Zsolt Sőrés Ahad

Ahad & Balázs Pándi:
Improvisation ”Roham”*

Excerpt from the live concert at the Hints of Noise IV Minifest in Budapest at the Roham Bar on January 12, 2012. The concert was a part of the audio-visual performance of the Don’t Eat Group entitled ”Minimal Part 5”.
(Playing time: 13:12)

Zsolt Sőrés Ahad – viola, home-made instruments, circuit bent toys, analog synths, effects, etc.



Balázs Pándi – drums

Stereo recording by Pál Tóth én.

Mastering: Ahad (Bp., March 4, 2012.).
Special thanks to Dalma Berger, István Diák and András Juhász.

*It’s a wordplay: ”Roham” means ”Attack” in Hungarian; Roham Cafe is an underground club in Budapest where improv-noise concerts organized from time to time.


Zsolt Sőrés Ahad

Born 1969 in Budapest Zsolt Sőrés Ahad is an improvised/electroacoustic and noise musician, sound artist, editor, performance and conceptual artist. Groups and projects in the past few years and now:

- a trio with Franz Hautzinger and Isabelle Duthoit,
- I Belong to the Band (with Adam Bohman, Oli Mayne and Jean-Michel Van Schouwburg),
- duo with
Jean-Hervé Péron Art-Errorist (from the legendary krautrock band, Faust),
- duo with
Kazuhisa Uchihashi,
- duo with
Rhodri Davies,
- Theme (a project by Stuart Carter and Richard Johnson since 1997)
- én/Q./Ahad trio (with Quentin Rollet and Pál Tóth aka én),
- Ahad & én duo,
- Budapastis (with the members of the Parisian children-noise-rock group, Dragibus),
- trio with
Oli Mayne and Zsolt Varga,
- duo with
Christian Skjødt,
Ahad & Despera duo,
- the concept art group
The Lazy Anarchists (with Jozef Cseres, Zsolt Kovács, Gen Ken Montgomery and Ben Patterson),
- Spiritus Noister (with the Hungarian phonic poets, Katalin Ladik and Endre Szkárosi),
- The Sonic Catering Band (with Dan Hayhurst, Colin Potter and Peter Strickland among others),
- contributions with
Zan Hoffmann and Violet,
- multimedia project together with a Hungarian dancer-coreographer
Márta Ladjánszki and a fine artist in Budapest, Zsolt Koroknai,
- Don’t Eat Group (with the filmmaker, video/visual artist András Juhász) etc.

His field of interest and music activity includes the borderline and the margin of different art forms, too. He is also collaborate with artists from different fields of art (filmmakers, videomakers, coreographers, stage directors, fine artists). He is the member and one of the program managing editor of the still independent Tilos Rádió (Forbidden Radio) new music program No Wave. Currently he is the main organizer of the underground film screening series called Invisible Films’ Club at the Ludwig Museum in Budapest. He is the artistic director of Relative (Cross)Hearings International Indpendent Contemporary Music Meeting in Budapest. In 2005 he was the series editor of the Szünetjel Könyvek (Pause Sign Books), and published the Hungarian versions of the following books: Jozef Cseres: Musical Simulacrums (Hudobné simulakrá); Michael Nyman: Experimental Music. Cage and Beyond; Edwin Prévost: No Sound is Innocent. AMM and the Practice of Self-Invention. Meta-Musical Narratives. Essays. In 2008 he edited one of his last book and wrote a preface study about New Chances of Autonomy with the texts by Peter Lamborn Wilson aka Hakim Bey among other onthological anarchists. He is an author of two books with the collection of his poetry. Since 2009 he is collaborating with the cult horror/underground/surreal film director Andrey Iskanov from Khabarovsk, Russian Far-East.

