paints with sounds. Floating like a feather, over paper and piano. Diving into the lights of the dark, with violins and wine glasses. The better half of Frahm, Hauschka and Richter. Or simply a radiant mosaic of these colored worlds.
paints with sounds. Floating like a feather, over paper and piano. Diving into the lights of the dark, with violins and wine glasses. The better half of Frahm, Hauschka and Richter. Or simply a radiant mosaic of these colored worlds.
owns his musical versatility like a natural gift – one that pushes him to explore music in all its facets. His airy, cinematic compositions blend classical music, electronica and psychedelia. The cumulative effect is a sort of a meditation state – both for the artist and the audience.
plays film noir, but not like you’ve heard it before. She plays with hope and passion, with power and tension. And with her voice, a piano and something that tells the story of it all. She plays with her eyes closed. And with a happy ending, just somehow different. Touching.
is one of the leading heads and hearts of this gentle sort of revolution some call „neo-classical“. But he refuses to be reduced to that – and to stand still. These days he takes us creatively on a journey of wanting to leave the past behind and to see where else we can go. That’s Arnalds’ philosophy to the core. The idea of his music being a continuum and his desire to strike out for new terrain. Panta rhei. Always. Ground- and heartbreaking at once.
is a slave to the tones. That’s what he said, and that’s what you hear. You can feel it in every note he plays on his accordion. An allegedly old-fashioned instrument, it’s all about here and now when Mario plays: freedom, desire and no borders. That’s how and why he plays. So intense. Like Glass and Vivaldi.
is a pianist, composer and performer. Raised in Québec on the sounds of French pop, Blais encountered classical music out of childlike curiosity. At the age of nine, he first began improvising on the home organ and then took classical piano lessons. But he sensed early on, even before his talent was to blossom into a professional pianist, that the tight corset of classical music did not suit him. He left the Conservatoire de Musique de Trois-Rivières to give room to his creativity and traveled around the world. He learned from and about life in Guatemala, Buenos Aires, Montréal and Berlin, where he also came to know and love the electronic scene. This free spirit can be heard and felt now in his music. Also in the latest release “aubades”, an album in which he has composed pieces for a chamber orchestra for the first time. Bais is one of the most versatile and entertaining of today’s emerging artists.
is back. And thus in the place where they are at home. Classically orchestrated club music, they say. In reality, however, it is much more than that: breaking with musical traditions as a challenge to our listening habits and thus sharpening all our senses. Without losing sight of pop, dance and art. 10 heads make 1000 ideas. And so much more.
is a mononym. An English electronic musician who is attracted by the boundaries. Because these unknown terrains demand to open up. For the new, the unexpected and the continuing. The virtue of the newly discovered sounds then reveals itself somewhere in between. Hidden in a deliberate simplicity that shines ocean-wide. A concept allowing for no synonyms: Clark, on his ‘Playground In A Lake‘ (Deutsche Grammophon, 2021).
, with his French roots, Latin American heart and the Afro-ritual in his blood, sounds like a rover. As a producer, musician and DJ he has different terrains to play with all his influences at once. And it sounds like a percussive, mysterious and organic mantra of nature. Vagabond music to the bone.
gives his name a radical new radiant. The classically trained pianist, composer and producer breaks with the learned and his past. His third album “Retronyms” merges genres and contradictory: acoustics and electronics, analogue and digital, and boundless improvisation with the art of composition. This is surreally beautiful, highly intense acoustic-electronic chamber music of a personal reinvention. Brilliant.
speaks without words, as her cello is the voice that touches people. With every note and melody, the young Polish cellist combines her technically perfect proficiency with boundless creative imagination. She loves to constantly expand the spectrum of cello sound, oscillating between classical and contemporary music. Dobrawa has released records on Deutsche Grammophon, toured extensively in Europe, and has collaborated for many years with her close friend, pianist Hania Rani. Both complement each other perfectly as a duo – almost without saying a word, of course.
is more than the sum of her parts. Half Norwegian, half Irish, her music was shaped by the colourful Kreuzberg as well as the eerie stillness of Scandinavian forests. A singer/songwriter debut, deep as the ocean – untouched and stirring. Drown with her as she guides you through depths of the unknown.
