Exploring the intersection of club music and the avant-garde.
Rabih Beaini's work as Morphosis brought an organic edge to techno, twisting 808 and MS20 tones into heady workouts that satisfied dancers and chin-strokers in equal measure. 2011's What Have We Learned was an entry point for many listeners, but there's always been much more to Beaini than improvised techno. His upbringing in Lebanon set off a passion for music that crosses borders, be they stylistic, cultural or geographical, and his work as a DJ, label-owner and curator all riff on these hybridised themes. His DJ sets bring together incongruous combinations of sounds, while Morphine Records splinters between techno, noise and experimental flavours. The label has recently issued music from artists who challenge musical convention and gesture toward new ways of thinking and being. American polymath Pauline Oliveros, mechanised composer Pierre Bastien and Indonesia's Senyawa sound completely different, yet they all build their own instruments and work with distinctive practices.
All of those artists appeared at this years' CTM Festival in Berlin, which Beaini helped curate. The festivals' "new geographies" theme rang true with Beaini's perspective, and led to a relationship with celebrated film maker Vincent Moon—they now perform together as an audio-visual duo. But despite his experimental leanings, Beaini's heart is still in the dance, as he told Mark Smith in this recent conversation in Berlin.