopio, Berlin)
everybody’s resistance (with JeeAe Lim, Berlin)

The Walk (with Martin Nachbar, Sophiensaele Berlin)
And 10 times more (with Zoe Knights, Salzburg, Bilbao, The Place London, Bremen)

Yes. No. A bit. Not Really. (with Christina Ciupke & Lucy Cash, PACT Zollverein, Sophiensaele Berlin)
Choreographic Things, Dancing 3 (with Martin Nachbar, Sophiensaele Berlin)
Drama Queen (with Zoe Knights, Szene Salzburg, Buda Kortrijk, Brut Wien, ARGE Salzburg)
Drama Queen (dir. Jeremy Xido, 2010)
A Last, A Quartet (4 split screen, dir. Lucy Cash, 2010)

Like that, like this (with Litó Walkey, Tanzfabrik Potsdam, Zagreb, Kampnagel Hamburg, Stuk Leuven)
Incidental Journey Saarbrücken (with Martin Nachbar, Saarbruecken)

-iller (with Martin Nachbar, Nationaltheater Mannheim)
looking for johnny (with Martin Nachbar, Stadttheater Freiburg)
Repeater (with Martin Nachbar, Brut Wien, FFT Düsseldorf, Stuk Leuven, Sophiensaele Berlin, Kampnagel Hamburg, Mousonturm, Frankfurt, Vooruit Gent)

Instanded I Turn (with Litó Walkey, Grabenfesttage Wien, Openport Festival Chicago)
Until the moment when God is destroyed by the extreme exercise of beauty (with Vera Mantero,Le Quartz Brest, Centre Pompidou Paris, Culturgest Lisbon, Guarda, Kaaitheater Brussels, La Porta Festival Barcelona, Zagreb, Viseu)

Tarzan, the Vienna Experience (with Franz Poelstra, Robert Steijn, Benoit Lachambre, TQ Halle G Wien)
The Missing Dance No.7 (with Litó Walkey & Katja Dreyer, Tanzinitiative Hamburg, Plateaux Frankfurt, 100 degree Festival Berlin, Tanztage Berlin, nottdance Nottingham)

This Body doens’t have a title yet (with Paz Rojo, Tilburg, Springdance Utrecht, Something Raw Amsterdam, CCB Antwerp)
wings raised to the second power (with Litó Walkey, platform01 Amsterdam; kanuti gildi saal Tallin, Tanzfabrik Berlin, nottdance Nottingham, Springdance Utrecht)
Low boy creeper (dir. Core, 2003)

Dreamcracker (with Sabina Holzer, imagetanz Wien, WUK Wien, tanzfabrik Berlin, Linkshall Chicago
Not to know (with Benoit Lachambre, Andrew Harwood, Nadia Lauro, Impulsfestival Wien, le Quartz Brest)
Blinq (dir. Billy Roisz, Sixpack, 2002)

Un etre Ici Plein (with Vera Mantero, le Quartz Brest, Porto, Big Torino)


music for arditti – commissioned piece for Arditti Quartet‘s 40th year anniversary, premiere musikprotokoll 2014
Ernesto Molinari (Basel)
Anna Hauf/Krasimir Sterev (Wien)
Petra Ackermann (Wien)
Anton Webern Quartet (Wien)
Ensemble Noamnesia (Chicago)
Janus Ensemble (Wien)
Grabenfesttage (Wien)
Salzburger Festspiele
Generator (Wien)
Stadttheater Freiburg
Nationaltheater Mannheim

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Christina Ciupke & Boris Hauf


In their third collaboration Christina Ciupke and Boris Hauf continue researching the link between sound and movement. Supported with lighting design by Emma Juliard the piece unfolds from microscopic sound and movement language to complex sculptures. The performance space is a vibrating three-dimensional body of sound, allowing the audience the experience proximity and distance on different levels of perception. In her movement research Christina Ciupke’s interest is drawn to details – such as a small shift of a joint resulting in an involuntary chain reaction and adjustment of other parts of the body. As it is taken by gravity, the swing of an arm is trapped and decelerates. Two-dimensional images, movement sketches and repetition develop into more spacious and dynamic structures. Boris Hauf sets the sound complementary to the movement interacting microscopic loops with elongated, nested phrases. Together they investigate the deconstruction of repetitions and loops after they have been visually and aurally established.

