Marta De Pascalis è una musicista e sound-designer italiana con base a Berlino. I suoi lavori solisti sono composti da synth analogici e tape loops, fino ad arrivare a regolari e ripetitivi patterns. 

Marta crea fitti collage di cocci melodici e ruggenti bassi, synth minimali ipnotici che si dissolvono nel nulla entropico. Per le sue composizioni utilizza un sistema tape-loop sul quale improvvisa, creando schemi ripetitivi e un senso di distanza catartica. Ha condiviso il palco conThe Necks, Demdike Stare, William Basinski, Jerusalem In My Heart e ha collaborato con Carlos Casas.

Marta De Pascalis is an Italian musician and sound-designer living and working in Berlin. Her solo works employ analog synthesis and tape loops, incorporating free playing into steady, repetitive patterns. She has produced two albums of Berlin School minimal synth excursions: the self-released Quitratue (2014) and Anzar by the Touch-affiliated The Tapeworm imprint, 2016. Her piece Her Core has been published in Spring 2018 by The Wormhole.
Marta creates densely layered collages of glowing melodic shards and growling bass lines, her hypnotic minimal synth figures warping and whirling around each other before dissolving into entropic oblivion. For her compositions she uses improvisation on a tape-loop system, in which patterns of repetition create a sense of a dense, dynamic and cathartic distance. She has shared the stage with the likes of The Necks, Demdike Stare, William Basinski, Jerusalem In My Heart and collaborated with Carlos Casas. She founded and curates the infamous Marina di Neukölln Festival.
Her next album Sonus Ruinae is due next August 28th on Morphine Records.
An unrested repetition carved into an old pavement, in a city where every generation leaves a new mark, a new incision and maintains an endless process of birth and deterioration. Marta De Pascalis’ Sonus Ruinae’s synthesizers sounds are gently laid on that closed path, put in a locked repetition and engaged in that eternal dance. Her album is a canvas of harmonics and a sublime place where things are whole, where your first listen is engraved just like that ancient city’s pavement, and Marta endlessly writes beauty on top of it, layer after layer.