A respected innovator on the Rio de Janeiro music scene since the mid-1990s, Ricardo Dias Gomes is perhaps best known for his work on the trio of critically acclaimed albums Caetano Veloso released in the late 2000s: Cê (2006), Zii and Zie (2009), and Abraçaço (2012). Playing bass on these modern milestones in post-Tropicalia, and subsequently touring the world with Veloso, inspired Gomes to record his debut album -11 (2015), followed by the mini-album Aa, which featured Arto Lindsay (2018). His third album Muito Sol (2023) is a deep, widescreen exploration in classic Brazilian song that brings all the subtlety and delicacy you'd expect from the pioneers of musica popular Brasileira coupled with a thoroughly 21st-century sensibility and taste for sonic innovation.

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.

Eyvind Kang, a multi-instrumentalist, composer and arranger, works across genre and discipline, bringing subtlety, fluidity, and emotional intensity to each of his varied projects. In addition to creating a striking body of solo works that has traced its way across the last two and half decades—most recently including Sonic Gnostic (Aspen Edities, 2021) and Ajaeng Ajaeng (Ideologic Organ, 2020)—he has played on albums by Bill Frisell, Joe McPhee, Sun City Girls, Ikue Mori, Laurie Anderson, Blonde Redhead, William Hooker, Animal Collective, and numerous others.

Since beginning to work together as a duo in the early 2000s, Kang and Kenney have collaborated on sound installations, music for orchestra, choir, and mixed ensembles in addition to releasing numerous widely acclaimed full-lengths: Aestuarium (2005), The Face Of The Earth (2012), Live In Iceland (2013), At Temple Gate (2014), Reverse Tree (2016), Seva (2017), The Cypress Dance (2020).

Fidan Aghayeva-Edler presents her program Glass Houses for solo piano featuring works by Linda Catlin-Smith and Ann Southam.

Fidan Aghayeva-Edler is a Berlin-based pianist currently focused on performing contemporary music and improvisation and music of women composers. Her solo album Verbotene Klänge: Sechs Suiten (Kreuzberg Records 2019) showcased the music of persecuted composers, while Fenster (GENIUN 2022) featured the works of seven contemporary female composers and was nominated for the Preis der Deutschen Schalplattenkritik and ECHO Klassik. 

Program:

Ann Southam, Glass Houses 1 

Linda Catlin Smith, White Lace 

Linda Catlin Smith, Nocturnes and Chorales

Ann Southam, Glass Houses 4 

Linda Catlin Smith, Tide Pool

Ann Southam, Returnings 1

Linda Catlin Smith, Unbroken

Ann Southam, Returnings 2 Meditation

Ann Southam, Glass Houses 5

Heather Frasch, Dissolving for violin and piano

Saviet/Houston Duo 

Michael Pisaro-Liu, Fields Have Ears 3

Jon Heilbron (double bass), Joseph Houston (piano), Heather Frasch (objects & electronics) & Eric Wong (electronics)

Tobias Delius (tenor sax & clarinet) and Christian Lillinger (drums)

Delius and Lillinger have been playing together for nearly 20 years, notably on all four releases by Christian Lillingers Grund. Occasionaly, we can hear them interract in their purest form as a duo, as documented on Dicht (Relative Pitch, 2007). 

Martin Schray of The Free Jazz Collective describes this record as "a high speed conversation in different idioms. It’s fun to listen to it over and over again to discover Delius’ hidden references and just to acknowledge that Lillinger is the most interesting European drummer at the moment."

Nicolas Collins (!trumpet) & Birgit Ulher (trumpet!)

Record release concert:  Spark Gaps (Relative Pitch 2026)

Two trumpets, two very diferent approaches: one electronic, the other acoustic. While Collins works with a computer program and cobbled hardware, Ulher uses metal sheets, radios, milk frothers and other everyday objects. The diametrically opposed sound production eads to oddly similar sonic results.