performance und musik: christina ciupke und boris hauf
licht und bühne: emma julliard
produktionsdramaturgie: barbara greiner
künstlerische mitarbeit: frank müller
produktionsdramaturgie: barbara greiner
produktion: christina ciupke, gefördert durch den regierenden bürgermeister von berlin, senatskanzlei – kulturelle angelegenheiten, mit freundlicher unterstützung der uferstudios


Christina Ciupke, Boris Hauf & Igor Dobricic


In this particular case, the movement and sound composition we were aiming toward was emerging from an ongoing critical investigation of a pleasure in an embodied experience of rhythm as well as the subversion of that pleasure. How is rhythm constructed on one hand and experienced on the other? What is a role of anticipation in shaping our sense of comfort and discomfort in an experience of rhythm?

In order to embody an answer to such an ambiguous set of questions we introduced a condition of a “dance on one leg”, consciously provoking a state of being on the edge, a state of controlled instability where unforeseen movements may occur at any moment in time because of an unexpected sudden loss of control which conveys a sense of freedom as well as constraint. For this state to be sustained it has to be negotiated continuously. On the way, the intentional structure of the movement-development is constantly disfigured and takes another turn. The sound composition at the same time builds up complex rhythmical structures. Within the layering subversive elements undermine the emerging composition of beats, deconstructing them before they fully develop.

The sound is represented and played from a record. The turntable is placed in the middle of a structural element of stairs, which divides the space and at the same time holds the possibility for the audience to be seated. The movement unfolds on a diagonal, which crosses the structural element where the audience is seated. The duration/time of the event is determined by the length of the record.

Performance, Sound, Light: Christina Ciupke, Igor Dobricic, Boris Hauf, Mehdi Toutain-Lopez
Technical Assistance: Emma Juliard 
Production Management/ PR: Barbara Greiner

A production by Christina Ciupke in coproduction with Tanzfabrik Berlin, supported by the Berlin Senate cultural affairs department and funded in the frame of  apap – Performing Europe 2016-2020, cofunded by Creative Europe Programme der EU.


Christina Ciupke & Boris Hauf


We, who live in the world of reflected light, in visual space, may also be said to be in a state of hypnosis. Ever since the collapse of the oral tradition in early Greece, before the age of Parmenides, Western civilization has been mesmerized by a picture of the universe as a limited container in which all things are arranged according to the vanishing point, in a linear geometric order. The intensity of this conception is such that it actually leads to the abnormal suppression of hearing and touch in some individuals…. most of the information we rely upon comes through our eyes; our technology is arranged to heighten that effect: such is the power of Euclidean or visual space that we can’t live with a circle unless we square it. (Marshall McLuhan, Visual and Acoustic Space)

what moves moves is the second collaboration of musician/composer boris hauf and dancer/choreographer christina ciupke. the piece was premiered at the heizhaus of uferstudios berlin in december 2013.
“our dialogue for this piece started as a conversation about differences and similarities in the perception of aesthetics in dance and in music. using a space within a space we examine dynamics of sound and movement and attempt to balance the two media and their reception.“
a concrete physical object – a wooden hut (2m x 1,20m x 2m) with no windows – is located on a slight diagonal axis in the middle of the space. the audience enters into a relatively dark space. to perceive the hut from different perspectives, distances and on various sensual levels spectators are welcome to move freely in the space outside the hut. after they have settled the hut gradually develops a life of its own. visually impenetrable, the hut’s limited permeability allows only minimal perception of what is originating from inside it. barely perceptible noise, cracks and vibrations reveal the hut’s inner life.

after a while the outside space darkens increasingly and light penetrates the cracks of the wooden structure. nearing the hut eludes the overview of what is going on inside it, the gaze is drawn to the detail. observing from a distance complements the visual cutouts and allows insights as a whole. sound fragments and light movements inside the hut are perceived as physical dynamics and melody fragments can be heard in interstices of building and construction noise.

