No two UN/SER performances are ever the same. Built entirely in real time using a Eurorack modular system, the Berlin and Warsaw based live techno project rejects pre arranged tracks and fixed structures in favour of improvisation, allowing each set to take shape in direct response to the moment.
On 30 July, UN/SER joins the lineup for the KEYI Magazine Fundraiser at Phantom Bar Berlin alongside Chris Liebing, Alinka, short Finger, A6IIR, Berlin Bunny, Eyes Dice, and Paty Vapor. The one night event brings together artists and communities from across the electronic music scene in support of independent culture and creative publishing.
Ahead of his performance, UN/SER speaks about embracing uncertainty on stage, why improvisation remains central to his artistic practice, and how his independent platform AMNE Recordings continues to evolve. He also shares what audiences can expect from a live set where tension, repetition, and gradual transformation become the driving force of the music.
Interview with UN/SER
Every UN/SER set is built from scratch. Why is improvisation more exciting than playing finished tracks?
Because I do not prepare tracks, arrangements or sequences in advance. The music is discovered during the performance, which forces me to stay completely present.
A small change can redirect the entire set, and ideas often appear that I would never reach through careful studio planning. The audience and I experience that discovery at the same time.
What’s the biggest risk and reward of performing completely live?
The biggest risk is exposure. Every decision is immediate, and not all of them are guaranteed to work.
The reward is the intensity created by that uncertainty. When the elements connect, the performance develops a momentum and internal logic of its own. It becomes something unrepeatable rather than a polished reproduction of an existing piece.
Berlin or Warsaw: which city’s energy finds its way into your sound the most?
Berlin shaped much of my understanding of techno – repetition, restraint, discipline and the importance of allowing a groove to develop over time.
Warsaw is still a very new place for me, so it is too early to say how it will influence my sound. Time will tell, but I am very curious about what the city has to offer and how its energy might enter the project.
What was the vision behind launching AMNE Recordings, and what’s next for the label?
I founded AMNE Recordings as an independent platform for releasing my own music and organising events, which is what I initially used it for.
Right now, my main focus is performing and developing UN/SER as a fully improvised live project. I plan to return to AMNE and do more with the label in the future, but without forcing its direction before it feels right.
You’re joining us at Phantom Bar with Keyi Magazine alongside Chris Liebing. What can the crowd expect from your live set that they won’t hear anywhere else?
They can expect physical, forward-moving techno built through pressure, repetition and gradual transformation.
The performance will be fully improvised, but it still has a clear musical identity. Rather than moving between completed tracks, I will continuously reshape a small group of elements, allowing the tension and energy of the room to determine how far they develop.
Follow UN/SER on IG
MORE INFO ABOUT EVENT ON RA
Check more music related articles here.
