Kuboraum’s Manifesto WE TRAVEL TO KNOW OUR OWN GEOGRAPHY alludes to an ongoing, transcendent journey beyond the borders of the body in reaction to the stagnant, immobile cultures pre-determined by imposed existential realities. A journey to know and build one’s own geography, originating from the need for sharing and the innate desire to build a community. Only a curatorial research not limited to presenting contents but serving the higher purpose of triggering a movement will be able to stimulate this journey in each of us.
Rejecting any definition of ‘genre’, Kuboraum pursues a curatorial research of the non-genre, proposing always different contents and formats impossible to be boxed in any rigid and suffocating category.
Kuboraum Editions – Berlin
[RAUM011] De Brujas y Fantasmas (Original Soundtrack for Kianí del Valle Solo Dance Performance) - Ziúr
Digital/LP Vinyl 12”
NOVEMBER 6TH 2026
Conceived by director, choreographer and dancer Kianí del Valle alongside iconic producer Ziúr ‘De Brujas y Fantasmas’ pairs del Valle’s energetic performance with Ziúr’s fittingly phantasmal score. Translated to “Of Witches and Ghosts”, the project is rooted in the witch’s role within Latin American and European cultures, the ingrained symbolism that has historically provoked both fear and intrigue, often simultaneously. Del Valle isolates two core influences: the mythological figure of La Llorona, whose mournful cries are said to lead listeners to misfortune and sometimes death; and the legendary Mexican shaman and poet María Sabina, whose ritualistic use of entheogenic mushrooms helped her break down the barrier between the physical world and the spirit realm. Looking at the work of “New German Dance” pioneer Mary Wigman, del Valle traces echoes of Sabina’s philosophy, reinterpreting original choreography from Wigman’s 1926 performance ‘The Witch Dance / HEXENTANZ’ and inviting the audience to reconsider what they think they know about marginalized women.
‘De Brujas y Fantasmas’ was presented at the 61st Venice Biennale opening, during Kuboraum’s ‘We Travel To Know Our Own Geography’ event, and is set to be performed at Berlin’s Hamburger Banhof during Berlin Art Week on September 11th. And Ziúr’s musical accompaniment shadows the esoteric motion of del Valle’s highly researched meditations, lamentations and celebrations. On ‘La Llorona De Noche’, she guides onlookers towards the negative space, filling the gaps between her distorted kick drums with eerie spirit traces. Slow and intentional, the track opens up to include ritualistic chimes and animalistic, growling synth drones that lead directly into the noisy, incantation ‘Luna Negra’, six minutes of freeform percussion and serrated oscillations powerful enough to wake the dead. Wigman’s guiding hand is most evident on ‘Hexentanz’, when Ziúr’s groaning synthesizers fall into line with a jerking, unstable rhythm that, a century after the original piece was debuted, speaks to a chaotic contemporary world where womens’ roles are still misunderstood. And del Valle’s voice finally emerges on ‘Hueso De Humo’, sewn into Ziúr’s powerful tapestry of pulsing glitches and billowing drones.
Together, Ziúr and del Valle work to present the ghost and the witch not as terrifying archetypes, but guardians of culture that’s often been shrouded from view. ‘De Brujas y Fantasmas’ celebrates the women on the outskirts of society that have protected esoteric knowledge for millennia, working in spite of persecution to preserve our most cherished stories, sounds and movements.
Credits:
Ziúr Original Soundtrack for Kianí del Valle’s De Brujas y Fantasmas
All Music written and composed by Ziúr
Vocals on Hueso De Humo by Kianí del Valle
Mixed by Ziúr
Mastered by James Ginzburg
Pressed by AFG Record Manufacturing
Curation & Art Direction KUBORAUM Berlin
Graphic Designer Cecilia Troiani
[RAUM009] Kuboraum Sound Residency Vol. 2
Digital/2LP Vinyl 12”
JULY 3RD 2026
Kuboraum Editions celebrates another round of its ongoing Digital Sound Residency with a 19-track volume of exclusive works from its vibrant creative community. Conceived to be experienced from beginning to end, Kuboraum Sound Residency Vol. 2 is united by a shared thread: the voice. Moving across different languages, genres and artistic practices, voice and idiom emerge as the compilation’s leitmotif. At a time when freedom of expression can no longer be taken for granted, giving space to diverse voices feels both necessary and urgent. Through radically different approaches to sound, language and storytelling, Sound Residency Vol. 2 celebrates experimentation, exchange and evolution, bringing together a plurality of perspectives in a work that exists between disciplines.