Hanno Leichtmann, OUTERLANDS for electronics and prerecorded cinema organ 

The material for Leichtmann's live presentation of Outerlands was recorded on the Villa Aurora Organ, built in 1928-29 by Artcraft Organ Company, Santa Monica, California. This cinema-style organ consists of a pipe organ, a wall-mounted marimba, and a two-octave tubular bells/chimes ensemble.  

Nicholas Bussmann, Ohnmacht-Trilogy Part 1: little ideas for voice and piano

Nicholas Bussmann's latest work little ideas is the first part of a trilogy of 3 x 3 songs entitled Ohnmacht (powerlessness, but also unconsciousness). Bussmann's measured, simple vocals create an intimacy that is countered by the mechanical physicality of a player piano, creating a fundamental tension that is common to all these songs. When Bussmann programs the piano robot constructed by Winfried Ritsch, we don't hear a conventional piano. We hear a repetitive clacking and tapping that takes on a life of its own beneath the sparse melodies and patterns. Not only the strings and the body of the piano but also the robot sounds and grooves, so that the whole material vibrates. This ambivalence and interaction between body and machine further extends to Bussmann's lyrics: the inflated western “me, myself & I” and its status in the acid bath of digital cultures.

Cottbusser Chor, arabische Zahlen

Margareth Kammerer, Eduard Mont de Palol, Laura Mello, Yusuf Ergün, Aaron Snyder & Nicholas Bussmann

The Cottbusser Chor is a vocal ensemble and performance group formed in 2014. The singers of the ensemble speak 13 languages and come from different musical contexts. The algorithm-based compositions in which the choir specializes preserve this diversity. It is precisely this audibility of language, gesture, accent, and accentuation that is the choir's strength. Since its foundation with the premiere of The News Blues, the choir has given concerts at Maerzmusik Berlin 2016, Hangar Bicocca Milan 2016, Shanghai Biennale 10, and documenta14 Radio 2017, among others.  

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

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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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, 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 harp

Les Certitudes creates acoustic music centered on the richness of timbre and harmonies in just intonation. For this concert, they 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, Place the Stones at My Head and Feet for solo piano

Ellen Arkbro, new work for solo piano

Magnus Granberg's Place the Stones at My Head and Feet is a new piece for solo piano which takes Elizabeth Cotten’s well-known song Freight Train as its point of departure. 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.

Ellen Arkbro is a composer, musician and sound-artist working with precision-tuned intervallic harmony. Her work includes compositions for acoustic instruments and for synthetic sound, and for combinations of both, as well as installation work.  In all of her work, Arkbro focuses on the qualities of harmonic sound that reveal listening as an active process of creative participation, inviting the listener to gradually transform into the sound itself. 

Sean Meehan, drum solo

Sean Meehan, Andrea Ermke & Bryan Eubanks, trio for drum, minidiscs & 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.

Andrea Ermke is a musician working with samples and field recordings that she records/re-plays/re-mixes from mini disc. She is a member of Sink (with Chris Abrahams, Arthur Rother and Marcello Busato) and Tree (with Burkhard Beins and Chris Abrahams). Her approach to field recording and live mixing is extremely detailed and personal, working with a constantly expanding library of recordings for over 20 years. 

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.  

Megan Alice Clune, Repetition Study I: imagine being for clarinet, voice & electronics (Meakusma 2026)

Judith Hamann, Post-Paradise for cello & electronics, written for Adam Man's video installation Paradise

Megan Alice Clune's work explores the dynamic relationships between music, technology, the body and temporality through composition, performance and installation. She draws from a unique combination of techniques and processes, from her training as a classical clarinetist to an interest in conceptualism and the avant-garde in both visual art and music, as well as from her study with La Monte Young and a love of popular and electronic music. 

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.  

