Sound in the Garden 2026, Day 3 (Guðnadóttir & Slater // Slauson Malone 1 // Eve Matin)

Soundscapes in the Garden Powered by d&b Soundscape Friday, 14. August 2026 Eve Matin (LIVE) Hildur Guðnadóttir & Sam Slater (LIVE) Slauson Malone 1 (LIVE) Doors: 6.30 pm In August 2026, Berlins Neue Nationalgalerie once again presents the open-air concert series Soundscapes in the Garden, featuring ambi-tious live concerts specially customised to this venue, featuring a highly diverse line-up of renowned musicians from various genres. After five nights of live concerts, Sunday will be dedicated to special sound installations created in honour of the Japanese artist Fujiko Nakaya, who is presenting a site-specific fog sculpture in the sculp-ture garden of the Neue Nationalgalerie. Oscar and Grammy-winning cellist and composer Hildur Guðnadóttir is known for her terrifyingly heavy television and film scores such as Chernobyl and Joker, extreme minimalism and suffocating tectonic design manipulated to generate an overwhelming sense of cosmic terror. British sound designer and music producer Sam Slater won that Chernobyl Grammy right alongside Guðnadóttir. His murky electronic productions manipulate acoustic instruments and field recordings until they burst and bloom into metallic nightmares: the sound of the failing machinery running this world. Slauson Malone inhales the anxieties of modern life and horks them out as frenzied collages. Shifting abruptly between fractured jazz loops and lofi punk spasms, brief flashes of soulful vocals and melody are violently cut off with roaring guitar, snippets of spoken word or other hyperactive ADD effluvia. Existing within the same logic of a fast-paced unpredictable variety show, his cut-and-paste performances drip and fizzle with syrupy existential dread and political frustration - an insidiously delectable genre-fluid counterweight to the harrowing that precedes it. Peruvian-born harpist and composer Eve Matin's work grows from a lifelong sensitivity to sound, shaped by her Persian heritage and her upbringing in the Baháʼí faith. Guided by ideas of unity and spiritual inquiry, her approach to music brings people and histories into conversation. At the center of her practice is the harp, an instrument wielded as both an extension of her personal voice and as an open field for exploration. Blending composed material with improvisation, her performances respond to the spaces they inhabit, weaving together delicate textures with the environment itself into a quietly expansive sense of atmosphere. For this performance Matin is joined by composer and sound designer Alex Rapp, complementing her immersive site-responsive practice.