is best known as a DJ and producer in the world of (minimal-)techno. Groundbreaking, award-winning tracks, albums and remixes for more than 25 years – and already an icon beyond the entire genre today. However, besides being a musician, the jack-of-all-trades from the Westerwald, Germany was and still is a studied ecologist, active nature conservationist and creative-scientific mind by heart. His natural historic lectures, ornithological tours or biodiversity shows are audiovisual journeys through the most beautiful and yet unbelievable recognition treasures of our natural cosmos. Just as he captivates the world with his music, Eulberg also casts a trance-like knowledge spell outside techno clubs. Welcome to the miraculous beauty of our nature, presented in a stunning way by Dominik Eulberg.
is trying to find that one absolute sound. Floating through dreamlike, mellow soundscapes and soft, airy atmospheres, however frequently delving into a vast range of emotions and approaches for the dancefloor. Memories, moments and inspirations are only the beginning of this cross-genre journey, on which Brian Zajak aka Fejká will find it all. Absolutely.
is bringing the vibraphone into the spotlight. Percussive melodies climb from minimalistic ambient-valleys over splendid Steve Reich-hills. Berlin-based composer and vibraphonist takes you to very special heights and places. This is a musical travel guide you can totally trust. No, actually you must!
is Konstantin Gropper. Like a philosopher, he takes his music to a place where Foucault, Wenders and Arcade Fire’s Butler are at odds. Always, to create something unique, like a dramatic pop play, an avant-garde existentialism or a rousing soundtrack for his orchestra of contrasts. Perhaps the most versatile, moving songwriter these days. Definitely, Sinatra would say.
is a deep, artful thinker whose singular approach to song writing and sonics sets him worlds apart. José González is in a class by himself. He has a voice. He has a sound. He has a point of view. And altogether, he has a unique and quietly visceral power in his blood and therefore in his music.
are from Düsseldorf. Like Kraftwerk. And they are unafraid of new ideas. Like Kraftwerk. Sounds against all odds. Complex and innovative but at the same time aesthetically catchy. And the source of it all: a prepared piano. Unlike Kraftwerk. But unique as hell.
is making music that’s hard to explain. Words just phrase it inadequately. For those who need them: Fragile and romantically gentle, dancing delicately and dreamy. Period. You’d better listen now. “Writing instrumental music is a way of me expressing something that resonates deep within without having to form words. That’s the beauty of instrumental music”, Sophie says. And we dance and dream and fully agree.
is a French producer duo that assembles house and electro into a new sound architecture. Dejan Dejado and Andreas Schütz build patterns like symmetrical entities, air-permeably woven and without wasting a single word. Two heads and hearts that come together like yin yang in sound. Evolving shape-shifting moods meander into each other and blur an urban, lightly detailed deep house electro aerial view.
is Peter Kruder and Richard Dorfmeister. Both started making music together in the early 1990s, toured the globe, released ground-breaking albums and produced iconic remixes for the likes of Madonna and Depeche Mode. No need to say much more about them, since their music still speaks for itself: universal, global, unifying.
is back with a new album: “Garden Gaia” is dedicated to the “Man as Nature“-topic in a musically revolutionary as well as philosophically holistic way. Everything flows, everything sounds and shines like contemplative sunbeams in a rushing ocean. His music is about mindfulness, awareness and sensitive perception towards what is happening around us and within ourselves. Hendrik Weber aka Pantha du Prince has poured these experiences into nine new tracks and expanded his musical palette of electroacoustic expression in a highly collaborative creative process. „Garden Gaia“ adds a new, forward-looking perspective to Pantha du Prince’s work, which began in 2004 with „Diamond Daze“, his first album and found his way with the critical acclaimed masterpiece „Black Noise“ and his first collaborative album „The Bell Laboratory“.
is Nicolas Janco. He mixes sounds like colors to a meandering painting. Circles forming, surfaces expanding, details becoming clearer and brighter. Everything floats, everything moves between relaxation and departure, between contemplative magnitude and a breathtaking piece of art. Loops without words, and beyond transience.
is one of the most exciting up-and-coming live electronic artists and DJ globally. Rising from Switzerland’s vibrant techno underground culture, she playfully and vigorous weaves the seemingly unusual into sublime, sophisticated melancholic productions. Transcending stylistic boundaries in an inimitable way: this is unique, stunning and thrilling at once.
initially wanted to become a rock star. Fortunately everything came differently. And it’s his home that’s to blame: Berlin. This boundless city, where he juggles with beats and melodies, moods and genres. As a producer, singer-songwriter and DJ, he lends the local dance, techno and electronic scene its international splendour. Thank God he did not become a rock star.
is one of the younger generation of composers for whom the boundaries between the classical orchestra scene, experimental art and pop music have ceased to exist. Folk influenced pieces are set alongside subtle harmonic complexes in the manner of Arvo Pärt and minimalistic drone music. By that, he sends the listener on a poetic journey, a transcendental experience.