as performers, christina ciupke and boris hauf are alternately inside the hut and outside of the enclosed structure, in midst of the audience. the perception of interior and exterior space oscillates with the movement of sound, light and the dynamics between audience and performers. encounters, when they occur, are indirect and delicate. by repeatedly becoming permeable for the senses the apparently distinct demarcation of the hut conveys proximity and connectedness.

performance: christina ciupke and boris hauf
light: mehdi toutain-lopez
stage construction: bodo herrmann

costumes: nina kramer
production manager: barbara greiner
assistant: anne schuh
a production by christina ciupke supported by the berlin senate cultural affairs department



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“Don’t you lie awake at night wishing that Philip K Dick had written music to accompany his vision of dystopia? All that time he was working in a music store and we only get books… Well luckily, Mr. Boris Hauf has supplied us with the next best thing: The great anti-anti-utopia is here.”
Mark McLaren


2 white LPs, gatefold, reverse print, limited edition 200

“Admirable excursion that contemplates half a century of electronics of terrestrial and sidereal environments in eighty minutes”
– BlowUpMagazine

“If time looked like music, it could be close to Boris Hauf’s new album, CLARK2. The 12 titles are an immersion in a space suspended from the celestial arches of a universe larger than our imagination.”
– Roland Torres

“All this scratchin’ is making me glitch.”
-Kevin Press

“It’s rare that a single album in one style can justify and maintain an 80-minute duration, especially one with such a minimalist approach as this has at times- but it’s a testament to the balance and control that’s been put into this that it really is worthy of it. It’s filmic and grandiose, yet never over the top. Brace yourself for a beautiful musical deep space science fiction adventure on this one.”
– Stuart Bruce

“I don’t know, it makes my eyes hurt.”
– Naima

released April 24, 2020

Music by Boris Hauf at Lost Collie, Berlin 2020
Mastered by Todd Carter at bel_Air, Chicago 2020
Design by Julian Lars Gosper, Vancouver 2020
Many thanks to Max McCormick

CLARK2 is produced at an ECO friendly factory with green, sustainable bio-mass driven technology and green power // no shrinkwrap // no physical promo.



(Sijis, 2005 & Shameless RE-ISSUE, 2017)
180gram black vinyl, limited edition 300

“The Syncopated Molecules in Microwave Meals will Finally Understand”
Carnage News / Riccardo Goron

“the re-issue on vinyl makes a lot of sense. It has a great quality and doesn’t sound dated at all, unlike some of the computer music that appeared a few years before that, the technoid music of Hauf still sounds remarkable fresh; to me it seems like a wise decision to re-issue this.”
Vital Weekly 1069 / Frans de Waard re the 2017 Vinyl reissue

“a seriously deep set of tracks that sound like minimal techno that’s been disassembled, then rebuilt in a slightly different order with half a dozen of the pieces missing… “Clark” is perhaps as far removed from techno as it’s possible to be whilst still being able to justify labelling it as techno, which I will, but this is an extremely deep, insular journey that benefits from focussed headphone listening. Releases like this have been appearing more frequently lately but for a 2005 release this was well ahead of the curve and its release is certainly justified.”
Chain D.L.K. / Stuart Bruce

“dry and cutting edge electronics, post-industrial techno and minimal”
Rockerilla / Roberto Mandolini

“Clark makes wonderful use of intelligence and sensations. It’s a majestic EP of conciseness and relevance, combining the multiple facets of today’s music to propel them towards a future with exciting modulations.”
Silence and Sound / Roland Torres

“Clark is rising in my estimation with every play”
Include Me Out / Robin Tomens

“post industrial minimal music”
– Digital in Berlin / piradio

“a fine bunch of microsounding glitch ambient or whatever you call it, […] here on ‘Clark’ he comes up with something that sidesteps that: his own version of techno music. Stripped bare of all unnecessary elements, adding his own sometimes creepy sounds,”
– Vital Weekly / Frans de Waard re the original 2005 CDR release

“Fragments of techno juxtaposed with modernist contemporary experimentation make it liable to pique the interest of many an electronic music connoisseur.”
Furthernosie / Alex Young

“Minimal and elegant electronic music for Boris Hauf, everything is quasi essential during the listening. The sound choice is accurate and the mastering done by Todd Carter in Chicago pushes everything at the right place.”
Chain DLK / Andrea Ferraris



