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

Clara Levy, 13 Visions for solo violin

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. 

The starting point of Clara Levy's 13 Visions is the text score Thirteen Changes by Pauline Oliveros, consisting of thirteen poetic instructions inspired by earthly or cosmic events. To each of these instructions, Levy associates a chant by Hildegard Von Bingen, letting her music be indirectly quoted in the choice of pitches. Hence, the chants appear here as "negatives": the violin, playing the role of the drone, proposes a sober harmonisation of the chosen melodies. 

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 (clarinets & 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

Dasom Baek (daegeum), Jung Jae Kim (saxophone) & 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, Out from the spectral dawn / Into the spectral night for 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.

Composed by Dina Maccabee and Jesse Olsen Bay, Roses Are Blue is a musical storybook for six voices a cappella, inspired by The World is Round by Gertrude Stein. "Idiosyncratic, modern-yet-ancient avant-garde . . . a new-school a cappella masterpiece.” – JazzTimes

Dina Maccabee, Evelyn Saylor, Linda Intelmann, Chris Peck, Adam Kirchner & Thomas Oldham, with narration by Johanna Ackva

tangent mek  

Anouck Genthon (violin), Anna-Kaisa Meklin (viola da gamba) & Marina Tantanozi (flutes)

tangent mek tour their new release Immutable Traveler (Montagne Noire 2025) recorded in the Benedectine Abbey of Soréze in 2023. The music of the trio is an open-ended sonic space. Dense and broken, the sound surfaces and structures are continuous, oscillating between noise, drone, and traces of folk music fragments that remain rather distant associations.

Fred Frith (guitar, voice) & Liz Allbee (trumpet, electronics)

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* +caKe!

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Jessika Kenney & Niloufar Shiri, duo for voice and kamancheh

Zosha Warpeha, solo for Hardanger d'amore

Jessika Kenney is a vocalist and composer internationally regarded for her spellbinding timbres and her in-depth study of oral traditions. Her work takes the form of sound installations, talismanic scores, music for film, electronics, and choir. She released the groundbreaking experimental gamelan album Atria (Sige) in 2015, and has collaborated with Lori Goldston, Holland Andrews, Niloufar Shiri, Tashi Wada, Alvin Lucier, Sarah Davachi, Melati Suryodarmo, Ensemble Nist-Nah, Sunn O))), and numerous others.

Niloufar Shiri is a kamancheh player, composer, and improviser born and raised in Tehran, Iran. Her work exists between traditional Iranian and experimental music. Drawing inspiration from the Radif, intervallic relationships, and pitch settings, her work navigates the space between structure and spontaneity, exploring the familiar and the unexpected.

Zosha Warpeha is a composer-performer working in a meditative space at the intersection of contemporary improvisation and folk traditions. Using bowed stringed instruments alongside her own voice, her long-form compositions explore transformations of time and tonality. She performs primarily on Hardanger d’amore, a sympathetic-stringed instrument closely related to the Norwegian Hardanger fiddle. Her current work is informed by the cyclical forms, rhythmic elasticity, and the physical momentum of Nordic folk music.  

Will Guthrie, solo for drums, percussion, amplification and electronics

Max Eilbacher, a rendition of David Tudor's Pulsers for electronics & tape

Alongside continuing his electro-acoustic work, Will Guthrie has developed a series of solo works for drums, gongs, and other metal percussion instruments. Guthrie’s rhythmically complex, undeniable physical work also touches on aspects of world musics from Javanese gamelan to South Indian Carnatic music. 

David Tudor's Pulsers (1976) explores the world of rhythms created electronically by analog rather than digital circuitry. Tudor's original recording of the piece incorporated an improvised tape by violinist Takehisa Kosugi and a complex modulator designed by Gordon Mumma in conjunction with a sound system devised by Tudor.  

Les Certitudes performs Daylight Extended 

Léo Dupleix (harpsichord), Juliette Adam (clarinet, bass clarinet) & Judith Hamann (cello)

Egil Kalman, solo electronics & mouth h

Les Certitudes creates acoustic music centered on the richness of timbre and harmonies in just intonation. Their unique instrumentation—cello, harpsichord, and clarinet—serves as the starting point for a poetic exploration of harmonic resonances. Through long-form compositions, the trio cultivates immersive listening experiences, both rigorous and sensitive and connected to the unfolding time of live performance. For this concert, Les Certitudes will premiere a new work by Léo Dupleix, Daylight Extended, written specifically for the ensemble. The piece features harpsichord, synth, bass clarinet, and cello, expanding the trio’s sonic palette while continuing their exploration of timbre and harmonic depth.

Egil Kalman performs traditional folk music from Norway and Sweden on the modular synthesizer, paying close attention to intonation and ornamentation in the source material. In addition to his solo work, he’s the double bass player and synthesist for bands such as Marthe Lea Band, Miman, and Völvur as well as in duos with Zoe Efstathiou and Fredrik Rasten.

Magnus Granberg, solo piano

Magnus Granberg is a composer and performer working at an intersection between contemporary chamber music and improvisation. Self-taught as a composer, he formed his own ensemble Skogen in 2005 trying to integrate experiences, methods and materials from various traditions of improvised and composed musics into a new modus operandi.

Sean Meehan, drum solo

Sean Meehan & Bryan Eubanks, duo for drums & synthesizer

Sean Meehan is a drummer who most notably plays a pared-down kit often consisting of a single snare drum and cymbal, creating sounds that range from the subtle friction of a fork rubbing against a drum to tones that seem electronically generated. These complex, sometimes subtle sonorities require a great deal of concentration for the performer and listener, foregrounding the act of listening just as much as the production of sound, and bringing the audience’s attention to both spatial acoustics and social interactions within a space.

Bryan Eubanks develops his music through solo work and collaboration and is active in a variety of contexts: improvisation; composing electronic and acoustic works for small ensembles, solo instruments, computers, and electronics; organizing and curating concerts for other artists; and building electronic instruments.