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.

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 multichannel electronics

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.