The Dark Matter Projekt is an immersive concert experience I created to explore the dialogue between pipe organ, synthesizers, and light art. It merges acoustic and electronic sound into a single, multisensory performance that transforms space, sound, and emotion.

Unlike a classical organ recital, the Dark Matter Projekt combines live electronics, synthesizer soundscapes, and visual projections. I treat the space itself as an instrument — every wall, every reflection becomes part of the composition. The result is an audiovisual performance rather than a conventional concert.

For me, an immersive concert is not only about sound but about presence. The audience is surrounded by light, acoustics, and spatial movement. I compose in real time within the architecture, letting the music move through the space so that listeners can feel the performance as much as hear it..

Yes. The concept is adaptable — it works in both historic cathedrals and modern halls. Ideally, there is a pipe organ on site, but when that’s not possible, I use digital or hybrid instruments to recreate the same depth and resonance.

I deliberately avoid printed programs or set lists. I want the audience to experience this one-hour world without distraction — to listen freely and imagine. The art, for me, emerges between performer and listener. Everyone completes the imagery in their own mind, making each performance unique and deeply immersive.

The project isn’t bound to a specific faith. Still, it draws inspiration from the spiritual atmosphere of sacred architecture. I explore silence, resonance, and transformation — creating a reflective space that invites contemplation rather than worship.

It’s for anyone curious about sound, light, and emotion — from classical music listeners to fans of contemporary and electronic music. Many people describe it as meditative, cinematic, or transformative. You don’t need musical knowledge to connect with it.

I have presented the project in churches, festivals, and art spaces across Europe, including venues in Munich and other cultural centers. Each space shapes the sound differently, which is why no two performances are ever the same.

Each performance lasts around 50 to 70 minutes — a continuous journey rather than a series of separate pieces. I want the audience to lose their sense of time and simply exist inside the sound.