Salva Storie Instagram

yeaa - a mark harwood in milchbar

@markharwoodartwork
@milchbar36
@ultimalapalia
#fcknzs
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KATE CARR
Vertical London (New Year’s Day)
CD Persistence of Sound PS018
Release date: July 17, 2026
katecarr.bandcamp.com/album/vertical-london-new-year-s-day

“On New Year’s Day this year I set off from my home in Loughborough Junction to undertake a rather idiosyncratic journey. For a long time now I have wanted to try and trace a vertical trajectory in London – and New Year's Day with its connotations of renewal and starting-over seemed just the time to attempt to flee upwards, if you will."

The spine of this album is that journey from roughly minus 20 metres below sea level to 240 metres above on that cold, short wintry day. It was a quiet day, by London standards, but not silent. It was still a London of some bustle and activity. Of overheard moments and chance encounters involving delivery drivers, commuters, tourists, taxis, tubes, buses, retail workers, joggers, crows, pigeons and foxes.

As I traced my ascending route from the depths of the Victoria Line, to the Greenwich Foot Tunnel, Soho, Bloomsbury, and upwards to Kilburn, Hampstead, Crystal Palace, The Eye and The Shard I was struck by how reliant on all sorts of infrastructures this trip was. Electricity, gas, data, food, water, all of these systems, some silent, others audible, were intertwined in one way or another with my movement.

The recordings I took move from the electromagnetic hum of the underground and the DLR, delivery trolleys and bicycles, the echoes of public piano recitals, quiet parks and ambiences from the privatised spaces of the Eye and the Shard.

This is just one moment in London. One journey on one day by one person. A version of London which is entangled with my own identity and recording practice. But it is also, I hope, a rendering of the city which might in its strangeness or familiarity reverberate with the version of London you carry inside of you, whether this is drawn from experience, fantasy or indifference.”

Design by Matthew Young & Louise Mason
Photo 1 by Dimitri Djuric
Photo 2 by Jonathan Crabb

@persistence.sound
@k8_carr_
@louiseamazing
@dimitri_djuric
@jonathan.crabb
#persistenceofsound
#katecarr
#fieldrecording
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KATE CARR
Vertical London (New Year’s Day)
CD Persistence of Sound PS018
Release date: July 17, 2026
katecarr.bandcamp.com/album/vertical-london-new-year-s-day

“On New Year’s Day this year I set off from my home in Loughborough Junction to undertake a rather idiosyncratic journey. For a long time now I have wanted to try and trace a vertical trajectory in London – and New Year's Day with its connotations of renewal and starting-over seemed just the time to attempt to flee upwards, if you will."

The spine of this album is that journey from roughly minus 20 metres below sea level to 240 metres above on that cold, short wintry day. It was a quiet day, by London standards, but not silent. It was still a London of some bustle and activity. Of overheard moments and chance encounters involving delivery drivers, commuters, tourists, taxis, tubes, buses, retail workers, joggers, crows, pigeons and foxes.

As I traced my ascending route from the depths of the Victoria Line, to the Greenwich Foot Tunnel, Soho, Bloomsbury, and upwards to Kilburn, Hampstead, Crystal Palace, The Eye and The Shard I was struck by how reliant on all sorts of infrastructures this trip was. Electricity, gas, data, food, water, all of these systems, some silent, others audible, were intertwined in one way or another with my movement.

The recordings I took move from the electromagnetic hum of the underground and the DLR, delivery trolleys and bicycles, the echoes of public piano recitals, quiet parks and ambiences from the privatised spaces of the Eye and the Shard.

This is just one moment in London. One journey on one day by one person. A version of London which is entangled with my own identity and recording practice. But it is also, I hope, a rendering of the city which might in its strangeness or familiarity reverberate with the version of London you carry inside of you, whether this is drawn from experience, fantasy or indifference.”

Design by Matthew Young & Louise Mason
Photo 1 by Dimitri Djuric
Photo 2 by Jonathan Crabb

@persistence.sound
@k8_carr_
@louiseamazing
@dimitri_djuric
@jonathan.crabb
#persistenceofsound
#katecarr
#fieldrecording
.
.

KATE CARR
Vertical London (New Year’s Day)
CD Persistence of Sound PS018
Release date: July 17, 2026
katecarr.bandcamp.com/album/vertical-london-new-year-s-day

“On New Year’s Day this year I set off from my home in Loughborough Junction to undertake a rather idiosyncratic journey. For a long time now I have wanted to try and trace a vertical trajectory in London – and New Year's Day with its connotations of renewal and starting-over seemed just the time to attempt to flee upwards, if you will."

The spine of this album is that journey from roughly minus 20 metres below sea level to 240 metres above on that cold, short wintry day. It was a quiet day, by London standards, but not silent. It was still a London of some bustle and activity. Of overheard moments and chance encounters involving delivery drivers, commuters, tourists, taxis, tubes, buses, retail workers, joggers, crows, pigeons and foxes.