A Short Horse

Jessie Marino (fiddle, voice), Weston Olencki (trombone, voice) & Fredrik Rasten (guitars, voice)

A Short Horse is a new chamber trio working between experimental sound and traditional American and Norwegian music. The trio draws upon centuries-old folksongs originating in North America and Norway in order to imagine the myriad futures of this old music and inject the practices of vernacular music into a modern setting.

with kind support from initiative neue musik berlin e.V

Making Waves #19: Before the War It Was the War; After the War It Is Still the War

This edition focuses on Lebanon, a country that has endured continuous wars and aggressions over the past half century. Today, once again, it is facing one of its worst crises in years, marked by heavy Israeli military attacks, the killing and injuring of civilians, including many children, widespread destruction, and the mass displacement of one million people (nearly a quarter of its population).

Mazen Kerbaj will present Starry Night(s), a listening session that revisits, twenty years later, the recordings he made during the 2006 Israeli war on Lebanon: TV and radio broadcasts, discussions with friends, bombs falling on Beirut, and birds at dawn, all often accompanied by his trumpet, as in Kerbaj's landmark piece Starry Night. During that period, he also began a blog where he posted, in real time, drawings documenting the war, works that were later collected in the book Beirut Won’t Cry.

The session will be followed by a conversation with Lebanese multidisciplinary artist Siska. Together, they will discuss the power of art as a form of resistance, focusing on the current situation in Lebanon and how generations of Lebanese people have continually suffered from cycles of war and violence.

Induction Trio

John Butcher (saxophone), Werner Dafeldecker (double bass) & Burkhard Beins (percussion)

Trio

Liz Allbee (trumpet), Jessie Marino (fiddle) & Andrea Neumann (piano)

Sextet

Liz Allbee (trumpet), Burkhard Beins (percussion), John Butcher (saxophone), Werner Dafeldecker (double bass), Jessie Marino (fiddle) & Andrea Neumann (piano) 

To mark John Butcher's 65th birthday in 2019, a series of concerts were held that resulted in five LPs released by Ni Vu Ni Connu. The first of the set, Induction, featured John Butcher with Burkhard Beins and Werner Dafeldecker. The trio now returns to KM28 for two days, joined by other key members of Berlin's Echtzeitmusik scene: Liz Allbee, Jessie Marino, and Andrea Neumann.

Three Duos

John Butcher (amplified saxophone) & Liz Allbee (trumpet, electronics)

Andrea Neumann (inside piano, mixer) & Burkhard Beins (amplified percussion)

Jessie Marino (fiddle) & Werner Dafeldecker (electronics)

Sextet

Liz Allbee (trumpet, electronics), Burkhard Beins (amplified percussion), John Butcher (amplified saxophone), Werner Dafeldecker (electronics), Jessie Marino (fiddle) & Andrea Neumann (inside piano, mixer) 

Lori Goldston presents Sound, Light, Movement: Solo Cello & Handmade Film

Sound, Light, Movement: Solo Cello + Handmade Film is a touring program of live improvised music with short experimental films made on celluloid. The program was curated by Caryn Cline of the Interbay Cinema Society in 2025 for cellist/composer Lori Goldston. With the exception of Jon Behrens’ "Stan’s Salon," all the films are from the Engauge Film Festival archive. Each was originally conceived of as a silent film.

Program

John Behrens “Stan’s Salon” USA 1997

Kalpana Subramanian “Liquid Is Light” USA 2016

Bill Basquin “Late December, East of the Sierras” USA 2015 

Vicky Smith “Shedding” UK 2021 

Derek Jenkins “Herbaria x Pelicula: Field Portfolio” Canada/USA 2021

Rocío Mesa “Tobacco Barn Light Studies” Spain 2019

Wenhua Shi “Monosabishi” USA 2023

Lucie Leszez & Stefano Canapa “Bosco” France/Italy 2023

Anna Kipervaser “And By the Night” USA 2017

Leandro Varela “Puedo Ver Todos Menos Mis Ojos/I Can See Everything But My Eyes” Argentina 2019

Three members of Ghost Ensemble present European premieres of original solo sets of experimental and microtonal works for accordion, harp, and contrabass.

