Aggregat booking best works

Describing the music by Aggregat is not easily done. Least common denominators: The cello does never sound like cello, all tracks are without vocals (exceptions may occur), it is not techno.

With timbral experimentation laying the foundation, the three musicians seek to create enticing compositions without using pop clichés. They found a way to combine unheard sounds within a song structure, forming a conclusive entity. Based on minimalism, Aggregat’s music combines contemporary aesthetics with a hint of classical avantgarde.

In 2018 Aggregat made their live debut at the Fusion Festival, after which they collaborated with the Hamburg based visual effects studio “visual distractions” in producing their first music video. As the stages got bigger, they were invited to perform in Rio de Janeiro and then recorded their first album “1” at “Clouds Hill Recording Studios”. At the end of 2019 Aggregat founded arts and music promotion association “Bund zur Förderung von Elektroakustik in Musik und Kunst” and are currently planning a concert series in Lübeck’s former shipyard “Kulturwerft Gollan”. In 2020 the album and a few videos were released. Remixes by artists as Paul Frick, <L_, Cyrk and others complement the singles.

Aggregat is calling its role models in the soundscapes of Radiohead, the playful drums of Jon Hopkins, and of course the reference to Kraftwerk and Jean-Michel Jarre as to Philipp Glass and Steve Reich is never absent. According to the Beethoven-Year another modern tale in pure instrumental music is being released, making you listen in the concert hall or dance in the clubs. Massively the synths are pushing the bass forward or are flickering through the room. The cello is so much alienated that it sounds like from far in an industrial hall or is being cut in the tempo of the drums. Plucked it reminds to a well saturated guitar. The drums are grooving, inviting to head nodding and dancing, but are never monotone rather blabbering with oneself.


Sometimes complex, sometimes four-to-the-floor they are building the frame for the created worlds of the synthesizers and the cello, which are geared to each other as you would never expect it from two such different instruments.







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