“CLARK investigates how concepts of processual repetition, patterns and loops can engage the imaginary and calculated potential of iteration and disintegration, delay and modulation. Observing the deformation of repetitions after they have been established, microscopic loops interact with elongated nested phrases and expose the gradual decay of the logic of sound. Originally a 2005 solo release for UK label Sijis, CLARK was re-issued 2017 on vinyl on Shameless. CLARK2 will be released 2020.”
Boris Hauf


Burning Bridges since 200TV Pow and Boris Hauf have known and worked with each other since 2002. Depending on the context they have played concerts and tours as quartet, trio or duo throughout the USA, Japan and Europe, hosted radio shows, written and performed music for dance/performance and have released approx. 10 records.

TV Pow und Boris Hauf kennen sich schon seit 2002 und arbeiten seitdem in verschiedenen Konstellationen zusammen. Je nach Kontext spielen sie als Quartet, Trio oder Duo Konzerte, Tourneen, Tanzprojekte, Radioshows. Bis jetzt in den USA, Japan und Europa. Gemeinsam haben sie ca. 10 Veröffentlichungen auf Vinyl, Cd und Cdr.

Performances and Tours (excerpt)
-) A bunch of Chicago shows between 2002 and 2016 (present) as quartet, trio or duo (depending on the situation)
-) TV Pow/Hauf 2005 US tour
-) Chicago Sound Map – composed music series 2007 – 2010 (Boris Hauf & Michael Hartman, conception and curation)
-) Boris and Michael residency at Le Quartz, Brest (F) w B. Lachambre, Nadio Lauro and others (“Not to know”)
-) Boris and Michael, Tokyo (2003), NYC (2008), small euro tour (2003)

Recorded Projects
-) TV Pow – America Says Farewell [2002, En/Of]
-) TV Pow – Friendship Patrol [2001, Not for Profit]
-) TV Pow – Neighborhood Watch
-) Boris Hauf Sextet – Next Delusion (2012, clean feed)
-) Next Delusion (2016, Shameless)
-) Chicago Sound Map (2008, kuronekomusic)
-) You’re Going to Need Someone in Your Bed (2003, boxmedia)
-) Oh Manny – split 7” MPs (need to repost after taking down.)
-) Busking for Gas Money
-) Hartman/Roberts/Hauf – we put the we back in banking (2003, artonal)

TV Pow is an experimental trio of Todd A. Carter (instruments), Brent Gutzeit (instruments), and Michael Hartman (instruments) has been working together since 1993. Formed in 1995 TV Pow performs free improvisation and composed works, combining electronics, traditional instruments, and noise. They employ samplers, percussion, invented instruments, synthesizers, turntables, tape manipulation, computers and multi-speaker surround-sound systems in a constantly evolving soundscape of sparkling electronics, ambient drones, minimalist techno, and cinematic field recordings. Their recent album, released on Boris Hauf’s label Shameless, began as a beat oriented remix project that evolved into an endeavor of song writing and collaboration with some of Chicago’s most versatile and prolific lyricists and vocalists. (Steven, Tina M. Howell, Precise, Fare Games, Ben Carter, Precise, Sharkula)
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Discography: discography

Boris Hauf
Multi-intrumentalist, composer, producer and performer Boris Hauf plays saxophones, flutes, synths, samplers, organ, various computer-based applications, cymbals, bells, rudimentary guitar and sings. He composes for large and small ensembles, performance artists, film, radio, soloists, video and installation art. More than 40 releases on vinyl, CD, tape and online. He initiated and curated the annual composition festival Chicago Sound Map in Chicago and the concert series Playdate in Berlin and lectures at the University of the Arts in Berlin. Hauf tours worldwide in a variety of bands, ensembles as well as in various performative contexts and if necessary as a solo artist. Current bands include Owl & Mack, Postmarks, Next Delusion, The Peeled Eye. As performer and composer he collaborates closely with Choreographers Christina Ciupke, Martin Nachbar, Karen Christopher and many others with in the performance context. He owns and runs the independent record label Shameless and lives in Berlin, Germany.

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photo credit Dieter Hartwig
photo credit Dieter Hartwig