Hans Berg Hans Berg Berlin, Stockholm Hans Berg says that “every show is about pushing things further” when describing his take on live shows. He is not interested in playing it safe, being an artist who just plugs in, performs the same set, and then plugs out again. He wants to share the journey with his audience, experiencing the risk and reward of exploring the unknown and improvised. Hans’ artistry is all about building up his own musical environment, not just for the listener but also for himself. It is very much a world he is immersed in while producing. Playing with hyper-modern synthetic sounds, created from both hardware and software, hypnotically balancing between techno and house, shaping unexpected melodies, it is some of the most organic-inorganic music you will ever hear. His musical language is distinct - it is near impossible not to recognise a Hans Berg production upon hearing it. For the initial discovery phase of production he very much enjoys the element of letting go of control; in recent projects he has investigated what happens if he lets the machines (particularly his beloved modular synths) lead the way; finding rewards in the unexpected and unplanned; letting instincts and machinery go off the beaten track; not intervening until the second act, when the raw material is in his hands, when it is time to sculpt and fine-tune his creations. Hans also runs the label UFO Station Recordings together with fellow Swede Johanna Knutsson, it is a platform for individual productions as well as for their duo Knutsson/Berg. Aside from recently having released two solo EP’s on Ian Pooley’s Montage imprint, his debut album, “Dream Maker”, came out on The Vinyl Factory in 2017, followed in 2019 by his second full-length achievement “Sounds of the Forest Forgotten” on 2MR. Conceived between Hans’ studios in the ultra-busy city of Berlin and the remote countryside of Sweden, as the title suggests, it gathers inspiration from human interaction with the wild, highlighting the connection and disconnection between technology and nature. Since 2004 Hans has been collaborating with Nathalie Djurberg, scoring the Swedish visual artist’s installations and movies. Berg’s compositions extends Djurberg’s work with soundtracks and sonic environments, and their work has been shown in numerous solo- and group exhibitions worldwide.