→ With Ingólfur Vilhjálmsson on Hoffnung 3000 festival
Berlin, 24.08.2017.



→ Experimentik: Marie Takahashi + Ame Zek

Series for new and experimental music at Tik Nord. Every third wednesday of the month.
Tik Nord / Rigaerstr.77, Berlin



→ FAST277 / AME ZEK #342



→ Mapping a gallery Wedding with a thundersheet sounds and feedbak speaker on my back (10.08.2017.)

Space Sound performance ”Sonusurbis 2” – photo by Margret Holz



→ reanimation nights #11

together with Jack Adler-Mckean,Jeremy Woodruff,Sylvia Hinz,Adam Goodwin,Marcello S.Busato



→ reanimation nights #10 / 28.06.2017.


wirecollaboration

→ Over 40 artists (& Ame Zek) collaborate in resistance to the inauguration


madrigera

→ Ame Zek’s ”Streams” on Madriguera (US Distro)


Reanimation nights#03
→ Reanimation nights #03 || 28.11.2016.


Ame Zek reanimation nights
→ Reanimation nights #02 || 31.10.2016.


→ Spectrum || Sound Anatomy VI 03.09.2016. – See more at: ___Playing at Spectrum


→ SHAPE || Stream a compilation of unreleased works by Ame Zek – See more at: ___SHAPE article


→ resonance.fm || Retrospective || Friday 25th December 2015 || 18:00 – 20:00__extra.resonance.fm/episodes/ame-zek-retrospective-2015-12-25


→ the WIRE || Below The Radar Special Edition: SHAPE Platform__http://www.thewire.co.uk/audio/btr/below-the-radar-special-edition-shape-platform


→ Playing at http://spektrumberlin.de/events/detail/ame-zek-brendan-dougherty.html


→ Playing at http://shapeplatform.eu/photos-shape-at-skanu-mezs2015/


→ Playing on http://www.skanumezs.lv/en/2015/skanu-mezs2015-announces-full-program/


→ Playing on http://shapeplatform.eu/ame-zeks-new-album-streams-is-out-now/


→ New Rostfrei review http://www.chaindlk.com/reviews/?id=9030


→ Cloud Chamber at BandCamp http://cloud-chamber.bandcamp.com/album/s-t-r-e-a-m-s


→ Shape Interview: I’m a client of irregularities


→ Becoming part of I.C.A.S. Shape projekt for 2015
→ Becoming part of Berlin Current project


→ Read a polish review here

Ame Zek in the first seconds of his debut album sends us into the deep end: chroboty, sounds deducted springs, scarred orchestral music (interference, so maybe the radio?). Then all sorts szmerowy a loop on the glitches, some sedation but not mute. The second and third track associated with Snakeboy is Dying When Robert Piotrowicz synth motifs backed by something that could be extracted from the sounds of the guitar (but is not Ame Zek uses only synth Clavia Nord Micro and Electron drummachine). If someone’s attention has been put to sleep, the next installment will awaken her, a bit like in Evol, the fact that it breaks down gradually decompressed structure as the algorithmic composition of early electronic music.

Interesting that coming from Croatia creator also relies on inspiration ethnic music from Istria and Macedonia. This is reminiscent of how his fascination with music traditions transformed into something completely different, separate personal and Rashad Becker. It is difficult to compare their work, but they share the ability to fascinating combination of elements, organic and synthetic. Ame Zek moved to Berlin in 2005 and since then has worked with Jamie’em Liddell, Andre Vida, Tim Exile’em and Clayton Thomas. These different experiences have enriched his musical language and imagination, which resulted in such a good album. Do not commune with him still long enough to say this with certainty, but it seems that it may actually turn out to be, as the title indicates, stainless and admire the composer’s sense of freshness for a long time.


→ Read the spanish review here

Few images I feel are most appropriate, in order to describe the content of “Rostfrei”, chosen to illustrate that its cover: a photograph showing a fragment of a strange piece (? Maybe a firearm) in which mixed metal and wood; in which industry and crafts are mixed in delicate symbiosis. The image is perfect because music Ame Zek-a Berlin-making, which opens with this mini-LP, but it takes many years tucked in the experimental scene just city-seeks a balance between these extremes is arid and surly on the surface, but underneath it shows that bustles with a human heart. A heart, yes, full of darkness and bad omens.

A sound level, “Rostfrei” bridges with some aesthetic trends of the eighties (Clearly Zek has sucked industrial music) and early last decade, as clicks’n’cuts or end digitalism Mego . Share this taste for leverage digital trash for using unconventional sound sources or manipulating conventional sources atypically; to give noise and drones a role. An array of formal devices that our man, however, used to construct a discourse that has more to do with contemporary music with some kind of electronics. Noticeable, especially in the way it has to have the sound particles in space: designing a sort of climatic environment in which the rhythmic aspects have little importance (that idea Cageana chance, you will know understand), and transmitted to the listener a really uncomfortable feeling, especially when listening with headphones. A dystopian and alienated reflection of this new industrial society, in which the insistent hum of machines moving steam is replaced by aliens buzzing centers of ubiquitous computing and electronic devices. An absorbing soundscape, drawn with delicacy and detail, in which the tension can be cut with a knife.


→ For some of my italian speaking friends (Blow Up issue #193, June 2014)

Croat by birth but by adoption Berlin, Zek offers six tracks of electro remarkable personality and flair, overlooking the cracks between contemporary research and nighttime stages from subliminal soundtrack. Materials Zek very popular but knows how to use the sounds giostrandone well the extent and forms, that manages to keep alive the attention, which is rare in this type of areas.


→ German article at Taz newspaper

One of the great promises of electronic music have been and is always inventing new worlds: With the synthesizers ,came up sounds that you had not heard before, the sounds that proclaimed discoveries. Although this is more ‘difficult’ to create it today after more than half of a century of electronic music,cause of todays rehearsed conventions and clichés; but the exploration of possibilities remains unused drive for many artists. The Berlin-based musician Ame Zek instead of to accumulate an electronic equipment environment, restricted his equipment over the years more and more, looking for very specific sounds. “His” sounds that come out from the exact knowledge of the instruments and for which there is no any ready-made software out there to make. “Stainless” he calls his album that has emerged from this sinking and reduction. The abstract pieces sounds brittle in a friendly way, are introspective, without giving himself repellent. They almost seem to be saying: “Come if you want, but no one is forcing you.” That Ame Zek electronics ‘design’ does not square machine music, but surprised with tight-knit, oddly vivid frequencies that could be due to its inspiration: A native of Dalmatia Zek was coined in his childhood and youth of the folk music of the region, the rhythmic was complex and dominated by flute and vocals.


→ DeBug ROSTFREI review out.