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.