Although there are no constraints placed on artists, there’s a similar radical philosophy that surges through each and every contribution, whether it’s ‘Sweet Sixteen’, French producer Bambounou‘s decelerated, cloud-rap influenced collaboration with Sadandsolo, Ziúr’s cinematic, neoclassical refurbishment of ‘Home’ with cellist Martina Bertoni and vocalist Sara Persico or ‘Ice’, dub techno veteran Paul St. Hilaire aka Tikiman‘s deep, rootsy addendum to last year’s acclaimed ‘w/ The Producers’. From beginning to end, it’s music that rewards curious ears and open minds.
South Korean artist bela, who recently deployed their ambitious and original sophomore album ‘Korean Love Sonnets’, opens the compilation with ‘Mouton and Blade’, shaping their powerful voice into an orchestra of growls alongside a wheezing, instrumental ensemble. And Rome’s Cosimo Damiano, who’s been a part of the Kuboraum family since day one, turns in an unsettling solo experiment, juxtaposing Irma Ticozzelli’s pitch shifted voices with scratchy, psychedelic electronics. Catalan pianist, vocalist and producer Marina Herlop traverses her verdant sonic landscape on ‘alas’, matching her singular voice with birdsong to provide a hopeful interspecies dawn chorus. Kenyan vanguard Lord Spikeheart meanwhile links hands with Italian producer Talpah to dream up ‘SILENCE IN THE C-DRAL’, a gruesome trap hybrid that airlifts itself from the basement to the stadium under a barrage of machine-gun kicks. All of that noise makes Mexican duo Estrella del Sol and Luisa Almaguer‘s peaceful ‘Deseo’ a necessary palate cleanser, their haunting voices forming a bridge between lowercase opera and dream pop that’s pillowy underfoot, knitted with tender percussive twists and melancholy reverberations.
On ‘TLC’, versatile French producer Low Jack, who’s equally at home reinventing choral music for eccentric Belgian outpost STROOM as he is deploying knackered bass music on Modern Love, reconvenes with Le Diouck, complimenting the Franco-Senegalese artist’s throaty rhymes with serpentine synths and jerky rhythms and dreaming up a post-apocalyptic cyber-noir anthem. And Following her acclaimed ‘A Danger To Ourselves’ full-length, Colombian sound artist Lucrecia Dalt teams up with percussionist Alex Lázaro, whose flexible electroacoustic rhythms are the perfect foil for her sultry lounge shakes on ‘Synonym Mask’. Bristol’s Mun Sing continues his journey towards the club’s quirkiest corners with his aptly titled loosie ‘Fluffy’, a bass-heavy, lurching banger that neatly follows up his material for Planet Mu, SVBKVLT and Illegal Data. Working again alongside the great Annie Hogan, EROS (aka Regis, MY DISCO’s Liam Andrews and Einstürzende Neubauten’s Boris Wilsdorf) turn in the moody ‘Burnt Crossing’, a slithering, moonlit addendum to 2024’s ‘Your Truth is a Lie’, packed out with eerie pads and bone-rattling percussion and subterranean whispers.
As the compilation moves into its final act it ventures to the UK once more, stopping in Birmingham for a track from Lee Gamble and in Preston to pick up Rainy Miller‘s widescreen ‘My Wings, Never Clipped / But They Began Semi-Broken’. Then, fittingly, it’s back to Italy for the noisy ‘Fury’, a punky and curiously romantic solo experiment from acclaimed visual artist and musician Emiliano Maggi, who’s best known for his work with Saló and Canzonieri. And the curtains finally close on Julija Castellucci‘s operatic ‘Lullaby’, a perfectly evocative conclusion to a project that exists between disciplines. It’s sound that stimulates imagery, movement and ideology, the perfect antithesis to an AI-assisted playlist.
