For two decades, centrozoon have questioned not just the process of making music, but the very borders of music itself. They have focused on experimental set-ups and -locations, conceptual approaches and the idea of improvising not just individual notes, but the overall form and structure of their pieces as well. Creating sound, to centrozoon, is an exploration of possibilities and extremes, a constant conscious confusion of contexts and evaluating the validity of what is ‘right’ and ‘wrong’.
The project’s fearlessness in combination with its trademark deadpan humour have usually provoked very strong emotional reactions and reviews, and led to controversial discussion among electronic music lovers. The music featured on the group’s album releases include the irritatingly beautiful soundscapes of “blast” (2000), the disturbing free-form mayhem of “the cult of: bibbiboo” (2002), the reduced chamber electronics of “lovefield” (2007), the dense, complex collages of “boner“ (2012) and the brooding live cuts on “The Room of Plenty“ (2014).
Increasingly, however, the formation have used the live situation and video performances to express themselves – such as on their ‘living installation’ Hununpenti in an out-of-use crematory and concerts in the USA, UK, Finland, Netherlands, Belgium, Luxemburg, Austria, Switzerland and Germany. Further notable appearances include concerts at the Ars Electronica Festival (Linz, A), Virtual Arts Day (Helsinki, SF), a UK Tour including performances at Burning Shed Nights (Norwich, UK) a European Tour in 2011 and their twentieth anniversary US-tour in 2016.
centrozoon currently consists of Markus Reuter, Bernhard Wöstheinrich and Tobias Reber.
“Humour is not permitted.” – Robert Fripp