November 2021

super delayed CLARK2 record release and film premiere tour – Berlin, Salzburg, Wien.

details to follow.

REDRICK updated

Last December I released a collection of lockdown tunes named after the main character in the Strugatsky brothers’ Roadside Picnic: Redrick.

The album will be updated as we go along. Check back when you have a mo and download the tracks you dont have yet. I think that’s how it’ll work.

thanks all, stay safe and healthy and sane.

Roland Torres from SilenceAndSound wrote some wonderful words about the release. Thanks Roland.

“It is almost in discretion that Boris Hauf continues to develop and divulge his music, full of poetry and tenderness, empathy and discreet beauty.

Redrick, released a few months ago as an EP, has been embellished with new tracks to turn into an album and should continue to see his tracklisting expand over time.

The unpredictable is a notion that the composer seems to particularly appreciate, offering with each new project a new angle of his personality forming a complex and rich whole that continually explores the depths of our world.

Crafted like a sculpture, each title is an opportunity for Boris Hauf to express galaxy skeletons, dreams escaped from black holes, erased images of the present … slaying hostile areas to create strangely attractive arpents of land.

There is a lot of finesse and delicacy in the work of the German, craftsman of rushed feelings and sensitive deviations, offering with Redrick, an initiatory journey to the heart of our creative humanity and our submerged emotions. It brilliantly blends, soothing trance and porous intensity, inviting jazz, electronics, classical and abstraction to merge together, to drift until the end of time. Vital.”

Thank Yous and Smooth Slides

Thank you for your support this year. With two charity releases and a benefit rooftop concert Shameless Records could raise 4000Euro for foodbanks in Chicago and Berlin and for the Greek NGO Infomobile, providing refugees with information concerning their rights in Greece and Europe.
A big thank you also to all musicians involved and Julian Lars Gosper for the artwork .
Due to 2020 we are behind with the physical releases we promised you for this autumn and winter. Thanks for your patience. We have 3 amazing new releases cooking, hopefully out before Easter 2021.
Wishing you a solid and smooth slide over to a friendly 2021,


more lockdown tunes for you:

November 2020, second Corona lockdown.
Pay as you wish, thanks.
Be well,

Music: Boris Hauf
Artwork: Julian Gosper


Bed is Boris Hauf and Michael Hartman – Do Less More Often is the music they made. 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.

Original release was accompanied by a T-shirt release here.
T-shirt design by Julian Lars Gosper, printed on Next Level Apparel shirts which are produced environmentally friendly, and sweat-shop and child labor free.

Go to for the 8 remaining Ts…

Thanks and enjoy.

VIDEO BY Andrew Jarvis


“The imaginative space between a piece of language and an intersection of commonly overlooked details in the environment is treated like a strange object that opens a distinct process of observation. Acting as both host and instigator, Litó Walkey continues to deal with the generative space among memory, presence and collective thinking. The audience is made complicit in a site of attention qualified by more than a
single identifiable subject. Multiple intervals of return in alternating presentational modes foreground the co- inhabitation of temporal, acoustic, spacial, physical and associative debris.”
– Litó Walkey


Created and Performed by Litó Walkey
Sound by Boris Hauf
Lighting by Dinis Machado

A Palace Not Infinite


I hope you’re well.

My recent solo CLARK2 was released on April 24, smack in the middle of the (first?) lockdown. I’m very proud of this release and think it would fit really well on your shelf and turntable.  It’s been getting good reviews and airplay but concerts and tour were cancelled.

It’s a double LP on white vinyl in an eye popping reverse printed gatefold designed by Julian Lars Gosper. Produced it at an ECO friendly factory with green, sustainable bio-mass driven technology and green power I do carbon-neutral shipping only or (if you’re in Berlin) delivered in person by bike.

Shipping to the US is bonkers right now. USPS charges $36 for a single LP, but I have a stash in Chicago. If you’re interested please get in touch.

You can listen to or buy the whole thing here.

Here’s what some listeners say about CLARK2.

“an extra-terrestrial minimalist synth excursion.” 

“a celestial, addictive journey concluded with the elegiac […] urban, monotonous noises.” 
– Eyal Hareuveni, Salt Peanuts 

“an album of celestial electronics, alternately minimalist and maximalist and thoroughly engrossing for its entire 80 minutes” 
– Philip Montoro, Music editor Chicago Reader  

“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 

“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 

Thanks for your support.
Stay safe,

You can subscribe to my personal newsletter here. This is where I announce Boris related stuff.

I also run a label Shameless that has a bunch of super exciting releases coming up. You can subscribe to that newsletter here.

Also been filling up with new and old stuff. 