Release Date: July 3rd 2026 Digital / 24th July 2LP
Credits:
Mastered by Giuseppe Tillieci at EnissLab
‘Home’ (Refurbished) by Ziúr ft. Martina Bertoni and Sara Persico mixed and mastered by James Ginzburg
Pressed by AFG Record Manufacturing
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[RAUM008 / SBKT077] Ocean Cage - KADAPAT & Nova Ruth ft. Siko Setyanto
Digital/LP Vinyl 12”
MAY 15TH 2026
Kuboraum Editions and SVBKVLT release Ocean Cage, the collaborative album emerging from the stage work by Tianzhuo Chen (ASIANDOPEBOYS) and Siko Setyanto, featuring music by the Balinese experimental electronic-gamelan duo KADAPAT and the Javanese singer and activist Nova Ruth.
The album unfolds as a sonic extension of the performance Moyang & Seaman, part of the larger immersive theatre project Ocean Cage, directed by Tianzhuo Chen. Drawing inspiration from the ancestral whaling traditions of Lamalera in Indonesia, the work navigates intertwined mythologies of ancestor, god, and seaman, exploring cycles of sacrifice, ecological grief, and spiritual transformation.
Recorded live, Ocean Cage captures the evolving dialogue between music, voice, and body:
KADAPAT’s electronic-gamelan practice moves through interlocking rhythms and cyclical time structures, extending ancestral Balinese sonic traditions through digital signals. Nova Ruth’s voice emerges from a lived cosmology of interdependence, shaped by years spent sailing aboard the solar vessel Arka Kinari. Throughout the record, Siko Setyanto’s narrations and monologues retain the immediacy of his practice of “bodily musicality”, where movement, voice, and sound merge into a single expressive current.
Ocean Cage was released 15 May 2026 as a limited gatefold LP with a sewn-in 16-page booklet and digital edition.
The performance Ocean Cage — Moyang & Seaman was presented live in Venice on May 7–8, during the opening weekend of the 61st Venice Art Biennale, as part of We Travel To Know Our Own Geography, the festival presented and curated by Kuboraum.
The vinyl edition includes scenario sketches by Tianzhuo Chen, texts by Dr. Freda Fiala and Milia Xin Bi, and performance photography by Nathaniel Brown and Camille Blake.
A collaborative release by Kuboraum Editions and SVBKVLT.
RAUM008 / SBKT077
Release date: 15 May 2026
[RAUM007] McArthur - FRANKIE & Kelman Duran
Digital/LP vinyl 12”
JANUARY 30TH 2026
Kuboraum Editions is pleased to announce the forthcoming LP McArthur by Berlin-based composer and vocalist FRANKIE (Franziska Aigner) and Dominican-American producer Kelman Duran. The first single, “GRAYT,” is out now on all streaming platforms alongside its music video, created in collaboration with Enad Marouf and Margarita Maximova, and featuring Persik, Billy Bultheel, Beatrix Curran, Basyma Saad, and Edwin Nasr.
Opening with a skeletal Duran beat that intermittently fractures into reggae samples, “GRAYT” emerges as the project’s genesis. Aigner’s vocals linger within the percussive absences, and the track itself gives the impression that it was sculpted out of silence. The accompanying video, made in collaboration with Enad Marouf and Margarita Maximova, summons a constellation of friends and longtime collaborators to perform a choreography of disorientation. The temporary solace of assembly surfaces. Throughout the album, there is in fact a double process at play—that of solitary work on the one hand, and of collective weeding out on the other. The plane of the ominous hovers over “Bitch I’m Scared”, which was recorded using a teenager’s gaming headset over a sparse piano loop. The jagged ballad is shaped through distortion and misunderstanding and speaks to the malady of the uncertain and the mercurial. “There Are No Gods Just Sleepless Nights” is a spare, nocturnal piece that culminates in a live-recorded drum outro recorded during the duo’s final day in Los Angeles. “Icecream” offers a glimpse into Duran’s own voice, layered with Aigner’s field recordings of elevator sounds in Athens. We are on our way somewhere, but still, we choose not to arrive. Through this interlude, the project is positioned between the oniric and the diaristic. “SLINKY” is the album’s centerpiece—cicada stems, piano, and the spectral presence of a children’s choir give way to trumpet interjections by Dirty Beaches’ Alex Zhang Hungtai. The track is both chaotic and luminous; it channels the type of excess reminiscent of free jazz improvisations. “BWV 639” is a reworking of a Bach cantata, the time signature of which Aigner stretches towards a new composition. Pianist Iris Moldiz recorded the part in Salzburg’s Mozarteum, dislodging the classical canon into eerie territory. “Techno 127 BPM” invites searing cello lines to unfurl over, and carve itself a space within, a skeletal techno beat. There is pushback, and there is harmony—to sit with the dissonance here is key. “Medicine” was written in Berlin at the close of the recording process. It narrates the end of a long relationship in Aigner’s life, materializing both as an exorcism and an elegy. “Loss is legion”, Gillian Rose reminds us. “McArthur” anchors a wandering trumpet solo by Zhang Hungtai against a deep bassline. Recorded by Duran at the Warp Studio, which overlooks McArthur Park in Los Angeles, the piece is an attempt at sketching a horizon of convergence, and of possibility. There is closure, but also promise.