Ben Richter performs original works for prepared just intonation accordion exploring timbral fluctuations, spectral harmony, and uncanny acoustic phenomena, with new compositions building on the sound-world introduced on double album Aurogeny (2023).

Melissa Achten presents new works for microtonal prepared harp. Presented within a séance-like structure, bespoke objects are used as preparations to produce a veiled atmosphere of dampened sonorities and unstable resonances.

James Ilgenfritz will play selections from the forthcoming solo just intonation contrabass album Alien Generator, as well as Almostness (2023), which uses the same alternate tuning and also involves miniature mechanical instruments and live electronics.

ELISION 

Paula Rae (flute), Peter Veale (oboe), Ryan Williams (recorders), Tristram Williams (trumpet/flugelhorn), Benjamin Marks (trombone), Harry Ward (violin) & Freya Schack-Arnott (violoncello)

ELISION is Australia’s 17-member ensemble featuring many of the world’s leading musicians. The ensemble focuses on complex and virtuosically challenging aesthetics, a unique instrumentarium, and work in cross-disciplinary artforms. ELISION is especially acknowledged for its authoritative interpretations of the music of Liza Lim, Richard Barrett, Mary Bellamy, Aaron Cassidy, Evan Johnson, Turgut Erçetin and many others.

Program:

Matthew Sergeant, [terrains] (2022) for solo flugelhorn

Liza Lim, Invisibility (2009) for violoncello (with two bows)

Golnaz Shariatzadeh, leider for the angel (2025) for oboe and trumpet

Richard Barrett, mask (2017-18) for solo trombone

Einar Torfi Einarsson, Zone of proximity: (and the weakly interacting particles) (2023) for recorder/violoncello

LIza Lim, Cardamom (2023-24) for solo violin

John Rodgers, Amor (1999) for flute and oboe

Christian Wallumrød & Jan Martin Gismervik, duo for piano, synthesizer, drums and electronics 

Christian Wallumrød and Jan Martin Gismervik have collaborated in various constellations since 2023. As a duo, they take a reductionist approach, working to assemble different blocks of timbre, rhythmic fragments, and textures, allowing chance to play an active role while maintaining a strong sense of direction in the music’s overall form. 

Christian Wallumrød is considered one of the most prominent and influential musicians of his generation in Norway. Following his debut on ECM Records (No Birch, issued in 1996), he has released a string of albums with Christian Wallumrød Ensemble on the same label. The record Outstairs was rewarded with the Norwegian Grammy (Spellemannsprisen) in 2013. In addition to his solo releases and the duo Brutter, Wallumrød is known for another longstanding collaboration, Dans Les Arbres, also with two releases on ECM. 

Jan Martin Gismervik is a drummer and composer based in Oslo. As a performer, he approaches the instrument in a reductionist manner, though the music he plays is not necessarily reductionist in character. Gismervik has developed a repertoire and a sonic palette within a relatively low dynamic range, allowing the drum set to open up in a distinct way. Over time, his setup has expanded to include melodic percussion as well as harmonium, viola, and synthesizers. His artistic expression revolves around combining different timbres, attacks, and gestures in a way that remains rhythmically grounded. This approach also forms the basis of his compositional practice, which has become a significant part of his work.

Sirenjaw

Kit Downes (piano), Vinicius Cajado (double bass) & Lukas Koenig (drums)

Sirenjaw brings together several long-standing musical relationships: Lukas Koenig and Vinicius Cajado share a deep-rooted connection within the Viennese music scene; Koenig and Kit Downes have collaborated both live and on record; and Downes and Cajado have recently worked together in a range of ensemble contexts in Berlin. Their upcoming release on Sonic Transmissions marks the beginning of a new ensemble, shaped through process, presence, and a commitment to collective exploration. 