2 days before the garage that housed my studio from 2010-13 was blown up I recorded 5 solo organ tracks in the driveway/stairwell.


Music for a performance duet by Karen Christopher & Sophie Grodin, 2013

Control Signal explores invisible influences and inexplicable connections. It explores our irresistible urge to impose our will upon our immediate surroundings; upon nature. Through sound textures, spoken text, and actions that build visual statements, two people amble, dance, and tremble through a series of ideas and introduce an uncontrollable vibration.

Sound: Boris Hauf
performance by: Karen Christopher & Sophie Grodin
Light: Marty Langthorne
Dramaturgy: Litó Walkey


trailer soundtrack for WHAT MOVES MOVES

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


excerpts of the sound for LIFE AND DEATH OF A MELODY

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


Yesterday afternoon on the Alte Donau: Naked Lunch songs on a boat, fothermuckers!

#OliverWelter @BorisHauf #nakedlunch

Shine on shine on shine on…

three little things – updates from the Haufster

Dear friend

I hope you are well. Here’s a quick update on things.

It’s Bandcamp day again. The online platform I sell my music on is waving all it’s shares in favor of us musicians, hit by concert and touring cancellations due to you know what. So, in case you haven’t yet, but would like to, please go here check out my latest release CLARK2 . Double white LP release in beautiful gatefolded artwork by Julian Lars Gosper. Download comes with the crazy psychedelic and mind-altering videos by Thomas Binder-Reisinger. And this time I’m donating all proceeds to myself.

In case you’d like more background info on CLARK2:
I recently did a Q&A for the Italian zine Chain D.L.K: about how the album came to be, the track names, production techniques, the eco friendly promotion and production of the album, sequencing and of course the art work. 
I really appreciated the thoughtful questions. Q&A in it’s full glory is here or

One last thing – shipping from EU to the USA at regular rates is impossible in the near future. It has something to do with Trump being president, USPS going nuts and something called covid-19. There is a stash of CLARK2s sitting in Chicago though. Soooo….

hope you are all well, safe and healthy.


Q&A for Chain D.L.K.

Recently released on his own label Shameless Productions, CLARK2 is the “longest, deeper and more epic” sequel of CLARK (released in 2005). Besides the hypotheses and the precise analysis by our collaborator Stuart Bruce, we decided to have a talk with this brilliant Berlin-based forger of thought-provoking and imagination-boosting electronic music.

Chain D.L.K.: Good morning, Boris! How are you? How are you spending these weird days?

Boris Hauf: Hi, thanks for the call. I‘m honored. Personally, I love being home and with the family. The slowing down of life, in general, is very welcome. Overall though, it’s pretty scary. It would be ideal if humans could learn from this experience: re-evaluating current healthcare and education systems, developing alternatives to capitalism and finally taking climate change more seriously, for instance.

Boris Hauf ‘CLARK2’ cover artwork by Julian Lars Gosper

Chain D.L.K.: You’re displaying some words and reviews on Clark that often quote dystopia. Do you think that your sound could stay with dystopia if you think we’re experiencing a dystopian world?

Boris Hauf: The concept of CLARK2 was about notions of the terrestrial present and extraterrestrial future. It’s about digital natives born into climate collapse and automation, the degree to which we relinquish control to avoid work, and the future that lies ahead of us and our children. The included layer of the pandemic reality is a timely addition. Titles and concept are all ante-corona. I come up with CLARK titles together with my Shameless companion, Julian Gosper, who lives and works in Vancouver and does all the Shameless artwork. Our claim is that a subtle nod in naming may create deep resonance with audiences.

Chain D.L.K.: Can you talk about the project Clark and how its second act related to the first act? Would you say it’s an enhancement, a sort of implementation, or what?

Boris Hauf: CLARK has been my electronica alter ego since 2005. So hopefully both enhancement and implementation. CLARK1 (Shameless, 2016) was a re-issue of a solo I made in 2005 for the UK label Sijis. My studio skills were different back then and so was the compositional focus. The 2016 remix, remaster, and re-titling were informed by fantasies of extraterrestrial pasts. Super weird fun fact: track #6 is called Corona. CLARK2 (2020) was recorded over a much longer time period, with different instruments in a different studio in different times.

courtesy of Frank Mueller

Chain D.L.K.: ‘Island Destinity’…what a great opener! It looks like the rendering of some cosmic reverie. What did you have in mind while composing it? Any word about the equipment and settings you used to forge such an awesome suite?