There is, across McArthur, a stubborn, if not militant, refusal to arrive at completeness, and an insistence on finding potentiality in the thresholds. If unknowability and the fear of extinction appear to rule our present conjuncture, then an accompanying soundtrack worthy of its name should express a determined engagement with, and a generous attunement to, the contradictions at play.
Trumpet on SLINKY and McArthur – Alex Zhang Hungtai
Piano on BWV 639 – Iris Moldiz
Recording engineer piano on BWV 639 – Sascha Tekale
Mastering – Giuseppe Tillieci
Album text – Edwin Nasr
Album picture – James Holmes III
Thanks to Lawrence Forsythe
Köpenickerstr. 96, 10179 Berlin
[RAUM006] Home - Ziúr
Digital/LP vinyl 12”
SEPTEMBER 5TH 2025
Kuboraum Editions is thrilled to announce the release of Ziúr‘s first single ‘No Yawn’, part of her forthcoming LP ‘Home’ coming out on September 5th via Kuboraum Editions.
The notion of home isn’t precise, even a dictionary will offer multiple definitions. A home can be a place where you live, a place where you belong, where you originate from or a place where you’re given care; it can be a physical space, a land, a people or even a person. The concept isn’t completely universal, but everyone possesses a unique idea of what home means to them. On her fifth album, Ziúr considers not just what home symbolizes from her perspective, but the word’s resonance to the diverse community that surrounds her, and how their stories have impacted her over the years. Indeed, it’s the first time she’s felt it necessary to examine her own nationality. In the past, she’s deliberately avoided labelling herself as German, feeling disconnected from her country’s politics, culture and even the German language itself. In 2025, the idea of Germanness is in flux and progressives are under attack from all sides. The country’s politics aren’t only being turned inward by the growing throng of far-right voices, but by scared moderates, opportunists and those blinded by comfort, willing to ignore hatred to maintain their privilege. Stepping up to provide a different narrative, Ziúr scours her soul, writing and singing in German for the first time and proposing growth and evolution, not fear and regression. “I never considered being part of Germany,” she explains. “But I am.”
A solemn mood permeates the album’s opening track ‘Brown is the Color’, and Ziúr sings in measured, slow-motion breaths over noisy synth oscillations and doomed piano flourishes. Already, it’s a significant departure from her last run of releases, veering away from the frenetic, satirical chaos of 2023’s Hakuna Kulala-released ‘Eyeroll’ or its fantastical, dubby predecessor ‘Antifate’. Ziúr pulls on real world insights here, tracing her oldest, dearest musical inspirations to present her origins to anybody who might be listening. “Cold world is holding up,” she laments with a metallic crunch. “To let go of your heart, let me go.” And her voice emerges from the shadows completely on ‘Tame’; unprocessed, Ziúr sounds naked and vulnerable on ‘Tame’, curving her precise words around broken, lopsided rhythms and jangling new wave guitars. It’s pop music in its own way, inverted and reconstructed to fit snugly into her well-established sonic landscape. On ‘No Yawn’, brittle, downsampled hi-hats and industrial scrapes ping-pong around distorted riffs, provided by James Ó Ceallaigh aka WIFE; “You fail to sugarcoat your half-ass attempt,” she deadpans, “to build your promised wonderland on quicksand.” Even the beatless ‘All Odds No Chants’, a collaboration with Elvin Brandhi and Sara Persico, reveals another room in Ziúr’s autobiographical suite, mirroring György Ligeti’s enduringly influential choral works with its gnarled, dissonant vocal harmonies.