saw Chet Baker playing live in 1984. „A concert that changed my life“, the Swedish singer-songwriter later said. „At that moment I realized what I wanted to do when I grew up.“ So, to Chet, in part, we owe this versatile, blend of melancholic vocals and tasteful francophile music paintings. Thanks, Mr. Baker!
is a musical gathering of elegantly dancing bliss and never-ending nights in a Jim Morrison-like road movie. The trio from London combine psychedelic, bluesy guitars with driving percussion and floating soundscapes to create something that feels both driving, thoughtful and new. Intense and thrilling.
is a minimal, experimental techno duo. It’s the collaborative electro project of Ólafur Arnalds and Janus Rasmussen, who have dedicated themselves to exploring the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’ synth-heavy electro pop. Think Faroese-Icelandic planets melting into a new galaxy.
is – as Igor Levit puts it: „Brilliant. Brave, naked, intense, raw. Ultimately, that’s what real art is about: when the artist talks about himself and the listener feels he’s hearing his own story.“ Kowalski makes you fell like home. Somewhere sacred between classical, jazz and theater.
is the pianist behind the Sardinian carnival mask. But what’s behind it? At times he provides solace, at others he strokes the cat we call melancholy. His flair for melodies both big and small is extraordinary. About this he is always open and honest. In every single note he plays, he sounds completely undisguised.
’s music is a concentration of essentials. Exploring concepts of emotional sunrise and dawn, getting lost as well as arriving, he blends wistful melodies, driving drum machines and eternal field-recordings into a wandering, euphoric mélange. Sincere and organic, it is also spacious and fantastic. What a wonderful world!
is the pseudonym of Korean musician Yeohee Kim. After starting out in the confines of the domestic K-pop industry, she then moved to Tokyo where she began to explore a new electronic sound through the collaboration of technology, analogue synth and vocals. Her experimental, multimedia shows have set off fireworks on big stages as well as in exhibitions, documentaries, commercials and fashion shows. A truly sonic K-Experimental-Art-Pop-Electronic-adventure, which is only just taking shape – and which we know is going to be big.
is from Sweden and a classically trained, multiple award-winning musician. His reputation as one of the most forward thinking and inventive electronic artists of the 21st century was cemented when in 2018 he launched Circle of Live, a groundbreaking improvised live concept which brings together some of the most extraordinary, electronic live artists in free-flowing collaborative jam sessions. As this digital conductor he came up with the idea of an audio visual live performance created by playing differently with an ensemble: Soloists will receive dynamically rendered scores, as Mullaert improvises, reacts and re-loops around the main themes of the compositions. Mullaert breathes improvisation in every single moment: breathtaking different.
is like a painter at the piano. Colors blend to new tones, a landscape arises and all is dressed in sound. That’s what synesthesia sounds like – and Dustin knows exactly how colors sound. This may have been something Sofia Coppola has felt, too. Because for her movie “Marie Antoinette” Dustin made his marks as a film composer: by sending moving images on a melodic-hypnotic trip, with a minimal language that everyone understands. Sounds like a beautiful painted picture.
creates space and time, wherever she may roam. There, between Berlin and Warsaw, it flows and drips, marches and meanders. Steady, restless, full of grandeur. In calm and storm, ups and downs, contemplation and euphoria. Her gorgeous debut has been recorded in Iceland and Poland and will be released in early 2019.
is known as half of Faroese-Icelandic duo Kiasmos. But now it’s time for his first solo venture: “Vín” is a colorful debut that takes the listener into a universe of a special kind. Vibrating sound worlds in which Rasmussen gives space to his instincts: raw and fragile, beautiful and blooming. New dimensions of experimental minimal techno are illuminated here. Discovered and introduced by Janus Rasmussen. Intoxicating.
is more than just a label. Founded in Chemnitz, Germany in 1996 it all startet with releasing groundbreaking electronic music. However, there was even more. In addition to music that has influenced succeeding generations of artists, raster has always provided an experimental playground for sound, art and design. An independent artistic platform for audio-visual performances, publications and installations. Now, for its 25th anniversary, Raster is initiating several events, showcasing the broad spectrum of artists that have contributed to the label to date: concerts and club nights in several cities, incorporating installation works, workshops and lectures. Against all odds, like in 1996, because Raster is still even more: it’s art that you can hear, feel and touch.
