Sebastian Elikowski-Winkler
[...] Bis als letzter der Zeugen das Gedächtnis verstummt.
7" (E137)


Belgium £13 (including postage)

Europe £15 (including postage)

Rest of world £17 (including postage)

Edition of 200 copies

Mastered and cut by Rashad Becker 

at Dublates & Mastering, Berlin

Composed by Sebastian Elikowski-Winkler
Performed by Ensemble Adapter
Recorded by Wolfgang Zamastil
Remixed by Shelley Parker


[Heimliche Rückkehr]

Wie schön das war, Leben, als noch 

alles im Argen lag.Verfallene Häuser, Matratzen, die unter Birken schwelten.
Eine Kindheit vor Dresden bis zum Einmarsch in Prag ... Und der Traum restaurierte, was draußen fehlte.


Solche Ferne auf engstem Raum. Grauzone morgens, Das fing auf der Netzhaut an, im vernebelten Denken.
Hier geboren sein, hieß nicht, man 

war hier geborgen. Am Polarkreis, 

wer lebt da gern? Tschuktschen, Ewenken? Staub oder Dunst oder 

Ruß — das Gemüt, früh bedrückt

Von der Landschaft in Bleisatz,

dem Graudruck ringsum, Federt spät

erst wie Tundra, gefrorener Boden, zurück, Bis als letzter der Zeugen

das Gedächtnis verstummt.

Durs Grünbein

Sebastian Elikowski-Winkler studied composition with Friedrich Goldmann 

in Berlin, Marek Kopelent in Prague and Vladimir Tarnopolski in Moscow,  and musicology, art history and architecture

in Berlin. He is the recipient of several composition scholarships from institutions in Moscow, Paris and Venice.


Berlin-based Ensemble Adapter interprets primarily new compositions across a wide range of contemporary
music in a progressive, authentic and powerful style.


Composer Elikowski-Winkler’s score allows the Berlin-based Ensemble Adapter to reel out a raft of extended techniques in serving the last rites 

on reductionism. Meanwhile, Morton Feldman’s ghost roams about misting 

up the Klinker Club’s windows from 

the outside with his cigar exhaust, as improvised parp and chatter resound 

like John Cage passing a treadmill through the shell of a fortune cookie

On the flip, Shelley Parker coats the piece in a supernatural sheen, while chucking a few extra rashers in the sizzling saucepan on Graham Lambkin’s disconcerting hob.

Spencer Grady in Record Collector

Nice single featuring a Berlin based quintet playing a piece by this German composer, with a remix on the flip. 

The piece itself has a nice aleatory feel,
with twisting Berio-esque tonalities. 

The remix by UK sound artist Shelley Parker is quite radical, using small bits 

of the original to create a completely 

new composition. Which is what the whole remix thing is supposed to be about, right?

Byron Coley in The Wire