The key to ‘Home’, though, lies underneath the album’s central track, the first Ziúr has written in German. ‘Im Bann Der Wehenden Fahnen’ (in the spell of flags waving) directly tackles the country’s muddled political landscape – its complex history and its dangerously hypocritical present. “ne Geschichte die ohne Herz beginnt,” (a story that begins with no heart) she opens. “dessen strömendes Blut unweigerlich abwärts rinnt” (whose streaming blood runs unstoppably backwards). We know exactly what she’s talking about as Ziúr recounts a bleak repetition of events, pairing her words with bar room piano chords and jazzy drums that wouldn’t sound out of place on a Notwist record: “Wenn die Moral der Geschichte geschickt kaschiert wird wird in der Gunst der Stunde Wort für Wort neu etikettiert” (when the story’s moral, so neatly concealed, meets its moment to be relabeled word for word). It’s refreshing to hear such confident, poetic German words, and Ziúr sounds free-er than ever before examining her uncomfortable relationship with Germany in her native tongue. And this openness carries the whole record, whether she’s crying harsh truths over damaged orchestral scrapes on the album’s goth-y title track, or duetting with Manchester’s Iceboy Violet on ‘Through the Trees’. On the former, Ziúr’s voice soars, echoing hypnotically over unsettling analog distortions and gnarled strings. It’s one of the eeriest and most beautiful tracks she’s penned, camouflaging its broken electronics with ghostly moans and theatrical punctuations.
By inviting in her own demons, Ziúr has been able to write her most personal album. Her relationship with home will always be thorny, but through music, she’s been able to create a place to exist that’s truly comfortable and protective. “We readjust,” she says. “We build our own home.”
Release date: September 5th 2025
All music written and produced by Ziúr
Additional production and recordings by James Ó Ceallaigh on ‘No Yawn’ & ‘Who, Me?’
Cello on ‘Home’ by Martina Bertoni
Scrapes & Rattles on ‘Who, Me?’ by Elvin Brandhi
Mixed by James Ginzburg
Mastered by Joker
Cover artwork by Stefan Fähler & Philip Marshall
Kuboraum Editions
Köpenickerstr. 96, 10179 Berlin
[RAUM005] All Creature - Canzonieri
Digital/Double LP vinyl 12”
June 27th 2025
Folk isn’t exactly a genre and it isn’t always an aesthetic, it’s the lore that’s curled around the roots of myths, ballads and anecdotes, burying itself just inches beneath the surface of contemporary culture. On their debut album, Canzonieri brush away some of the dust from Western civilization, excavating forgotten sonorities, philosophies and motifs to figure out what impact this knowledge might have on a chaotic, apocryphal modern reality. Processing familiar acoustic instruments and utilizing an arsenal of idiosyncratic self-built devices, acclaimed artist Emiliano Maggi and producer Cosimo Damiano – both members of Italian surrealist quartet Salò – survey the uneven, challenging landscape that surrounds them, calling attention to the conflicts and illusions that underpin art in all its forms. They take a widescreen view of centuries of musical evolution, juxtaposing simplicity and complexity, past and present, city life and the pull of nature to distill the essence of folk – emotional histories that are whispered from person to person.
It was while they were working together as Saló that Emiliano and Damiano realized their deep musical affinity and shared interests, so the duo decided to apply that to new music, drawing on different influences and ideas. They presented this work for the first time at an exhibition focused on the life of Arabo-Sicilian poet Al-Ballanūbī; Emiliano had used Al-Ballanūbī’s foundational love poems to inform his sculptures, and invited Damiano to collaborate on a soundtrack. The experience drew them further into the history of verse, leading them towards Sayat-Nova’s Armenian songbook and Pier Paolo Passolini’s ‘Il Canzoniere Italiano’, and Canzonieri was born. Improvising and bending their performance to whatever space they have access to, Canzonieri fuse electroacoustic experimentation with neofolk, prog rock and surrealist chamber pop, using these various concepts to guide their lyrical, free-floating ruminations.
