If you were at the concert by my band mockART in September last year, you already know that traffic || jammed was a very specific moment. If you read my report about the evening shortly after, you might remember how intense and concentrated the atmosphere was that night at Atelierhaus Orber Straße, during the Rush Hour Kulturfestival.

traffic || jammed – The Album

What I am happy to share now is that the music from that evening has been released.
traffic || jammed, the album, is out now on CD and in digital form.

All the pieces were written specifically for that concert. We did not take existing material to the stage but instead developed a complete program around the idea of rush hour and the people who create it, intentionally or not. Drivers, pedestrians, systems, habits, blockages. Playing this music live, in that space and in front of that audience, was an essential part of shaping it. At the same time, it always felt like more than a one-off performance.

The concert was recorded by Jörg See, and over the following months I worked carefully on the mix and master. The goal was not to document a concert for nostalgia’s sake, but to shape the material into an album that holds together on its own, even if you were not there that evening. The energy, tension and physicality of the performance were important to preserve, while still allowing the music to breathe as a listening experience.

The CD edition also includes two bonus tracks, La Bête Noire and Kör Adamın Gazeli, which we played as encores. Both tracks were previously released digitally as the single La Bête Noire (Alive).

Limited CDr with two bonus tracks in an exclusive cardboard sleeve.

If you were at the concert, this release might bring you back to that evening. If you were not, this is a good chance to experience what we were working towards.

Thank you for listening and for staying with the music beyond the moment it was played.

The post Caught in the Jam appeared first on rabirius.

Over the past few months, I’ve taken a deep dive into several major music streaming platforms to find out which one stands out—not just from a listener’s point of view, but also as someone who publishes music there.

One of my main criteria, often overlooked in other reviews, was the quality of music recommendations. To make the test fair, I used each service with a clean slate (no listening history or personal data) and focused mainly on alternative and experimental music—especially by independent artists, not those signed to major labels.

I tested the platforms one after the other over about half a year, so it’s possible that some features may have changed during that time. But with that in mind, here’s what I found:

🏆 The Winner: Tidal

Tidal impressed me the most. While their algorithmic recommendations weren’t flawless, they were still better than those of any other platform I tested. What I particularly liked was their emphasis on user-created playlists, which are prominently featured on the home screen. Many of these playlists introduced me to music I hadn’t heard before but instantly appreciated—suggesting that the curators had a taste similar to mine.

Another plus: the Tidal app worked seamlessly with my Wi-Fi speakers without needing a third-party controller, which wasn’t the case with most other platforms. And yes, the sound quality was excellent too.

🥈 Second Place: Qobuz

Qobuz was a close contender. Their sound quality is arguably the best of the bunch, and instead of relying on algorithms, they offer editorial-style recommendations—like a digital music magazine. This can lead you to discover music far outside your usual listening habits, which I found refreshing.

However, I did notice some gaps in their catalogue, especially with older releases. For instance, none of our early mockART albums were available initially, though I’ve since uploaded them to complete our discography there. A downside: Qobuz’s app doesn’t connect directly with my Wi-Fi speakers, which was a bit inconvenient.

🥉 Third Place: Apple Music

Apple Music has its strengths—mainly its clean, minimalist interface and solid recommendations. But if you’re not part of the Apple ecosystem, you’ll quickly notice some limitations. Non-Mac users, in particular, don’t get the full experience, and integration with other hardware can be a bit clunky.

Also Worth Mentioning: Deezer

Deezer came across as the underdog, which made me root for them. I liked their vibe, and while their recommendation engine wasn’t quite up to par, it wasn’t bad either. A nice surprise: they have a partnership with my Wi-Fi speaker brand, which meant their service worked better than most within the speaker’s app. Still, I don’t understand why they haven’t fully integrated speaker support into their own app.

The Ones I Can’t Recommend

🚫 Spotify

Though Spotify is the most popular platform—and admittedly offers excellent usability and seamless tech integration—I was disappointed. Their much-praised recommendation engine didn’t suit my listening habits at all. I mainly received recommendations for polished major label productions, even though I focused on niche and experimental music.

Moreover, their emphasis on their own curated playlists means it’s harder to discover user-created ones. From an artist’s perspective, things get even more frustrating. Smaller, independent bands like mockART are rarely picked up by their algorithm, and visibility is low unless someone searches for you directly.

Spotify also requires artists to jump through unnecessary hoops—like uploading “canvases” (those short video loops). And the biggest issue: they don’t pay royalties for songs with under 1,000 plays. Recently, one of our older tracks crossed that threshold, only for the entire album to be removed shortly after—apparently due to suspicious playlist activity, not initiated by us. We’ve since uploaded a remastered version to all major streaming services.

