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DNZ126
Carlo Costa
Ashes

Ashes consists of 8 concise pieces, each developed on specific setups, with a particular combination of instruments and objects. Each track acts as its own sonic microcosm, where a few distinct sounds and textures are explored and intimately captured. The title comes from Zen master Dōgen Zenji’s metaphor for being fully present, burning through thoughts like a hot fire where no traces are left after, only ashes.

Art by @hrykmurakami

DNZ125
Lester St. Louis
THE END SITE
THE END IS NOT IN SIGHT
THE END IS NOT SIGHT
THE END IS NOT
THE END IS SIGHT
THE END SITE

Compositions for cello, electronics, EMF and feedback by @lesterst.louis

Art by @hrykmurakami

DNZ124
Laura Cocks
A Pearl in the Jaw

A Pearl in the Jaw is a prayer in the physical process of release and return—a collapsable space between intimacy, introversion, and internal worlds and what utterances become boiled down to purity as we shrink ourselves. Our own kernels of truth, sharpened and shined as we hold onto ourselves in periods or spaces of friction. The nacre offers calming, glowing warmth, and also refractive possibilities endless in scope. Structures that interfere both constructively and destructively with light: to speak pearl is to ask for water. To speak pearl is to understand interwoven scales of time, to pull lace through milk, to chew on interference.

Art by @hrykmurakami

DNZ123
Camilo Ángeles
Flautas Ahogadas para Jacobo Grinberg

Flutes and electronics trace the cartography of a mind erased, a telepathic homage, a breath, an oscillation between different realities, silence, vacuum, all amplifies what empire could not afford to let be known.
@camiloangeles

Art by @hrykmurakami

DNZ122
Drew Wesely
Silence is a Sharpened Blade

Silence is a Sharpened Blade speaks in the language of materiality — a stripped bare mantra of nylon and wood conjures unspoken and veiled interiors, channeling the intimacy of a single guitar alone in a room. Silence is a mirror, a shadow, an absence. It speaks when words fail in the poetry of negative numbers. Where do we go when the lights burn out? What is beauty in hell? What can pierce a heart of stone? Silence is a teacher, a doorway, a paradox. Silence is a sharpened blade.

Art by @hrykmurakami

DNZ121
Weston Olencki
Piano Studies

Piano Studies is a set of pieces recorded on a salvaged piano body at Elektronmusikstudion (EMS) in Stockholm.
Using free-floating metal preparations and various mallets, these works use this alternative hammer escapement mechanism to coax a particular inharmonic resonance from its skeleton frame.

Cover art by @owensaaron

DNZ120
Antonio Gallucci
Hope for Nothingness as Something

A two-chapter suite for modular & FM synth, wind & string instruments, electronics, sound objects and field recordings. The work is structured as a two-chapter descent from concrete score to analog & digital abstraction. It begins with the tangible written material and human presence of the performers, which are systematically subjected to a process of erosion. The initial components are reduced to “digital dust” — meaningless data fragments — then recombined algorithmically. This process entirely empties the material of its original structure and meaning. The work culminates in a final, unreal space, becoming a meditation on the transformation of human intention into pure, post-human data.

Cover art by @owensaaron

DNZ119
Bosque Vacío
Aves de Nahá

Aves de Nahá is the result of an interdisciplinary exchange of knowledge between anthropology, ornithology, and the Lacandon community of Nahá, Chiapas, México. It centers on the aural relationships between the Lacandon people and the birds of their jungle. The work invites us to listen to birds as sentient beings — creatures whose calls and songs announce shifts in weather and time cycles, accompany rituals, and participate in a shared environment where the jungle itself is a living entity and meaning arises from the ongoing interactions among humans, animals, plants, spirits, and gods within it.

More info about each track / bird species on the BC page.

DNZ118
Pablo Diserens
ebbing ice lines

On ‘ebbing ice lines’, field recordist and artist Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, volcanoes, avian vocalizations, and anthropogenic hums, the album invites us to think of these landforms as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.

“ebbing ice lines” is a co-release between Dinzu Artefacts and forms of minutiae

DNZ117
Neti-Neti
Echo of Being / Grace in Rot

Echo of Being / Grace in Rot is a powerful sonic meditation on grief by the duo Neti-Neti, composed of vocalist Amirtha Kidambi and percussionist Matt Evans. The project originated from improvisation sessions born out of personal loss, evolving from an intimate exchange into a practice that bridges the personal and the political.

Kidambi’s voice moves fluidly between South Asian vocal traditions and extended techniques, amplified and reshaped through real-time processing, delays, and layers of harmonic distortion. Evans’ percussion becomes both rhythmic engine and textural sculpture, his drums and cymbals feeding into samplers, effects, and loops that refract each gesture into new shapes. Both musicians harness feedback—not as background noise, but as a visceral, structural force—letting sustained tones and resonances pulse through the body like a physical presence.

The result is a sound world that fuses syncopated grooves, cathartic outbursts, and meditative drones into a ritualistic electroacoustic space. At times sparse and suspended, at times dense with surging overtones, the music channels the corporeal force of feedback and the psychoacoustic play of sustained tones, evoking both the sacred drones of Eliane Radigue and the raw immediacy of This Heat’s rhythmic noise. A haunting final take, performed in total darkness, captures the duo at their most immersive—an enveloping, almost otherworldly experience in which the air itself seems to vibrate with loss and memory.

Echo of Being / Grace in Rot draws its emotional weight from both personal bereavement and the collective grief of our era, shaped by the relentless feed of traumatic images and news. The record challenges listeners to confront these overwhelming realities, transforming mourning into a shared act of resistance and healing. It reclaims humanity amidst the unimaginable, offering not only a document of sound but a space for reflection, embodiment, and resilience.

DNZ116
tsuadatta
Not here but somewhere

On Not here but somewhere, the Japanese ambient guitarist crafts freeform soundscapes that feel less composed than discovered. Each track unfolds like a whispered conversation between emotion and environment — guitar lines ripple like wind over water, subtly shifting direction, as if carried downstream by a current of pure intuition. The result is a quietly enveloping odyssey, where every piece becomes a new place, felt more than defined.

DNZ115
Monastero
Monastero

Emerging from the resonant stillness of a centuries-old monastery, Monastero unfolds as a series of improvised modern compositions — each track a spontaneous dialogue between space and sound. The instrumentation drifts fluidly between structure and abstraction, allowing reverb-soaked tones and percussive textures to breathe and bloom within the natural acoustics of stone walls and vaulted ceilings, giving the music a haunting, sacred dimension.