A memorial concert one year after the passing of Peter Ablinger, with music composed by Peter Ablinger, Erhard Grosskopf, Chico Mello, and Georg Nussbaumer

First set: 

Erik Drescher (flutes), Nurit Stark (violin), Chico Mello (voice, piano), Chiyoko Szlavnics (spoken word), Christian Scheib (spoken word), Sophie Notte (cello), Georg Nussbaumer (electronics) and Bryan Eubanks (sound design)

Second set:

Nicolas Hodges performs Peter Ablinger's Voices and Piano (a selection: Bertold Brecht, Guillaume Apollinaire, Setsuko Hara, Bonnie Barnett, Morton Feldman, Hanna Schygulla, Lech Walesa, Agnes Gonxha Bojaxiu (Mother Theresa) and Mao Tse-Tun)

Cosmic Egg 

Mathilde Conley, Olivia Newport (DJ FEMNMS) & Runa Roberts, with richi valitutto 

Cosmic Egg, a sonic ritual by queer artists Mathilde Conley, Olivia Newport (DJ FEMNMS), and Runa Roberts, draws on religious, electronic, and experimental traditions to explore medieval devotion and contemporary queer intimacy. Inspired by Hildegard von Bingen’s erotic hymn to the Virgin Mary, they transform her 12th-century chant into drone soundscapes influenced by minimalism and ASMR. This fusion invites reflection on limitless potential and the enduring themes of longing, desire, and transformation across centuries of queer history. 

Lanichinata

Lan Hungh (percussion, electronics), richi valitutto (piano, toy piano, melodica) & Renata Daguerre (analog video)

Lanichinata was born on 21 August 2024, under the compassionate rays of the Sturgeon Blue Moon in Aquarius, a rare supermoon of exceptional size and brightness. Channeling the multivalent energies of time and place has always been a guiding principle in each of their meetings: focused improvised performances in light, sound, and movement that reflect and refract the queer creative forces connecting each of us. 

Ka Baird & Audrey Chen, duo for voices, electronics, flutes

Ka Baird, Audrey Chen & Li-Chin Li, trio for voices, electronics, flutes & sheng

Ka Baird uses extended voice and microphone techniques along with electronics, feedback, field recordings, and traditional instrumentation to explore the outer dimensions of sound through performance. They create a present-tense sound with a vigorous, ritualistic delivery that seeks extreme release through physical exertion and psychic extension. 

Audrey Chen’s work explores the combination and layering of an analog synthesizer, preparations, and traditional and extended techniques in both the voice and cello. She works to join these elements into a singular ecstatic personal language.

Li-Chin Li is a sheng performer and composer. Formerly a member of the Hong Kong Chinese Orchestra, a leading exponent of contemporary Chinese music, Li-chin's work now focuses on integrating the sheng with performing arts, including electronics and visual media. 

Adam Goodwin, GRUMSIN for double bass, electronics, field recordings & video

Adam Goodwin's GRUMSIN is a multimedia solo project incorporating amplified double bass, electronics, field recordings and projected video material. Each composition is based on a particular ecosystem or biome, incorporating field recordings and video material created during solitary hiking and backpacking trips in these specific environments. This material is combined with double bass harmonics, melodic fragments, microtonal clusters and textural extended techniques to create durational compositions that suggest elements of contemporary classical music, dark ambient, drone, spectralism and noise music, all the while embodying their own sonic identity and conceptual integrity.

Valerio Tricoli, solo for reel-to-reel tape machines  

Hanno Leichtmann, SY-4 for the Pearl Syncussion SY-1 drum synthesizer 

Leichtmann's piece SY-4 follows the same encrypted logic as found on his The Future Of Discipline collab with Valerio Tricoli. Leichtmann treats the drum synth as a malleable object not just in terms of rhythm but also of substance, variously melting, diffusing and re-connecting it in various states thru an ER-301 Sound Computer.

Since the mid-2000s, Valerio Tricoli has used the Revox B77 reel-to-reel tape recorder in his live performances. This completely analog and ergonomic device is designed for live sampling and real-time transformation, processing, and mixing of pre-recorded studio recordings and sound sources, including spoken or sung voices. Small acoustic and electronic instruments, unusual objects, and even the concert venue itself serve as Tricoli's tools and inspiration.