🔊 Men Who Lost Their Heads (Again)

🚫 Amazon Music

This one was underwhelming. The recommendation system was poor, and the search functionality was frustrating. I often couldn’t find artists—even though they were there. Navigation felt tailored for Alexa users, and the integration with my speaker system was awkward at best. Even more concerning: older releases by prolific artists simply didn’t show up in the app interface.

🚫 YouTube Music

Given that it’s run by Google, you’d expect YouTube Music to have top-tier search capabilities. Unfortunately, this wasn’t the case. Despite listening to artists like Swans or Throbbing Gristle, I was being recommended Taylor Swift and The Weeknd. Nothing wrong with those artists—but that’s a totally different universe.

When I searched for “mockART,” the first result was “Mozart.” Helpful autocorrects are nice, but if the name you’re searching for does exist, that should take priority. Sound quality was also the worst I encountered—not just “not lossless,” but genuinely unpleasant to listen to at times.

⭐ Bonus Tip for MP3 Lovers

If you’re not sold on streaming but have a collection of MP3s and other music files, check out iBroadcast. It lets you upload your own music and access it from your phone or car. They offer a free tier (with slightly reduced quality for high-end files), but you can upload as much as you want. The interface isn’t perfect yet, but it’s improving steadily—and worth supporting.

Final Thoughts

Choosing a streaming service really depends on your needs. If you value thoughtful recommendations and high-fidelity sound, Tidal and Qobuz stand out. If you’re deeply embedded in the Apple ecosystem, Apple Music might feel like home. But for independent artists hoping to be discovered, Spotify’s dominance doesn’t always work in their favor.

What about you? Which services have you used—and what’s been your experience?

Whatever your choice—happy listening.

The post Spotify, YouTube, Apple Music, Tidal? Which Music Streaming Service Is the Best? appeared first on rabirius.

This release marks the continuation of an idea that first emerged after mockART invited a number of artists to remix our album views || interrupted. Back then, we were amazed at how far the contributions went—not just in terms of sound design, but in how they expanded and redefined the original tracks. Many of those remixes stood entirely on their own, as independent works with distinct identities.

That experience left us curious: what would happen if multiple artists were given the same track to work with? Would they follow similar paths or diverge completely? Could one track generate an entire ecosystem of variations?

We selected La Bête Noire—a piece that has become something of a mockART staple over the years—as the nucleus of this experiment. With its hypnotic structure and eerie atmosphere, it felt like fertile ground for interpretation. We handed the track to several collaborators, inviting them to rework, remix, or completely deconstruct it in any way they wished.

The results surprised even us.

Each artist brought something entirely personal to the piece. Some explored its darker impulses, while others pulled unexpected rhythmic or harmonic threads to the foreground. A few took the material into entirely new sonic territories—sometimes to the edge of recognisability. What ties the tracks together is not their similarity, but the way they all circle around the same core presence: the “black beast.”

It was only natural to begin thinking of the remixes as chapters—fragments of a nonlinear narrative, told in many voices. Together, they form what we now call “the complete story” of La Bête Noire. To bookend that story, we included the original studio version of the track, along with a live version recorded last year at the Rush Hour Kulturfestival, organised by the Heussenstamm Stiftung. That live performance captured something raw and immediate, and it felt like the right way to close the loop.

Visually, the album cover offers its own take on the beast. The artwork—created by me—shows the eye of La Bête Noire, and within the iris, a haunting reflection: a woman running away. Whether she’s escaping or being hunted, we don’t know. The image captures something central to the music itself—a sense of ambiguity, of motion, of being watched and haunted at once.

For those who’d like to carry a part of La Bête Noire with them, we’ve also created a small line of merchandise, featuring elements of the artwork on t-shirts, pins, bags, and more. Just click on the images and you will learn more.

In the end, this album is a celebration of artistic transformation—of what happens when a piece of music is opened up to reinterpretation and allowed to evolve freely. We’re grateful to the artists who took part, and excited to finally share the full story with you.

Thanks for listening—and for following the beast this far.

The post La Bête Noire – A Track Becomes a Story appeared first on rabirius.

Today, we released La Bête Noire (Alive), a live recording captured during our performance on September 8, 2024, at Atelierhaus Orber Straße in Frankfurt. That night, mockART was Christoph Dorner, Ümit Kaya, and myself.