is the alias of Alexander Schomann, DJ and producer from Offenbach, Germany. His musical home embeds itself to House and Electronic Music landscapes: Organic, Tech and Deep House. All of them live and unite here peacefully in one spot. Rhythms waft like a mantra through the vastness of his sound spheres, shallow melodic blossoms sprout and prepare the stage for the big parade. Schomann feels at home in clubs like Watergate or Scorpios however he can also set the roof on fire in front of an international audience at Burning-Man or at Fusion for instance. No matter where, Rey&Kjavik offers a spiritual rousing path, which enlightens and leads into other spaces, places and spheres. Sounds like a soul saving island on a journey through the inexhaustible universe? It is.
never uses the same sample twice. The young artist from Hamburg rather samples coffee machines or children’s toys and tweaks them afterwards, to make them sound utterly unique. Cause as an evolving artist, you should not repeat yourself, not one of your sounds at all. So, when you don’t know what exactly you will get next – you do know, it’s Stimming. You’ll feel it.
is a true rarity in modern classical music. Not only because she is a woman – no, also because her music is so extraordinarily touching. She sounds and shines like gently falling snow, like foggy morning dew, like an endless dance in the sunset. Fleet-footed she enters melodious fields full of melancholy and hope. The Montreal-based pianist has drawn inspiration from Chopin and Schumann as well as Hans Zimmer and Philip Glass, making her “one of the foremost new stars of modern classical,” as Billboard calls her. Give her your ear, she will capture your heart.
is the experimental mind William Rezé. A French multi-instrumentalist and producer known for his exciting electronica sound. His work is characterized by his devotion to freedom, adventure and traveling. Inseparable as yin and yang, exploring new countries, territories and cultures is part of his varied creativity. Against stagnation and repetition, Thylacine seeks the constant expansion of his musical horizon on numerous journeys. The good thing about it: There his always something new to discover and to listen to. His current album “Timeless” combines the actually untouchable repertoires of Mozart, Beethoven or Satie with the infectious sounds of Moderat, Kalkbrenner or Four Tet. A pretty wild ride? Well, dare to take off with Thylacine!
is an emerging duo from Berlin. The two brothers Leo and Rafa took different musical paths growing up. One was playing the piano with a classical background, the other was more into electronic music production and sound design. Fortunately, at some point they realized that their talents complemented each other perfectly – and TWO LANES was born: A symbiosis of classically influenced electronica and melodic minimal techno. Almost like twins who understand each other blindly by nature.
is a synthesis of art and existence. A dark connoisseur, an enthusiastic autodidact, a never-resting creative mind. As a composer, songwriter, designer, screenwriter, film director, life has always been his muse. With MEMORIES XI-XX, the Hamburg native returns to classical soundscapes. Music in its purest form, but in a new disguise. An instrumental album – so intimate and opulent at the same time – setting art to music and drawing contours to life. An invigorating piece of art about the sound of our existence.
von der haardt GmbH
Reinickendorfer Str. 17
13347 Berlin/ Germany
Geschäftsführer: Ralf Diemert
Registernummer: AG Charlottenburg, HRB 203560 B
Basics09 (Korbinian Kainz, Ove Numrich) + Zwoelf (Stefan Guzy, Björn Wiede)
Introduction and definitions
2. DEFINITION OF TERMS
2.1 Personal data
“Personal data” means any information relating to an identified or identifiable natural person (Article 4(1) of the GDPR). Data of an identified person might be, for instance, their name or email address. Data, however, might also be personal if the identity is not directly recognizable but could be determined by combining own or external information in order to identify that person. A person is identifiable, if information is available about, e.g. their address or bank details, their date of birth or user name, their IP address and/or location data. This means that here any information is relevant which allows for any type of conclusion to be drawn on a person.
Article 4(2) of the GDPR provides that “processing” means any operation which is performed on personal data. That means, in particular, the collection, recording, organization, structuring, storage, adaptation or alteration, retrieval, consultation, use, disclosure, transmission, dissemination or otherwise making available, alignment or combination, restriction, erasure or destruction of personal data.
The following company is responsible for data processing and thus the controller:
Company: von der haardt GmbH
Address: Reinickendorfer Staße 17, 13347 Berlin
Telephone: +49 30 2843 42 00
SCOPE OF PROCESSING
4. SCOPE OF PROCESSING: WEBSITE
We will process the personal data listed in detail under Article 5 below, when you use the Website with the URL www.vdhaardt.com accordingly. In this process, we will only process data from you that you actively enter on our Website or that you provide automatically when using our offer.