As I traced my ascending route from the depths of the Victoria Line, to the Greenwich Foot Tunnel, Soho, Bloomsbury, and upwards to Kilburn, Hampstead, Crystal Palace, The Eye and The Shard I was struck by how reliant on all sorts of infrastructures this trip was. Electricity, gas, data, food, water, all of these systems, some silent, others audible, were intertwined in one way or another with my movement.

The recordings I took move from the electromagnetic hum of the underground and the DLR, delivery trolleys and bicycles, the echoes of public piano recitals, quiet parks and ambiences from the privatised spaces of the Eye and the Shard.

This is just one moment in London. One journey on one day by one person. A version of London which is entangled with my own identity and recording practice. But it is also, I hope, a rendering of the city which might in its strangeness or familiarity reverberate with the version of London you carry inside of you, whether this is drawn from experience, fantasy or indifference.”

Design by Matthew Young & Louise Mason
Photo 1 by Dimitri Djuric
Photo 2 by Jonathan Crabb

@persistence.sound
@k8_carr_
@louiseamazing
@dimitri_djuric
@jonathan.crabb
#persistenceofsound
#katecarr
#fieldrecording
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.

ANDREA TAEGGI
I Alone
DL+Postcard set Adventurous Music AMPC012
Album release: June 15, 2026
adventurousmusic.bandcamp.com/album/i-alone

From Andrea Taeggi

In a global context where destabilization, conflict, and injustice thrive, the role of the artist — and the motivations behind continued creation — become ever more relevant.

While sound alone may not bring about substantial improvements to the dire conditions many people face, this record aims to inspire a sense of presence, and connection.

I tuned my instruments to a scale not commonly used in Western cultures, following a microtonal system known as Just Intonation — where frequencies retain their natural relationships and shared origins. "Just" as in the pursuit of justice and equality; Just as in an environment where all actors behave with more compassion and sympathy — ethically, and in resonance — much like the frequencies themselves.

Whether systemic change will arise from a shift in consciousness or be catalysed by broader political reforms is hard to foresee. The track titles point toward the former, drawing on a poem from the ancient spiritual teachings of the Tao Te Ching, which speaks to stillness of the mind, emptiness, presence, and darkness — while maintaining an ironic tone all throughout.

Photo by Daphné Lejeune

@adventurous.music
@andrea_taeggi
@daphnelejeunephotographer
#adventurousmusic
#andreataeggi
#justintonation
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ANDREA TAEGGI
I Alone
DL+Postcard set Adventurous Music AMPC012
Album release: June 15, 2026
adventurousmusic.bandcamp.com/album/i-alone

From Andrea Taeggi

In a global context where destabilization, conflict, and injustice thrive, the role of the artist — and the motivations behind continued creation — become ever more relevant.

While sound alone may not bring about substantial improvements to the dire conditions many people face, this record aims to inspire a sense of presence, and connection.

I tuned my instruments to a scale not commonly used in Western cultures, following a microtonal system known as Just Intonation — where frequencies retain their natural relationships and shared origins. "Just" as in the pursuit of justice and equality; Just as in an environment where all actors behave with more compassion and sympathy — ethically, and in resonance — much like the frequencies themselves.

Whether systemic change will arise from a shift in consciousness or be catalysed by broader political reforms is hard to foresee. The track titles point toward the former, drawing on a poem from the ancient spiritual teachings of the Tao Te Ching, which speaks to stillness of the mind, emptiness, presence, and darkness — while maintaining an ironic tone all throughout.

Photo by Daphné Lejeune

@adventurous.music
@andrea_taeggi
@daphnelejeunephotographer
#adventurousmusic
#andreataeggi
#justintonation
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KASSEL JAEGER
Sub Re
LP/CD Shelter Press SP170
Release date: July 10, 2026
kasseljaeger.bandcamp.com/album/sub-re

With this major new album, entitled Sub Re, Bonnet continues his long exploration of the musical possibilities of sound, extending the concrete approach developed at the Groupe de Recherches Musicales and revitalizing it through an exposition that focuses less on the clear manifestation of sound material than on its ambiguous evocation.

Sub re, in Latin, can mean “under the thing, under the substance, under the matter.” It's precisely this direct approach to music, drawing on the extraction of raw sound material, that forms the basis of this album. Under the matter thus signals the concrete aspect of music, but not the concrete that is transfigured, becoming vapor and form, the substrate of an idea. Rather, it signals the concrete beneath the concrete, in the immanence of sounds, in their becoming, as a driving force, like a tide, like a vault of imperious and powerful matter. To achieve this, Bonnet draws on a multitude of sound sources (acoustic, electronic, natural or artificial, created on purpose or found by chance) and a plurality of contexts and occasions to give them form.