The recording includes the live version of La Bête Noire as well as Kör Adamın Gazeli, a track from Men Who Lost Their Heads that we also performed that

evening. While it has nothing to do with the Beast, it shares the same stage and spirit — so it made sense to include it.

The single is now available on all major streaming platforms and as a download.

We also created a video for La Bête Noire (Alive) using smartphone footage from the show. The video quality wasn’t great, so I decided to lean into the chaos — having the Beast itself tear through the footage from time to time. In the dense smoke on the stage, I completely vanish. Ümit appears briefly at the beginning, and Christoph is mostly visible throughout the clip.

This track is just the beginning. La Bête Noire (Alive) will also be featured on the upcoming remix album, which drops June 20, 2025 — an entire release dedicated to remixes of this ever-mutating piece.

And there’s still more to come. We recorded the full live set that night, and it’s currently in rough mix. With a few more finishing touches, we plan to release the full performance later this year, most likely in autumn.

For now, enjoy this glimpse of the Beast — alive, untamed, and very much on the prowl.

The post The Saga of La Bête Noire continues… appeared first on rabirius.

Reflecting on the evolution of my music project, mockART, I’m reminded of the profound changes that have shaped the landscape of collaboration. Back in the day, when MySpace reigned supreme as the go-to network for musicians, connections flowed effortlessly, paving the way for numerous collaborations.

The Birth of the Black Beast

It was during this era that I composed and recorded La Bête Noire, a track that found its place on mockART’s inaugural album, Reflux Ux Bisou. Fast forward to today, and the dynamics of collaboration have shifted. In a world where connectivity isn’t as readily available, the pursuit of collaborative ventures remains a cornerstone of mockART’s ethos.

For me, collaboration isn’t just about merging sounds; it’s about embracing diverse perspectives and enriching the musical journey. However, in an age where self-interest often takes precedence, finding like-minded collaborators can be a challenge. Yet, amidst the sea of hesitancy, there are shining exceptions.

Becoming a Duo

One such exception occurred when mockART welcomed Christoph Dorner, a classically trained flutist, into the fold. Our musical backgrounds couldn’t have been more different, and initially, finding common ground posed a challenge. Yet, through experimentation and open-mindedness, we discovered a harmonious blend of our contrasting styles, propelling mockART into uncharted territories.

Our commitment to collaboration bore fruit with the release of our joint album, Men Who Lost Their Heads, featuring guest vocalists whose contributions breathed new life into our compositions. As we ventured into our second collaborative endeavour, views | Interrupted, we chose to embark on a different path, handling the recording process ourselves.

However, the question lingered: How would our tracks have evolved if we had enlisted the aid of other artists? Thus, the concept of inviting musicians to remix our album was born. The results were astounding, breathing fresh vitality into our music and paving the way for new sonic explorations.

The Story of the Beast Unfolds

This brings us to the present, where we find ourselves on the cusp of releasing our latest project – an album featuring remixes of La Bête Noire. As we eagerly await the final contributions, we’ve decided to unveil two tracks as a teaser of what’s to come.

The first track, remixed by Pharmakustik, delves into the realms of audioclinical investigation and sound-research, offering a mesmerising sonic journey. On the “B-Side,” Baco_Giovanni Cristino infuses his unique perspective as an independent toxic pianist, creating a captivating rendition that defies convention.

With each new version, we’re reminded of the power of collaboration to transform and transcend boundaries. As we anticipate the release of our album this autumn, we invite you to join us on this exhilarating musical odyssey.

Stay tuned for more updates as we continue to explore new horizons and push the boundaries of creativity with mockART.

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Above you see another variation of my picture Parklife. The Puppets Remix version you probably already know. For this new version I didn’t re-edit the montage, but changed the finish to adopt it to my current style. The new version was on display at my latest exposition and I wanted to show you this version as well.

Before I move to the forthcoming exhibitions, I wanted to let you know that you can currently download the latest mockART albums for free from Bandcamp. views | interrupted is the soundtrack to the exhibition mentioned above. The album is instrumental and more ambient. Men Who Lost Their Heads was released last year and features various guest vocalists. If you want to download them for free you have to do it till the coming weekend. Next week we will charge the regular price again.

If you use Spotify, I can also recommend the mockART radio. You will hear some “hits” by mockART and other tracks by similar artists.

You can also listen to the full albums on Spotify as well. They are also available on other streaming services like iTunes, Deezer, YouTube Music, Tidal, etc. too, if you use those.

Now moving back to visual arts: I will present pictures in two more exhibitions this year. Both of them in Frankfurt.

For the most recent one I will return to the Nebbiensches Gartenhaus with one of the pictures that I had already shown there in September.

