Mark Pringle New Septet, led by pianist and composer Mark Pringle, explores new music written specifically for the group.

Irene Sorozábal (vocals), Camila Nebbia (tenor sax), Julia Biłat (cello), Arne Braun (guitar), Mark Pringle (piano, composition), Sofia Eftychidou (double bass), and Fabian Rösch (drums)

Seamus Cater & Fredrik Rasten, Strange the Grass Grows (Anecdotal Records 2026), record release concert

Seamus Cater & Fredrik Rasten's debut release as a duo contains six pieces, three traditional and three original. The pieces were developed between 2021 and 2024 during work periods in Austria, Berlin and Amsterdam.

The three traditional songs are Long Lankin, Death and the Lady and Sweet Lemeny, the latter two based on versions by Shirley and Dolly Collins and Peter Bellamy respectively, English musicians from the 60/70s British folk music revival. The sound of this music is somehow updated by using a Just Intonation (JI) tuning system which was tuned onto a 1926 Wheatstone duet concertina by Seamus. 

The three original songs were conceived by Seamus and are all based on folk tales. Seamus Heaney’s translation of Beowulf gets a distilled telling in song form, and the myth of Pythagoras’ fifth hammer is also explored. The Podhajce Goat, the song from which the album title is derived, is a reworking of a tale within Olga Tokarczuk’s The Books of Jacob (translated by Jennifer Croft), by way of Olga, Pesel and Yente. These three songs, while not qualifying as traditional songs directly, act as a textual transmission across folk histories, myths and fictions, similarly to how songs spread across history and place.

Ab:so:lut::space

Fred Frith (guitar, voice) & Russudan Meipariani (piano, synthesizer)

Fred Frith and Russudan Meipariani began their musical partnership in 2025 at the Laboratorium Stuttgart. Fred Frith, a legend of improvised music, has significantly shaped the development of experimental and improvised music worldwide since the 1960s. Russudan Meipariani's starting points are classical music and the polyphonic music of Georgia. Together, Frith and Meipariani draw upon structures and timbres ranging from contemporary classical music and folklore to ambient, minimal music, and progressive rock, creating a unique, organic dramaturgy in the here and now.

Peter Strickmann, Winds Dings for objects, self-built wind instruments, feedback

In Winds Dings, Peter Strickmann loads the concert space with quasi-magic tricks and a bucketful of absent sounds—setting the stage for a music that exists somewhere between miniature object theater, musical improvisation, and collective listening exercise, yet always marked by a simplicity of means and a deep sense of community.

Daniela Fromberg, Stefan Roigk & Eamon Sprod, trio for objects, electronics, bluetooth speaker

Fromberg, Roigk and Sprod collaborate in playing with sounds and objects of space and in space. Sound will be introduced to the room both through activity and as activity, and by doing so the trio will work to create a new sonic space within KM28.

Diatribes & Clara Levy, L'apport: Ke ya me transí

Cyril Bondi (vibraphone), d'incise (electronics) & Clara Levy (violin)

L'apport ("The contribution") is a celebration-composition, a joyful pretext for reunion and experimentation. Four versions of L'apport have been recorded with Lise Barkas, Clara Levy, Jean-Luc Guionnet, and Stefan Thut and are now being published sequentially. With Clara Levy, the ghost of a medieval Sephardic song slips into the interstices of a stretched-out duration. 

Ōtomo Yoshihide (turntables), Emilie Škrijelj (turntable) & Tom Malmendier (drums)

Record release concert:  Weird morning meeting (eux saem, 2025)

Ōtomo Yoshihide is to turntablists what Platini is to Juventus Turin—a perfectly striped zebra who scores in the top corner. A great adventurer of the Japanese scene and founder of the legendary Ground Zero, Yoshihide is a cornerstone of the global noise movement, equally at ease in electronic litany, raw pop, or sharp-edged improvisation, all stacked with a crash. Emilie Škrijelj is also a turntablist, favoring bold volleys. Tom Malmendier is a drummer whose energy is meant to be unleashed. Their music is full of veins and textures. This trio presents itself like a DJ set for contemporary turntables, creating a hyper-inventive, handcrafted noise with impressive dexterity. The future can wait—this music lives in the present. In white noise and its unfolding perspectives. Concretely abstract, evocative, radical, and furiously vivid. — Guillaume Malvoisin (PointBreak)

Jules Reidy (guitar) & Sam Dunscombe (clarinet & electronics)

Edge Games (Futura Resistenza 2025)

Although Jules Reidy and Sam Dunscombe are friends who’ve worked together in numerous contexts over the last decade or so, Edge Games is their first, long overdue collaborative album. Over two expansive, mind-bending excursions the former’s microtonal guitar lines are woven into a gorgeously unstable mass of synthesis, field recordings, and clarinet produced by the latter, but it’s important to note that the recording process was deeply collaborative, with a rigorous yet generous back-and-forth between the duo’s sympathetic aesthetic tendencies. As Dunscombe earnestly jokes, “Think of it as being written by Jam Dundy, a synthetic person who exists when our powers combine.”

Geori

Jung Jae Kim (saxophone), Dasom Baek (daegeum) & Jared Redmond (piano)

The program mixes Korean-diaspora musicians and composers performing music for traditional bamboo flute (daegum), saxophone, and piano.

Program:

Kunsu Shim, A Few Brief Moments for three players (2021)

Sehyung Kim, Sijo_011115 for sax and piano with e-bow (2015)

Sehyung Kim, Sijo_020517 [Geori] for daegeum and piano with e-bow (2017)*

Geori, collective composition (2026)

* commissioned by Geori

Judith Hamann, desire path fragments, studies for cello, voice and tape

Sam Dunscombe, solo electronics

Judith Hamann's work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site-specific generative work, and microtonal systems. Currently their work is focused on an examination of expressions and manifestations of "shaking" in solo performance practice, a collection of new works for cello and humming, and ongoing research surrounding the collapse and the de-mastering of instrumental practice. 

Sam Dunscombe is a Tone Ingénue working at the crossroads of experimental music, audio engineering, and spectralism. Sam has a keen interest in the ways that music allows for novel experiences of time, which has led to explorations in sound synthesis, just-intonation, improvisation, the performance of complex-notated repertoire, field recording, studio engineering, computer programming, and live electronic performance.