The movement, a shell, a bell, a spell, for example, was heard for the first time during a concert organized in Venice in connection with Latifa Echakhch's contribution to the Swiss Pavilion at the 2022 Art Biennale, while the last movement on the record, signalmirror, concluded a piece presented at the first Sound Biennale in Sion (Switzerland) in 2023. These elements, formed and detached from their original context of appearance, of the places and people who made them possible and listened to them, contribute to a complex layering of climates and sonic worlds and help create a contrasting album, where density and tenuity coexist in a succession of moving waves, sometimes laden with memories, sometimes filled with regrets, always set in motion by their own morphology.

Artwork by Ron Jude
Design by Bartolomé Sanson
Photo by Eléonore Huisse

@shelter_press
@kasseljaeger
@ron_jude
@bartolome_sanson
@eleonore_huisse
#shelterpress
#kasseljaeger
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KASSEL JAEGER
Sub Re
LP/CD Shelter Press SP170
Release date: July 10, 2026
kasseljaeger.bandcamp.com/album/sub-re

With this major new album, entitled Sub Re, Bonnet continues his long exploration of the musical possibilities of sound, extending the concrete approach developed at the Groupe de Recherches Musicales and revitalizing it through an exposition that focuses less on the clear manifestation of sound material than on its ambiguous evocation.

Sub re, in Latin, can mean “under the thing, under the substance, under the matter.” It's precisely this direct approach to music, drawing on the extraction of raw sound material, that forms the basis of this album. Under the matter thus signals the concrete aspect of music, but not the concrete that is transfigured, becoming vapor and form, the substrate of an idea. Rather, it signals the concrete beneath the concrete, in the immanence of sounds, in their becoming, as a driving force, like a tide, like a vault of imperious and powerful matter. To achieve this, Bonnet draws on a multitude of sound sources (acoustic, electronic, natural or artificial, created on purpose or found by chance) and a plurality of contexts and occasions to give them form.

The movement, a shell, a bell, a spell, for example, was heard for the first time during a concert organized in Venice in connection with Latifa Echakhch's contribution to the Swiss Pavilion at the 2022 Art Biennale, while the last movement on the record, signalmirror, concluded a piece presented at the first Sound Biennale in Sion (Switzerland) in 2023. These elements, formed and detached from their original context of appearance, of the places and people who made them possible and listened to them, contribute to a complex layering of climates and sonic worlds and help create a contrasting album, where density and tenuity coexist in a succession of moving waves, sometimes laden with memories, sometimes filled with regrets, always set in motion by their own morphology.

Artwork by Ron Jude
Design by Bartolomé Sanson
Photo by Eléonore Huisse

@shelter_press
@kasseljaeger
@ron_jude
@bartolome_sanson
@eleonore_huisse
#shelterpress
#kasseljaeger
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tsx x sue tompkins - recur⁷
farmersmxnual presents - generate and test gt104
public street date June 3rd
tsx1.bandcamp.com

recur⁷ is the sixth mini album in the recur series. To recur is to come back to a similar, but never the same spot, exactly. While going around, old idiosyncracies are transmuted, new pockets charted, and sometimes everything jumps into an entirely new orbit.

For recur⁷, tsx and Sue Tompkins teamed up again in an asynchronous dance spanning five years plus of IRL time. That is a long time for a compact little five track 15 minute package like this, and what is the deal? No single reason of course, most prominently maybe some self-imposed barrier to just letting it go, because it has grown dear to the heart. Multiplied by bad timing and unrelated personal crises that had to be overcome in succession. The basic tracks go back to 2019, added two rounds of iteration over the years, a single pre-release of the first track on soundcloud, all ending up in a private release in 2024, with only cosmetic changes since.

The hi-hatesque chaos backdrop in „mute their knee“ and „the pleasure of completed action“, comes from the attempt to emulate the simple sonic experience of raindrops hitting a skylight. These takes are interspersed by some limit lifting with metric grids in a tool world dominated by the number four.

Vocals were recorded by Sue in various casual settings into her phone. On „easily live for“, „dream city times half“, and „just so, so just“ the recordings are sliced into small chunks and sorted into heaps by their sonic similarity, as perceived by an audio similarity algorithm & model. The placement of the sliced and sorted vocal chunks is done with a small program that has beat perception, rearranging everything into a state of second order dissociation. Fragments of meaning disappear faster than it takes them to be vocalized. This is the „mixing enzyme“, a little machine that moshes the timing and volume of sounds.

@farmersmanual
@norbertniemand4893
@suebbbb2003
#generateandtest
#oswaldberthold
#suetompkins
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.

tsx x sue tompkins - recur⁷
farmersmxnual presents - generate and test gt104
public street date June 3rd
tsx1.bandcamp.com

recur⁷ is the sixth mini album in the recur series. To recur is to come back to a similar, but never the same spot, exactly. While going around, old idiosyncracies are transmuted, new pockets charted, and sometimes everything jumps into an entirely new orbit.