Boris Hauf: Thanks! “Island Destinity” was the last track I composed for CLARK2. The album originally started off as a single LP. After spending some time with the finished tracks it felt like it was missing a counterweight…the first part. I was drawn to the idea of the opener being something epic and symphonic in form and structure. What makes the piece special in my ears is the breath and pacing.
Mentally and emotionally, I redefined the already finished work as an LP2 of a double album and sent Julian an idea for an LP1. He started working away on the artwork. There was a lot of going back and forth between us. The music informed the artwork and vice versa. It’s always like that in our collaborations.
Regarding equipment: Synths, samplers, and heaps of outboard effect boxes.
In terms of production, I learned a lot from these past years as keyboarder and multi-instrumentalist for the legendary Austrian indie rock band Naked Lunch. Recording with and peeking over the shoulders of artists producing on that level has been very inspiring also for my own production techniques.

Chain D.L.K.: We can’t help but agree with the eco-friendly choices for the promotion of the album…are they somehow related to the concept of the album?

Boris Hauf: Yes, it’s a substantial part of the album concept. And, also the direction I am taking the label. If possible I deliver the LPs in person, by bike or tram. If not I’ll ship it eco-friendly, carbon neutral. I am very happy to have found a pressing plant that also works to these standards.

Chain D.L.K.: We know, and we appreciate you as a very polyhedral sound artist and musician! Which role would you assign to Clark and its sequel in your artistic growth?

Boris Hauf: Polyhedral, I like it. Thanks. As I mentioned before – CLARK is my electronica solo “persona”. It’s an essential part of my work and evolution as musician.

Chain D.L.K.: Both in Clark and Clark2, there’s a strong stylistic connection to evergreen glories of 70s electronic music knights as well as a strong conceptual hook to sci-fi sonorities…how do you relate to 70s electronics and sci-fi?

Boris Hauf: I love that stuff, in all its complexities as much as in its simplicities. Clark2 sounds even more like 70s electronica when you listen to it on vinyl. I was really pleasantly surprised by the similarities when I first heard the test pressings.

‘Mirrorism’ (music: Boris Hauf, video: Thomas Binder-Reisinger, taken from CLARK2, Shameless Records, SHLP07)

Chain D.L.K.: Besides ‘Island Destinity’, whose length justifies it covering the whole A-side, are there any grouping criteria of tracks for their placement on particular sides?

Boris Hauf: The sequencing is something I worked on in close collaboration with my amigo Max McCormick (also mentioned on the album cover). The idea was to create some type of unity with what we perceived as the three different layers going on in the tracks: 1. metaphysical 2. transitional 3. phenomenological interactive. Max wove the layers together in a pattern and we were both quite blown away by the sequence that emerged.

Chain D.L.K.: Is there any track that you reforged many times before the final editing? If so, why?

Boris Hauf: Almost 33% of the tracks were played as are and just needed some tweaking. 33% experienced some detailed production work and 33% were literally “reforged” (great word) – because they needed it. 

courtesy of Frank Mueller & Julian Lars Gosper

Chain D.L.K.: The track entitled ‘Humans’ is the one richest in glitches… I guess it’s not a random choice! :)

Boris Hauf: :)

Chain D.L.K.: With regard to the match between sometimes weird titles and sonic content, what can you say of ‘Can’t Get Jobs’ or ‘A Palace Not Infinite’?

Boris Hauf: The path to matching titles and sonic content had various trajectories (construing titles with Julian and bouncing off his artwork, sequencing strategies together with Max, …) so it’s hard for me to say exactly how those two combinations came up.

Chain D.L.K.: Did you perform or are you going to perform Clark2 on live stages? If yes, are you thinking of some visual content as well?

Boris Hauf: I’ve performed “A Palace Not Infinite” many times on stage. Usually with guest musicians, always drummers. Steve Heather, Morton Olsen, Didi Kern, … to name a few.

I was invited to perform CLARK2 in its entirety at the 2020 Vienna Popfest. It would have been bombastic. Such a shame it can’t happen. The marvellous Katharina Ernst would have been my duo partner for that gig.

The other plan that fell through in summer 2020 was to tour Europe eco-friendly by train and only play house concerts at friend’s places.

Thomas Binder-Reisinger has made some wonderful videos for both CLARK releases, so I am planning to use them in live performances.

‘Humans’ (music: Boris Hauf, video: Thomas Binder-Reisinger, taken from CLARK2, Shameless Records, SHLP07)

Chain D.L.K.: Any work in progress?

Boris Hauf: There are ideas for CLARK3, particularly in enhancing the collaborative aspects. But honestly, I find the whole Corona pandemic thing less inspiring than the tons of emails I get telling me that “now’s the time to be creative”. I’m really happy I had so many projects and releases lined up to help me stay focused and busy throughout this time of immobility, ’cause right now – I’m not feeling crazy creative…

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