Your data will exclusively be processed by us and these data will, as a matter of principle, not be sold, leased or provided to any third parties. Insofar as we use external service providers for the processing of your personal data that will be done in the context of cooperation with a so-called data processor, where we act as principal and are authorised to give instructions to our contractors. For the operation of our Website, we use external service providers for hosting, and for the maintenance, update and further development. Insofar as other external service providers will be used for individual processing activities that are listed in Article 5, they will be specified there.
We do, in general, not transfer any data to any non-EU countries and this is not planned for the future either.
The processing activities in detail
5. CONTACT BY EMAIL
5.1 Description of processing
We provide you with an e-mail address which you can use to contact us. In this form, you will be asked to enter your email address, your name and a message.
By providing such e-mail address on our Website we offer you a convenient option to contact us. The data transferred with your email will exclusively be used for the purpose of handling and answering your request.
5.3 Legal basis
The processing is necessary for the purposes of the legitimate interests pursued by the controller (Article 6(1) point f) of the GDPR). Our legitimate interest is the purpose mentioned in Article 5.2. Insofar as the contact by email is aimed at concluding or performing a contract, the data will be processed to perform a contract (Article 6(1) point b) of the GDPR).
5.4 Storage duration
We will erase the data, as soon as such are no longer required to achieve the purpose of their collection. That is usually the case when the relevant communication with you has been terminated. The communication is deemed terminated as soon as the circumstances reveal that the relevant issue has been conclusively resolved. Insofar as any statutory retention period conflicts with the erasure, the data will be erased immediately after the expiry of the statutory retention period.
6. RIGHTS OF DATA SUBJECTS
You, as data subject, have the following rights in view of the data processing performed by our company as described above:
6.1 Right of access (Article 15 of the GDPR)
You have the right to obtain confirmation from us as to whether or not personal data concerning you are being processed by us. Where that is the case, you have a right of access to the personal data under the conditions set out in Article 15 of the GDPR and the other information specified in detail in Article 15 of the GDPR.
6.2 Right to rectification (Article 16 of the GDPR)
You have the right to obtain from us, without undue delay, the rectification of inaccurate personal data concerning your person and, if necessary, the right to have incomplete personal data completed.
6.3 Right to erasure (Article 17 of the GDPR)
You also have the right to obtain from us the erasure of personal data concerning you without undue delay, insofar as one of the grounds listed in Article 17 of the GDPR applies, e.g. if the data is no longer required in relation to the intended purpose.
6.4 Right to restriction of processing (Article 18 of the GDPR)
You have the right to obtain from us restriction of processing where one of the conditions listed in Article 18 of the GDPR applies, e.g. if the accuracy of the personal data is contested by you, the data processing will be restricted for a period enabling us to verify the accuracy of the personal data.
6.5 Right to data portability (Article 20 of the GDPR)
You have the right to receive the personal data concerning you under the preconditions set out in Article 20 of the GDPR in a structured, commonly used and machine-readable format.
6.6 Right to withdrawal of consent (Article 7(3) of the GDPR)
You shall have the right to withdraw your consent, at any time, for processing which is based on your consent. The withdrawal of your consent will apply from the time it is made. In other words, it will apply for the future. The withdrawal of consent shall not affect the lawfulness of processing based on consent before its withdrawal.
6.7 Right to lodge a complaint (Article 77 of the GDPR)
If you consider that the processing of personal data relating to you infringes the GDPR, you have the right to lodge a complaint with a supervising authority. You may exercise this right with a supervisory authority in the EU Member State of your habitual residence, place of work or place of the alleged infringement.
6.8 Prohibition of automated decision-making / profiling (Article 22 of the GDPR)
Decisions which produce legal effects concerning you or similarly significantly affect you must not be subject to a decision based solely on automated processing – including profiling. We hereby inform you that we use no automated decision-making, including profiling, in view of your personal data.
6.9 Right to object (Article 21 of the GDPR)
When we process personal data concerning you on the basis of Article 6(1) point f) of the GDPR (for the purposes of the legitimate interests), you have the right to object under the grounds set out in Article 21 of the GDPR. This, however, shall apply only on grounds relating to your particular situation. After your objection, we will no longer process your personal data, unless we are able to demonstrate compelling legitimate grounds for processing which override your interests, rights and freedoms. We also do not need to stop the processing, if it serves for the establishment, exercise or defence of legal claims. In each case – even regardless of a special situation – you have the right to object to the processing of your personal data for direct marketing, at any time.