For recur⁷, tsx and Sue Tompkins teamed up again in an asynchronous dance spanning five years plus of IRL time. That is a long time for a compact little five track 15 minute package like this, and what is the deal? No single reason of course, most prominently maybe some self-imposed barrier to just letting it go, because it has grown dear to the heart. Multiplied by bad timing and unrelated personal crises that had to be overcome in succession. The basic tracks go back to 2019, added two rounds of iteration over the years, a single pre-release of the first track on soundcloud, all ending up in a private release in 2024, with only cosmetic changes since.

The hi-hatesque chaos backdrop in „mute their knee“ and „the pleasure of completed action“, comes from the attempt to emulate the simple sonic experience of raindrops hitting a skylight. These takes are interspersed by some limit lifting with metric grids in a tool world dominated by the number four.

Vocals were recorded by Sue in various casual settings into her phone. On „easily live for“, „dream city times half“, and „just so, so just“ the recordings are sliced into small chunks and sorted into heaps by their sonic similarity, as perceived by an audio similarity algorithm & model. The placement of the sliced and sorted vocal chunks is done with a small program that has beat perception, rearranging everything into a state of second order dissociation. Fragments of meaning disappear faster than it takes them to be vocalized. This is the „mixing enzyme“, a little machine that moshes the timing and volume of sounds.

@farmersmanual
@norbertniemand4893
@suebbbb2003
#generateandtest
#oswaldberthold
#suetompkins
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.

LAWRENCE ENGLISH
The Rest Is My Ghost
LP Room40 RM4250
Release date: August 7, 2026
lawrenceenglish.bandcamp.com/album/the-rest-is-my-ghost

“Ruins are the style of our future cities, future cities are themselves ruins.” - Izosaki Arata

A Note From Lawrence English

Nostalgia is not an ideology, though in this moment, we could be mistaken for thinking it might be just that. Over the past years, the idea of nostalgia has been filtered through various political and technological lenses and has become a tool used for forgetting, rather than remembering. Instead of embracing histories’ complexities and inconsistencies, this version of nostalgia seeks only singular recollection. This contemporary phenomenon of nostalgia has become a methodology at best, and a weapon at worst, used to erode the past and project forward a collapsed and unimaginably sanitised version of things, places, and ways of being from former times. It’s this projection that sees it playing a mounting role in a social pathology associated with reducing the imagined possibilities of future.

The Rest Is My Ghost is a record that interrogates the manifestations of this reductive futuring and celebrates those that have tried (and failed), and those who continue to push back against decayed and revisionist positions. It’s a record that considers the weaponisation of nostalgia for the purposes of cloaking possible futures.

In recent times, I’ve proposed a term for this weaponised use of nostalgia, something I have called Acid Nostalgia. I offer it as a shorthand to describe the de-contouring of the future through a corrosive fixation on a flatten rendering of the preceding times. It is, in part, a certain type of lazy cultural scripting where tropes of the past are presented in the absolute, as empty pictorials; photocopies without any original from which to draw actual meaning, or useful detail.

Design and photo by Traianos Pakioufakis
Contributions from Chris Abrahams Tony Buck @madeleine.cocolas @matsgustafssonsax Thor Harris Lena Ito @chuckjohnsonmusic Peter Knight Sean Mackenzie @brodiemcallister @heinzriegler @normanjwestberg Rully Shabara et al.

@room40shoots
@traianos
#room40
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LAWRENCE ENGLISH
The Rest Is My Ghost
LP Room40 RM4250
Release date: August 7, 2026
lawrenceenglish.bandcamp.com/album/the-rest-is-my-ghost

“Ruins are the style of our future cities, future cities are themselves ruins.” - Izosaki Arata

A Note From Lawrence English

Nostalgia is not an ideology, though in this moment, we could be mistaken for thinking it might be just that. Over the past years, the idea of nostalgia has been filtered through various political and technological lenses and has become a tool used for forgetting, rather than remembering. Instead of embracing histories’ complexities and inconsistencies, this version of nostalgia seeks only singular recollection. This contemporary phenomenon of nostalgia has become a methodology at best, and a weapon at worst, used to erode the past and project forward a collapsed and unimaginably sanitised version of things, places, and ways of being from former times. It’s this projection that sees it playing a mounting role in a social pathology associated with reducing the imagined possibilities of future.

The Rest Is My Ghost is a record that interrogates the manifestations of this reductive futuring and celebrates those that have tried (and failed), and those who continue to push back against decayed and revisionist positions. It’s a record that considers the weaponisation of nostalgia for the purposes of cloaking possible futures.

In recent times, I’ve proposed a term for this weaponised use of nostalgia, something I have called Acid Nostalgia. I offer it as a shorthand to describe the de-contouring of the future through a corrosive fixation on a flatten rendering of the preceding times. It is, in part, a certain type of lazy cultural scripting where tropes of the past are presented in the absolute, as empty pictorials; photocopies without any original from which to draw actual meaning, or useful detail.