Collaborations in ad hoc groups, radio art and sound art/new music projects, on festivals and various events 
with Milan Adamčiak, Martine Altenburger, AMM (Eddie Prévost, Keith Rowe, John Tilbury), Johannes Bauer, Alessandro Bossetti, John Butcher, Tomek Choloniewski, Thanos Chrysakis, Peter Cusack, Diatribes + Friends, Dóra Attila, Phil Durrant, John Edwards, Michael Fischer, Alexander Frangenheim, Wolfgang Fuchs, Seppo Gründler, Mats Gustafsson, Peter Herbert, Helge Hinteregger, Erhard Hirt, Tim Hodgkinson, Stuart Jones, Barbara Kaiser, Ernő Király, Martin Klapper, hans w. koch, Thomas Lehn, Paul Lovens, Toshi Makihara, Rafal Mazur, Szilárd Mezei, Phil Minton, Torsten Müller, Phill Niblock, Le Quan Ninh, Balázs Pándi, Evan Parker, Paulo Raposo, John Russell, Carlos Santos, Elisabeth Schimana, Dorothea Schürch, Burkhard Stangl, Raymond Strid, Pat Thomas, Alan Tomlinson, Roger Turner, Birgit Ulher, Dieter Ulrich, Voicecrack+Günter Müller, Veryan Weston, Jerry Wigens, Christopher Williams, Manon-Liu Winter among others.
Film, Dance, Performance, Theatre projects:
- collaboration with Andrey Iskanov (in his film Ingression – soundtrack, editing, co-creator of the beginning and closing credits and a special fx),
- a member of Eszter Gál Company ST dance company (since 1995),
- Lektrónia multimeda project with coreographer Márta Ladjánszki and fine artist Zsolt Koroknai,
- Music composer and actor in Stele a theatre performance by the Artus Company,
- performances with the following independent coreographers: Enikő Buday,  Junya Ishii, Mariella Greil among others,
- since 2009, a member of the Andaxínház (Andaxin Company).
-Since 2008 he is the art director of  Relative (Cross)Hearings Contemporary Music Meeting.

further info on the last festival:

Since 2003 he is the main organizer of the Invisible Films’ Club (since 2006 at the Ludwig Museum, Budapest).
The film club shows film masterpieces little known in Hungary or long forgotten: underground classics of today and yesterday, avant garde, abstract films, bizarre “B-movies”, magical-mystical and psychedelic wonders of the moving image, “metafilms”, cult film horrors, or works which go beyond themselves to embody some kind of vision. We set out to present to the audience films which have been left out of cinema circulation or have only recently been reconstructed.

further info:
Ahad’s Masters Garden Series (since 2007)

The electro-acoustic concerts, the conceptual or radio art projects and the album releases, which are parts of the Ahad’s Masters Garden Series are not only an alternative film scores project, but more importantly a collection of works of sound art influenced by films. The antecedents of the AMG project date back to 2002/2003 when the group s.k.ψ (Ahad and Zsolt Kovács) toured with their live soundtrack project Angersonix (dedicated to the films of Kenneth Anger) across Europe.  
I. Shapeshifting (2007)
- (live solo) soundtracks for the following films: Rrose Sélavy: Anémic Cinéma (1926); Alan Schneider: Samuel Beckett’s Film (1965); Alexander Hammid: The Private Life of a Cat (1944).


II. Songs from the Lotus Island – A Prelude for a Collective Ayahuasca Healing /Hommage a Alejandro Jodorowsky/ (2007)
This audiowork is a sound collage / special mix for the experimental radio art program Mixmag at the Radio Petőfi, Hungary. Program curated by Tamás Turai.


Do you want gold?
Live soundtrack for the first 31 min director’s cut footage of Alejandro Jodorowsky’s The Holy Mountain (1973) – a special project for the Württembergischer Kunstverein Stuttgart.


III. The Harmonian Blues – Music for Film, Theatre and Dance (2007-2009)
– (with the group Desert Chaos) Release on 1st March, 2011 as a three-way split 2 CD album with Ahad, Audiotong and Fourth Dimension Records. This album contains the music pieces what was composed for the surreal-horror film Ingression by the underground film director from Russian Far-East, Khabarovsk City, Andrey Iskanov.