Departure is another variation of a picture I had already published called The Confrontation. This version was recreated exclusively for the exposition and now you have a chance to see it again at the same place.

The opening is next Thursday, November 3. The exhibition will run till November 20. There will be pictures as well by Sonja Ackermann and Christian Rocas and a lot of other artists as well.

I will also take part in the SPC Photo Awards. Normally I don’t like to compete with other artists. I made an exception here because the pictures are displayed in a renown gallery in Frankfurt. As you can only vote in the gallery, I think the artists win you can mobilise the most people. So if you can come I would be happy if you would vote for my picture.

The opening is December 9. The exhibition is open till December 17. That day the winners will be announced as well.

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As you might now, Christoph and I recently released a new CD with our music project mockART called Men Who Lost Their Heads. As we are very happy with our new album, we gave you a chance to win the new album.

To take part you had to listen to the album on Spotify, iTunes, Deezer, Tidal, Bandcamp or YouTube and tell us which track you liked best.

The winners of the CDs have been notified now and the CDs are in the post.

The the top 5 titles are:

1. Betörve
2. Resistencia
3. The Earth is Flat Now
4. Master Mason
5. Lizard People

If you didn’t win the CD you can still buy it or listen to the album on your favourite streaming service. The album is also available as a cassette released by the Chilean label Templo Sagital: Men Who Lost Their Heads.

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So here it finally is. The artwork we decided to use for the cover of the new mockART album Men Who Lost Their Heads.

We released the album as download and as a 6-panel digipak with further artwork of headless men that I created. Two of the other 6 pictures we were using I would also like to show you here.

The album itself was created under lockdown conditions. Therefore we were making consistent and pandemic-related use of the digital possibilities of contactless music-making – together and yet separately, social but with distancing, virus-proof and yet highly infectious.

The topic of the album was also inspired by the Covid pandemic. We were seeing all these articles about conspiracy theories and paranoia in the media and we thought that was an interesting topic to explore musically.

Certainly, you can listen to the album on the usual streaming portals, like Spotify, iTunes, YouTube, Deezer and Tidal.

As already mentioned, you can buy the CD as a 3 panel digipak with all the artwork created by me. There also is a limited edition housed in an a hand-printed cloth by artist Sonja Ackermann. You can see a preview of the limited edition on the mockART website. There are also some more tracks to listen to. The limited edition, as well as the regular CD, you can buy at Bandcamp. The regular CD should be available in most offline and online record stores, like Amazon or Grooves.land. If you cannot find it, let me know and I post further links in the comments.

I have already shown you most of the videos I recorded for some of the tracks of this release. What I haven’t shown you so far is the latest video for Kör Adamın Gazeli, a song that features Ümit Kaya on vocals and saz. The video is probably more traditional than Betörve or Samesjwaering Onger Idiote, but I hope you will like it as well.

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I am still working with my partner on the new mockART album. We have now recorded everything, though we’re still working on the final mixes for some of the tracks. Then we have to finalize the track order and master everything. Men Who Lost Their Heads will feature 18 tracks and nearly 80 minutes or music, so it was – and is – a lot of work. You have probably already heard the first two singles – now we have decided to release another track from the album. Samesjwaering Onger Idiote features vocals by Mark Daelmans-Sikkel and is sung in Limburgs, a Dutch dialect from the South.

You will also find the track on Spotify, iTunes and other streaming platforms. There will also be a remix that I will publish on Bandcamp, where you can also find the mockART back catalogue. But more about that later.

Everything is connected.

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You might remember this picture, originally called Faceless. As I used the faceless man as a logo for my experimental music project mockART I felt it was appropriate to update the photo and use it here again. I also used it as part of the new mockART website, as well as some other pictures that you have probably seen here.

As there was not much on the mockART website I created a new one that you can find under mockart.eu. It comes complete with a short biography and a discography with links to the most important download and streaming platforms. All the videos and some sound samples you will find there as well. Please visit the site and let me know what you think.

I also created some merchandise as well as a newsletter that can be found at the bottom of the homepage. Certainly I would be happy if some of you would sign up for the newsletter to get news about new releases and other things. Don’t worry, I won’t send out too many newsletters.

I also updated some of the pages on this site. I now created a separate page for prints and merchandise as well as a separate page about the books I have published so far. I know that the gallery with the books doesn’t took too well right now, but with the gallery tool here on WordPress I didn’t have too many options. I will update it as soon as I can think of a better solution. Or maybe you have and idea?

So, this is all for today. I already started working on a new picture that I will publish in the next couple of days, so have a great day and stay tuned.

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