Design and photo by Traianos Pakioufakis
Contributions from Chris Abrahams Tony Buck @madeleine.cocolas @matsgustafssonsax Thor Harris Lena Ito @chuckjohnsonmusic Peter Knight Sean Mackenzie @brodiemcallister @heinzriegler @normanjwestberg Rully Shabara et al.

@room40shoots
@traianos
#room40
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.

NEA ENSEMBLE
Orizzontale
DL+QR code on wooden Stamp NEA Editions NEA001
Release date: June 26, 2026
neaeditions.bandcamp.com

Francesco Altieri — analog synthesizers, sampler
Daniele Antezza — musical direction, live electronics
Pino Basile — frame drums, percussion
Pietro De Ruggieri — analog synthesizers, tape decks
Tommaso Di Marzio — drums & percussion
Angelo Manicone — tenor sax, prepared brass instruments
Eufemia Mascolo — double bass, esraj
Giuseppe Nicoletti — electric bass guitar, electronics
Federico Nitti — artistic direction, visuals
Luigi Scaramuzzo — analog synthesizers
Andrea Taeggi — digital synthesizers
Giusi Zaccagnini — vocals

Inspired by the core principles of the group’s manifesto, the work explores the meaning of horizontality — intended as the absence of hierarchies and authoritarian structures. A value system that not only guided the artistic process but also shaped the interaction of the ensemble during the artist residency and the concert from which the entire work emerged.

The work bears witness to and encapsulates the diverse personalities involved — often very different from one another — creating connections between worlds that do not necessarily converge: the spectrum ranges from free improv to heavy electronics, from jazz to echoes of traditional Mediterranean music, all the way to dub, noise, and elements of experimental theater.

The result is an eclectic, unexpected, and evocative mix, free from boundaries and stylistic definitions: the fruit of an encounter as surprising as it is genuinely collaborative.

Cover art by Tiziana Salvati
Photo by AVIE Studio

@luigi_scaramuzzo
@andrea_taeggi
#neaensemble
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.

NEA ENSEMBLE
Orizzontale
DL+QR code on wooden Stamp NEA Editions NEA001
Release date: June 26, 2026
neaeditions.bandcamp.com

Francesco Altieri — analog synthesizers, sampler
Daniele Antezza — musical direction, live electronics
Pino Basile — frame drums, percussion
Pietro De Ruggieri — analog synthesizers, tape decks
Tommaso Di Marzio — drums & percussion
Angelo Manicone — tenor sax, prepared brass instruments
Eufemia Mascolo — double bass, esraj
Giuseppe Nicoletti — electric bass guitar, electronics
Federico Nitti — artistic direction, visuals
Luigi Scaramuzzo — analog synthesizers
Andrea Taeggi — digital synthesizers
Giusi Zaccagnini — vocals

Inspired by the core principles of the group’s manifesto, the work explores the meaning of horizontality — intended as the absence of hierarchies and authoritarian structures. A value system that not only guided the artistic process but also shaped the interaction of the ensemble during the artist residency and the concert from which the entire work emerged.

The work bears witness to and encapsulates the diverse personalities involved — often very different from one another — creating connections between worlds that do not necessarily converge: the spectrum ranges from free improv to heavy electronics, from jazz to echoes of traditional Mediterranean music, all the way to dub, noise, and elements of experimental theater.

The result is an eclectic, unexpected, and evocative mix, free from boundaries and stylistic definitions: the fruit of an encounter as surprising as it is genuinely collaborative.

Cover art by Tiziana Salvati
Photo by AVIE Studio

@luigi_scaramuzzo
@andrea_taeggi
#neaensemble
.
.

NEA ENSEMBLE
Orizzontale
DL+QR code on wooden Stamp NEA Editions NEA001
Release date: June 26, 2026
neaeditions.bandcamp.com

Francesco Altieri — analog synthesizers, sampler
Daniele Antezza — musical direction, live electronics
Pino Basile — frame drums, percussion
Pietro De Ruggieri — analog synthesizers, tape decks
Tommaso Di Marzio — drums & percussion
Angelo Manicone — tenor sax, prepared brass instruments
Eufemia Mascolo — double bass, esraj
Giuseppe Nicoletti — electric bass guitar, electronics
Federico Nitti — artistic direction, visuals
Luigi Scaramuzzo — analog synthesizers
Andrea Taeggi — digital synthesizers
Giusi Zaccagnini — vocals

Inspired by the core principles of the group’s manifesto, the work explores the meaning of horizontality — intended as the absence of hierarchies and authoritarian structures. A value system that not only guided the artistic process but also shaped the interaction of the ensemble during the artist residency and the concert from which the entire work emerged.

