TMS is an experimental noise project by the artists Malte Steiner (DE/DK) and Tina Mariane Krogh Madsen (DK). The format is improvisational sound pieces and concerts built out of Steiner and Madsen's sonic interactions, where noise-scapes and complex structures emerge from intense layering of various in- and outputs. The physical interaction with materials has an additional focus and thus to create a more performative and visual sound experience. TMS use primarily various pedals, self-built controllers and Pure Data to create their sounds. Each chosen element is very important for the whole, where the combination of these play a vital role in the compositions. The inputs can be analogue as well as digital; modulated, transformed and distorted.

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movement(al) distortions(s) at Spektrum, Berlin

performance / concertPosted by Tina Mariane Krogh Madsen Sat, September 10, 2016 05:29:39
The piece movement(al) distortion(s) was performed on September 10 at
SPEKTRUM | art science community
B├╝rknerstra├če 12 12047 Berlin

movement(al) distortion(s) is an experimental noise-industrial performance, where performative inputs of objects and body(triggered) sounds will be transformed and distorted through the use of analogue electronic manipulation. The feed-ins will happen live and run through various pedals and other self-created DIY manipulators that transform these into a dynamic noise-scape. Translating and modifying movement and interaction with body and objects into sound.

The sources and inputs come from the interaction of the two performers, each bringing physical elements into the shared composition. Sounds from objects and the interaction between body, surfaces and the architectural structures of the space feed into the piece through the use of piezos. Both performers will live manipulate their own generated sounds into an interwoven structure of dynamic noise patterns.

Malte Steiner from TMS opened the night with an Electronengehirn set:

In the piece Meta-instrument [Stochastic Satz #1-3], Elektronengehirn fusions the world of analog modular sound-synthesis with that of software, combining both means of aesthetics to one composition with a focus on the advantages and as well as the limits of each system. The expressiveness of the analog hardware synthesis is communicating with the complex control- and random patterns of software, here created with Pure Data.

Meta-instrument [Stochastic Satz #1-3] is a part of Steiner's research in what he terms a meta-instrument. This concept is grounded in a wish to move beyond traditional means and methods, and create a more systematic approach to audio creation.

Malte Steiner began the project Elektronengehirn in 1996, where it started as a side project to his industrial outfit Notstandskomitee, but it soon developed to take on a more experimental identity of its own. The main features of Steiner's electro-acoustic compositions are that they are primarily done with software with custom made applications, where he uses Max / MSP, Pure Data and Csound. Steiner's sound projects are additionally closely related to his practice as a media artist, where he creates systems, which control and feeds the sound in real time.