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.

CLARK2

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

Quicklinks:

Bandcamp: clark2.shamelessrecords.rocks   
Soundcloud https://soundcloud.com/boris-hauf/sets/clark-2
Download: https://tinyurl.com/Clark2promo
Videos:  https://youtu.be/525603adqGI
Bio: Boris Hauf Bio

Reviews:

“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

Videos:

Thomas Binder-Reisinger

Artwork:

Julian Lars Gopser

Promo Shots

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CIUPKE AND HAUF

LIFE AND DEATH OF A MELODY (2019 + 2016)

Christina Ciupke & Boris Hauf

AUDIO VIDEO

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

ASSEMBLING THE OBJECT OF DISCOMFORT (2016)

Christina Ciupke, Boris Hauf & Igor Dobricic

AUDIO  VIDEO

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.

WHAT MOVES MOVES (2013)

Christina Ciupke & Boris Hauf

AUDIO

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

hi, please go here to sign up for my newsletter.
what can you expect if you sign up? approx 5 emails a year(-ish) , keeping you updated on concerts or records I’m involved in, either as musician or as curator. stuff like that.

“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

CLARK2

(SHAMELESS, 2020)
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.

SUPPORTED BY SKE

CLARK

(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

VIDEOS

“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 kuronekomusic.com down.)
-) Busking for Gas Money
-) Hartman/Roberts/Hauf – we put the we back in banking (2003, artonal)

Bios
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)
More info and audio: http://tvpow.net
Discography: discography
AUDIO

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.

More info : hauf.klingt.org
Discography

Boris solo:

Photos

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