The work bears witness to and encapsulates the diverse personalities involved — often very different from one another — creating connections between worlds that do not necessarily converge: the spectrum ranges from free improv to heavy electronics, from jazz to echoes of traditional Mediterranean music, all the way to dub, noise, and elements of experimental theater.

The result is an eclectic, unexpected, and evocative mix, free from boundaries and stylistic definitions: the fruit of an encounter as surprising as it is genuinely collaborative.

Cover art by Tiziana Salvati
Photo by AVIE Studio

@luigi_scaramuzzo
@andrea_taeggi
#neaensemble
.
.

FEDERICO DURAND
La Manzana Mágica
LP 12k 2063
Release date: May 22, 2026
federicodurand.bandcamp.com/album/la-manzana-m-gica

One of 12k’s most endearing artists is back with a new album. From Argentina, Federico Durand presents La Manzana Mágica, an album in signature Federico style inspired by his collection of Cinderlla stamps, in a way only Federico could do. Named after the folk-tale heroine, Cinderellas, ade throughout the last century, were considered inferior to official postage stamps, but became a sought-after collector’s item. There are some pieces whose origin, circulation context or illustrator’s name are unknown. Many Cinderellas have designs that seem taken from oral tradition and are often beautifully crafted; even those that were made to promote products, like books. They are echoes of a world gone by.

Probably one of his most gentle, open and fragile albums to date, a Manzana Mágica is for sure an exercise in restraint, in letting the listener’s imagination wander around the space in between his sounds. His pure synthesizer tones and tape machine maniuplations take on an ethereal, almost haunting quality, perhaps feeling a bit darker than some of his other work. The inspiration and relation to the often-mysterious nature of the Cinderlla stamps is apt.

@12k_label
@flor_imaginaria
#12klabel
#federicodurand
#cinderellastamp
#cinderellastamps
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FEDERICO DURAND
La Manzana Mágica
LP 12k 2063
Release date: May 22, 2026
federicodurand.bandcamp.com/album/la-manzana-m-gica

One of 12k’s most endearing artists is back with a new album. From Argentina, Federico Durand presents La Manzana Mágica, an album in signature Federico style inspired by his collection of Cinderlla stamps, in a way only Federico could do. Named after the folk-tale heroine, Cinderellas, ade throughout the last century, were considered inferior to official postage stamps, but became a sought-after collector’s item. There are some pieces whose origin, circulation context or illustrator’s name are unknown. Many Cinderellas have designs that seem taken from oral tradition and are often beautifully crafted; even those that were made to promote products, like books. They are echoes of a world gone by.

Probably one of his most gentle, open and fragile albums to date, a Manzana Mágica is for sure an exercise in restraint, in letting the listener’s imagination wander around the space in between his sounds. His pure synthesizer tones and tape machine maniuplations take on an ethereal, almost haunting quality, perhaps feeling a bit darker than some of his other work. The inspiration and relation to the often-mysterious nature of the Cinderlla stamps is apt.

@12k_label
@flor_imaginaria
#12klabel
#federicodurand
#cinderellastamp
#cinderellastamps
.
.

ANTOINE FERRIS
[KAAARST]
CD Carton croixcroix42
Release date: May 8, 2026
cartonrecords.bandcamp.com/album/kaaarst

[KAAARST] is the debut album of bassist Antoine Ferris. A solo record where raw, industrial sounds collide with pop and electronic influences. throughout the tracks, a dialogue emerges between the bass and the random rhythms generated by effects pedals, infused with a singular sense of melancholy. [KAAARST] brings together a range of playing techniques, such as feedback, percussive sounds created by striking the instrument with the hand or using a butter knife, as well as sampling techniques borrowed from electronic music. Alongside solo improvisational pieces, the album also features original collaborations such as “shame’s coming” with Natacha Kanga and “la nèu” with occitan singer Louie Z.

Genres: Experimental music, noise, impro, hip hop, industrial, pop

Photo: Lena Vissler

@cartonrecords
@antoineferris
#cartonrecords
#antoineferris
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ANTOINE FERRIS
[KAAARST]
CD Carton croixcroix42
Release date: May 8, 2026
cartonrecords.bandcamp.com/album/kaaarst

[KAAARST] is the debut album of bassist Antoine Ferris. A solo record where raw, industrial sounds collide with pop and electronic influences. throughout the tracks, a dialogue emerges between the bass and the random rhythms generated by effects pedals, infused with a singular sense of melancholy. [KAAARST] brings together a range of playing techniques, such as feedback, percussive sounds created by striking the instrument with the hand or using a butter knife, as well as sampling techniques borrowed from electronic music. Alongside solo improvisational pieces, the album also features original collaborations such as “shame’s coming” with Natacha Kanga and “la nèu” with occitan singer Louie Z.

