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 is a group of European improvisers brought together to explore new music written especially for the band.

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)