round the creep of the wave line

Keefe Jackson & Boris Hauf

The Peeled Eye

Boris Hauf, Martin Siewert, Christian Weber, Steve Heather

Owl & Mack

Solo song a band born out of love for Chicago Blues, alt-country, free-folk-singer-songwriters, cryptical-obscure dark-vamp-based jazz, minimal Drone music, nocturnal birds of prey and incredibly robust and durable trucks; with a line up that varies from solo to large bands.

guest musicians have included: Loves It!, Kurt Johnson, Martin Siewert, Rico Repotente, Derek Shirley, Steve Heather, Hilary Jeffrey, Daniella Strasfogel, Bo Lie, Marco Eneidi

Boris Hauf Sextet – Next Delusion

Boris Hauf – tenor sax, soprano sax
Keefe Jackson – tenor sax, contrabassclarinet
Jason Stein – bassclarinet
Frank Rosaly – drums
Steven Hess – drums, electronics
Michael Hartman – drums

release: Boris Hauf Sextet – Next Delusion (clean feed, 2011)


Boris Hauf (Tenorsax) and D Bayne (piano)

Release: Postmarks – Western Ave (luminesence records 2011)
National Parks (Montotype Records 2013)

what moves moves

Christina Ciupke & Boris Hauf


Boris Hauf, Billy Roisz, Martin Siewert, Burkhard Stangl, dieb13

“at the cutting-edge of the European avant-garde music.” (

krom,hathut [cd 2008]
pay, EN/OF [vinyl 2005]
würm, charhizma [cd 2004]
g9, timesup/staalplaat [dvd 2004]
boogie, grob [cd 2002]
katapila, sixpackfilm [vhs] 2002
grain, durian [cd] 2000)


Boris Hauf – Keyboards
Tom Meadowcroft – Keyboards
Steve Heather – Drums

“The Understated Brown… sounds like my cup of tea.” – Michael, London
“I usually don’t like men, but you guys are hot!” – Werner Hirsch, Berlin
“You’re basically torturing me with my dream band.” – Kurt Johnson, Chicago


Boris Hauf – Tenor- and Sopranosax
Steven Hess – Drums, Electronics
Keefe Jackson – Contrabassclarinet and Tenorsax
Juun – Piano

Release: Proxemics (creative sources, 2011)


Boris Hauf – Olivier Heinry – Bruno Pocheron

“The medium is the massage.“ – Marshall McLuhan
“Life did not take over the globe by combat but by networking.” – Lynn Margulis
“The Theatre of Cruelty has been created in order to restore to the theatre a passionate and convulsive conception of life, and it is in this sense of violent rigor and extreme condensation of scenic elements that the cruelty on which it is based must be understood. This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid.” – Antonin Artaud, The Theatre of Cruelty, in The Theory of the Modern Stage

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