Genres: Experimental music, noise, impro, hip hop, industrial, pop

Photo: Lena Vissler

@cartonrecords
@antoineferris
#cartonrecords
#antoineferris
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MICK HARRIS & MARTYN BATES
Murder Ballads [Incest Songs]
2LP Sub Rosa SRV514
Release date: May 15, 2026
subrosalabel.bandcamp.com/album/murder-ballads-incest-songs

"May she comes and May she goes…“

Incest Songs is the final chapter of the Murder Ballads trilogy, and its most fully realized expression. Where Drift and Passages explored the post-isolationist frame through voice and single instrument, this third volume dispenses with that approach entirely, opening instead onto a more labyrinthine sonic architecture - one built from overlapping, saturating, blurring voices, all of them Martyn Bates'. The decision feels both inevitable and quietly inspired. Bates' vocalizations unfold as layered calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resolving into a mesmeric conversation of musical inferences and correspondences. There is a mellifluous, dream-like quality to the whole - infused with that characteristic stillness that slow, hypnotic unfolding of gossamer subtlety - yet never quite losing a certain drugged, disquieting beauty beneath its surface.

Incest Songs pushes the post-isolationist form further out than either of its predecessors, innovating and extemporising with a dazzling assurance. And yet, remarkably, this remains a territory still almost entirely unexplored by other artists - the sole province, it seems, of M.J. Harris and Martyn Bates.

As Bates himself reflects: "I feel, in personal terms listening to it, I think it's easy to detect that the whole thing has been a truly exhilarating experience for the both of us, realising and developing this strange, sublime creature of ours and now I guess it's up to others to take up the challenge, to build on what we've done and I think that there are still SO MANY fantastic possibilities."

@subrosalabel
mickharris1884
#martynbates
#subrosa
#mickharris
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.

MICK HARRIS & MARTYN BATES
Murder Ballads [Incest Songs]
2LP Sub Rosa SRV514
Release date: May 15, 2026
subrosalabel.bandcamp.com/album/murder-ballads-incest-songs

"May she comes and May she goes…“

Incest Songs is the final chapter of the Murder Ballads trilogy, and its most fully realized expression. Where Drift and Passages explored the post-isolationist frame through voice and single instrument, this third volume dispenses with that approach entirely, opening instead onto a more labyrinthine sonic architecture - one built from overlapping, saturating, blurring voices, all of them Martyn Bates'. The decision feels both inevitable and quietly inspired. Bates' vocalizations unfold as layered calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resolving into a mesmeric conversation of musical inferences and correspondences. There is a mellifluous, dream-like quality to the whole - infused with that characteristic stillness that slow, hypnotic unfolding of gossamer subtlety - yet never quite losing a certain drugged, disquieting beauty beneath its surface.

Incest Songs pushes the post-isolationist form further out than either of its predecessors, innovating and extemporising with a dazzling assurance. And yet, remarkably, this remains a territory still almost entirely unexplored by other artists - the sole province, it seems, of M.J. Harris and Martyn Bates.

As Bates himself reflects: "I feel, in personal terms listening to it, I think it's easy to detect that the whole thing has been a truly exhilarating experience for the both of us, realising and developing this strange, sublime creature of ours and now I guess it's up to others to take up the challenge, to build on what we've done and I think that there are still SO MANY fantastic possibilities."

@subrosalabel
mickharris1884
#martynbates
#subrosa
#mickharris
.
.

MICK HARRIS & MARTYN BATES
Murder Ballads [Incest Songs]
2LP Sub Rosa SRV514
Release date: May 15, 2026
subrosalabel.bandcamp.com/album/murder-ballads-incest-songs

"May she comes and May she goes…“

Incest Songs is the final chapter of the Murder Ballads trilogy, and its most fully realized expression. Where Drift and Passages explored the post-isolationist frame through voice and single instrument, this third volume dispenses with that approach entirely, opening instead onto a more labyrinthine sonic architecture - one built from overlapping, saturating, blurring voices, all of them Martyn Bates'. The decision feels both inevitable and quietly inspired. Bates' vocalizations unfold as layered calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resolving into a mesmeric conversation of musical inferences and correspondences. There is a mellifluous, dream-like quality to the whole - infused with that characteristic stillness that slow, hypnotic unfolding of gossamer subtlety - yet never quite losing a certain drugged, disquieting beauty beneath its surface.

Incest Songs pushes the post-isolationist form further out than either of its predecessors, innovating and extemporising with a dazzling assurance. And yet, remarkably, this remains a territory still almost entirely unexplored by other artists - the sole province, it seems, of M.J. Harris and Martyn Bates.

As Bates himself reflects: "I feel, in personal terms listening to it, I think it's easy to detect that the whole thing has been a truly exhilarating experience for the both of us, realising and developing this strange, sublime creature of ours and now I guess it's up to others to take up the challenge, to build on what we've done and I think that there are still SO MANY fantastic possibilities."

@subrosalabel
mickharris1884
#martynbates
#subrosa
#mickharris
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.