IV. Empire (2009)
– (live group project with the following participants: Ahad, Csaba Füle from Budapest, Masuda ”Despera” Keisuke and Yoshida ”Sugo” Takayoshi from from the psychedelic rock band Uramichi, Tokyo) live soundtrack for the extant selected 60 mins (at 24 fps) from the originally 485 mins long film Empire (1964) by Andy Warhol.


V. Holy Ghosts in the Machine – In memoriam Ernő Király (2010)
– a lo-fi/lo-tech piece for the Dictaphonia Microcassette Compilation Project, curating and concepted by Hal McGee (USA). Released on Dictaphonia Microcassette Compilation Project Volume 7 (March, 2010)


VI. Drones of New Babylon (2010)
– inspired by Constant Nieuwenhuys, Asger Jorn, Guy Debord and other situationists


VII. Ahad & Despera: AMMEn – O / Chapters from the Ahad’s Masters Garden Sessions (2007)
– (double album) released on 9th May, 2010 at Zeromoon Netlabel (zero106).
Dedicated to the memory of the legendary japanese psychedelic noise rock band Les Rallizes Denudes and Nobuo Nakagawa (18 April 1905 – June 17, 1984), director of the horror film masterpiece in 1960, Jigoku (Hell).


Releases in 2010/2011:

- Physical releases:

Ahad’s Masters Garden V.: Holy Ghosts in the Machine – In memoriam Ernő Király /2010/ (Dictaphonia Microcassette Compilation Project Vol. 7.; March, 2010) [microcassette]


- én/Q./Ahad: Paw Music (Ronda, RecQords, HEyeRMEarS Discorbie; June, 2010) [CD]


- Ahad’s Masters Garden III. (2007-2009): The Harmonian Blues
(AudioTong, Fourth Dimension Records, March, 2011) [2 CD]


- Thanos Chrysakis – Oli Mayne – Zsolt Sőrés Ahad – Jerry Wigens: Vertex (Aural Terrains, May, 2011) [CD]



- Net releases:

- Ahad’s Masters Garden VII.: Ahad & Despera: AMMEn – O / Chapters from the Ahad’s Masters Garden Sessions /2007/ (Zeromoon; May 2010)


- Ahad’s Masters Garden II.: Songs from the Lotus Island – A Prelude for a Collective Ayahuasca Healing {Hommage a Alejandro Jodorowsky} /2007/ (Band Camp, July 2010)


- Ahad’s Masters Garden IV.: Empire Live 2009 (Band Camp, July 2010)


Further informations about Zsolt Sőrés Ahad:











Valér Miko


What is the Message of Zsolt Sőrés’s Events[*]


Performances of Zsolt Sőrés present a unique opportunity to meet a man who, besides seeing the world in an existential way, also sees that human culture is at present in one of its breakpoint periods (”turning points”). Therefore, we are confronted in his productions with something that seems incomprehensible from an inscedecent aspect. His existential view is corrected by a new, more important vision. It is a rhizomatic vision, enabling to cross the border of existentiality and to manipulate freely with basic processes of the creation of fundamental cultural spontaneities bound to an ambient, empirical and transcendental plane of immanence. However, he does not use this vision for the synthesis of these spontaneities, but presents himself to us divested of these spontaneities to demonstrate something from a newly emerging cultural spontaneity, the rhizomatic spontaneity.