IVO PERELMAN, MATTHEW SHIPP, WILLIAM PARKER, BOBBY KAPP
Synesthesia
CD defkaz records fk030
Release date: July 5, 2026
defkaz.com / defkaz.bandcamp.com/album/synesthesia

Ivo Perelman - tenor sax
Matthew Shipp - piano
William Parker -bass
Bobby Kapp - drums

Following the acclaimed Ineffable Joy’ and Heptagon, the group continues to explore spontaneous composition, open form, and strong collective interplay. This time, the music leans further into a modern jazz language, with sharper focus, clearer shapes, and a refined sense of flow.

Synesthesia presents a band that listens closely and reacts instantly. Perelman moves across the full range of the tenor saxophone, from soft, fragile lines to intense high-register cries. Shipp builds circular patterns and subtle melodic ideas that guide the music forward. Parker anchors the sound with deep, resonant bass lines while opening space for dialogue. Kapp adds color and motion with detailed cymbal work and flexible rhythms.

The emotional range of the album is wide. There are moments of high energy and release, followed by quiet, introspective passages. Melancholy and joy exist side by side. The music expands, breaks apart, and reforms, keeping a constant sense of movement.

As in their previous work, there are no fixed structures. Each piece develops naturally, shaped by the interaction of the four musicians. Elements of free-bop, blues feeling, and abstract sound textures come together in a fluid and organic way.

Design by ajax19
Photo by Jim Clouse

@defkaz_records
@ivoperelman
@m_shipp1969
@littlehueymusic
@ajax19.gr
#ivoperelman
#matthewshipp
#williamparker
#bobbykapp
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IVO PERELMAN, MATTHEW SHIPP, WILLIAM PARKER, BOBBY KAPP
Synesthesia
CD defkaz records fk030
Release date: July 5, 2026
defkaz.com / defkaz.bandcamp.com/album/synesthesia

Ivo Perelman - tenor sax
Matthew Shipp - piano
William Parker -bass
Bobby Kapp - drums

Following the acclaimed Ineffable Joy’ and Heptagon, the group continues to explore spontaneous composition, open form, and strong collective interplay. This time, the music leans further into a modern jazz language, with sharper focus, clearer shapes, and a refined sense of flow.

Synesthesia presents a band that listens closely and reacts instantly. Perelman moves across the full range of the tenor saxophone, from soft, fragile lines to intense high-register cries. Shipp builds circular patterns and subtle melodic ideas that guide the music forward. Parker anchors the sound with deep, resonant bass lines while opening space for dialogue. Kapp adds color and motion with detailed cymbal work and flexible rhythms.

The emotional range of the album is wide. There are moments of high energy and release, followed by quiet, introspective passages. Melancholy and joy exist side by side. The music expands, breaks apart, and reforms, keeping a constant sense of movement.

As in their previous work, there are no fixed structures. Each piece develops naturally, shaped by the interaction of the four musicians. Elements of free-bop, blues feeling, and abstract sound textures come together in a fluid and organic way.

Design by ajax19
Photo by Jim Clouse

@defkaz_records
@ivoperelman
@m_shipp1969
@littlehueymusic
@ajax19.gr
#ivoperelman
#matthewshipp
#williamparker
#bobbykapp
.
.

IVO PERELMAN, MATTHEW SHIPP, WILLIAM PARKER, BOBBY KAPP
Synesthesia
CD defkaz records fk030
Release date: July 5, 2026
defkaz.com / defkaz.bandcamp.com/album/synesthesia

Ivo Perelman - tenor sax
Matthew Shipp - piano
William Parker -bass
Bobby Kapp - drums

Following the acclaimed Ineffable Joy’ and Heptagon, the group continues to explore spontaneous composition, open form, and strong collective interplay. This time, the music leans further into a modern jazz language, with sharper focus, clearer shapes, and a refined sense of flow.

Synesthesia presents a band that listens closely and reacts instantly. Perelman moves across the full range of the tenor saxophone, from soft, fragile lines to intense high-register cries. Shipp builds circular patterns and subtle melodic ideas that guide the music forward. Parker anchors the sound with deep, resonant bass lines while opening space for dialogue. Kapp adds color and motion with detailed cymbal work and flexible rhythms.

The emotional range of the album is wide. There are moments of high energy and release, followed by quiet, introspective passages. Melancholy and joy exist side by side. The music expands, breaks apart, and reforms, keeping a constant sense of movement.

As in their previous work, there are no fixed structures. Each piece develops naturally, shaped by the interaction of the four musicians. Elements of free-bop, blues feeling, and abstract sound textures come together in a fluid and organic way.

Design by ajax19
Photo by Jim Clouse

@defkaz_records
@ivoperelman
@m_shipp1969
@littlehueymusic
@ajax19.gr
#ivoperelman
#matthewshipp
#williamparker
#bobbykapp
.
.