To be able to realize this transgression, he had to add to his own criticism of the abovementioned fundamental cultural spontaneities the understanding of Derrida’s conception of deconstruction, Foucault’s conception of genealogy of knowledge and Deleuze’s conception of rhizome. These conceptions made it possible to view the postmodern period as a period of transition to a new cultural epoch and revealed the processes, ”responsible” for the existence of the aforementioned fundamental cultural spontaneities. Just a brief reminder: the ambient spontaneity is linked to processes of deterritorialization and reterritorialization, described by Deleuze; empirical spontaneity is fostered by Derrida’s processes of temporization and spatialization; transcendental spontaneity is produced by the processes of reduction and amplification, established by Foucault. According to these philosophers, the essence of today’s cultural reversal lies not only in deconstructivist prevailing over the bond to existing fundamental cultural spontaneities, but also in rejecting the creation of their syntheses. It is to be added that under syntheses we understand inscendent processes of amplification and reduction of empirical and ambient spontaneity.

As the legacy of these poststructuralist thinkers remains, up to now, misunderstood in many aspects, the establishment of a zone (territory) of transition to a new plane of immanence, a source of new immanent processes and a new cultural spontaneity is always a marginal issue of contemporary art, without being of interest to the general public. Fortunately enough, it is an issue for some experimental artists. These artists, despite general misunderstanding, keep on creating the traces of human presence in this zone. They deconstruct the pairs of immanent processes, the bases of fundamental cultural spontaneities to search for new, non-conventional, but purposeful, connections between individual immanent processes, cleansed in this way. These activities bring to life a new rhizomatic awareness, enabling to register a new cultural experience. The principal postmodern ”value” is, therefore, this rhizomatic experience. It is to be added that after experiences from Sőrés’s events, a feeling appears that he interprets something from it also to us.


Bratislava, Slovakia, 14th March, 2010


[*]The text was originally published in Slovak. Valér Miko: Imanentné procesy v umeleckej tvorbe a nové možnosti jej interpretácie. [Immanent Processes in Artistic Creation and New Eventualities of its Interpretation.] In: Július Fujak (Ed.): Otáz(ni)ly hudobnej semiotiky a estetiky. Nitra, Katedra kulturológie, Filozofická fakulta, Univerzita Konštantína Filozofa v Nitre, 2010, 135-137. Cf. the resume of the study: ”…The author of the article offers a view of the processes of contemporary experimental artistic works. The author of the article perceives them in non-conventional connections between individual immanent processes of creating human culture. Immanent processes, as understood here, are the processes described a) in Deleuze’s conception of geophilosophy (the conception of creating territories of human culture) as processes of deterritorialization and reterritorialization; b) in Derrida’s differance conception (the conception of economy of inner energy needed for creation of moments of transcendental being) as processes of temporization and spatialization; c) in Foucault’s conceptions of archeology and genealogy of knowledge (the conception containing criticism of manipulation during creation of transcendental and empirical knowledge) as processes of reduction and amplification. These three conceptions in their synergy represent a deeper insight into the problems of viewing the contemporary cultural processes than allowed by the post-phenomenological conception of viewing the substance of being, based on inscendent process of viewing and realized in the processes of interpretation of being. This process is understood as a synthesis of existential and transcendental subjects, activated at perception processes of retention and protention. They indicate that the contemporary (postmodern) period is one of the periods of accumulation of inner energy of man, needed for the process of total change of human culture. Put more precisely, it is needed for the discovery of new (further) immanent processes, founding the process of creation of a new human culture. In this connection, Deleuze says that such an accumulation happened in the period of the last cultural reversal (convolution) about twenty five centuries ago in all world cultures from China to Greece. Seen from the point of view of immanent processes it is then possible to view the contemporary experimental artist as a rhizomatic person, creating prototraces of a new human culture. They are the traces of non-conventional associations between individual immanent processes, a kind of post modern reservoirs of inner energy, needed for the establishment of a new basis of being of man, a new plane of immanence (a source of new immanent processes). The presence of these non-conventional connections in creative artistic activities is, therefore, a condition, bearing witness to authenticity of the contemporary artistic statement. Key words: rhizomatic person, immanent processes, deterritorialization, reterritorialization, temporization, spatialization, reduction, amplification, inscendency, interpretation, retention, protention.” I. m., 143-144.