‘All Creature’ opens with ‘Golem’, and listeners are welcomed to Canzonieri’s sonic universe with a snippet of their 2024 performance at Berlin’s Atonal Festival. Here, Maggi walks across a wooden platform fitted with contact microphones while Damiano processes the footsteps electronically, turning the percussive knocks into disquieting alien pulses. It’s a fittingly theatrical introduction that pulls back the curtains on their methodology, preparing the stage for ‘Haunted Blue’, where their themes begin to take shape. Written while the duo were isolated in Sabina, a mountainous, rural region north of Rome, it’s dedicated to the restless spirits that remain unwilling to pass on to the next world. Damiano and Maggi imagine their soundtrack using the Rhodes Chroma, a rare microprocessor-controlled analog synthesizer, singing and whistling to offset the electronic sounds with layers of vulnerability.
And after linking up with Daniele Guerrini (aka Heith) on ‘The Hearing Trumpet’, and forming a coarse ritual with saz, various hand drums and a toy pig, Canzonieri pack 15 years of research and development into the epic ‘Soft By, Soft Slow’, drawing their inspiration from classic ’70s progressive rock. Ambitious and dramatic, it’s music that’s indebted to Goblin’s giallo soundtracks and Ennio Morricone’s visionary compositions, and uses these cues to cultivate a meditation on the Akasha – the aether in Hindu cosmology. Playing distorted guitar riffs and Mellotron themes against dizzying gamelan-style percussive sequences and light-headed synth pops, Canzonieri create a soundscape that renovates a beloved Italian style, muddling its hallmarks with digitally altered textures and glitches. Its complexity makes ‘Animal Poetry’, a relatively straightforward song for ukulele, Rhodes Chroma and voice, something of a palate cleanser.
A fragile, electronically weathered voice sings over dry, backyard plucks and reminds of the unpretentious beauty of not just people – or folk – but of nature itself. Canzonieri realize that connection with the natural world can unlock expressions that have guided art for centuries, and beg the modern world to rediscover this truth, disturbing their gentle arpeggios with sci-fi-shaded synth drones. And they augment this thought with emotional resonance on ‘It’ll Shine When It Shines’, teaming up with Rome-based electro/punk outsider Maria Violenza to link the animal kingdom to the human world. Playing carnivalesque organs and sinister woodwinds over rattly live percussion, Canzonieri blur the timeline, using a ghost town in the north of Lazio as the subject matter for their seething ballad.
Released: June 27th 2025
Written, performed and produced by Canzonieri (Emiliano Maggi, Cosimo Damiano)
Additional production on ‘The Hearing Trumpet’ by Daniele Guerrini (Trumpet)
Additional production on Soft By, Soft Slow by Pietro Pompei (Vibraphone)
Additional production on Rana Locusta by Lara Dâmaso (Voice)
Additional production on It’ll Shine When It Shines by Maria Violenza (Keyboards)
Recorded by Cosimo Damiano
Mixed by Tommaso Cancellieri at Rocchi Studios
Mastered by Giuseppe Tillieci at Enisslab
Pressed by AFG Record Manufacturing
Cover Art by Emiliano Maggi
Design by Cecilia Troiani
Photography by Daniele Troiani
Kuboraum Editions
Köpenickerstr. 96, 10179 Berlin
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[RAUM003] KUBORAUM SOUND RESIDENCY
Double LP Vinyl 12”
Since its inception, Kuboraum has been shaping a vibrant community of people through countless events, collaborations, shared experiences, and art residencies. It is exactly this community of people, distinguished by its own values, culture, and aesthetics, that in turn shaped the project itself, allowing it to flourish and evolve genuinely.
The Kuboraum Sound Residency was born out of the desire to narrate an inclusive and diverse aesthetic through collaborations with artists from the contemporary experimental music panorama. Free from genre constraints, as a stylistic and political choice, it navigates through the spectrum of sound to demonstrate that very different artists, offering completely different genres, can organically cohabitate and enter a fluid dialogue with each other.
When listening to the compilation, the feeling will be that of listening to an album, where each contribution is not on its own but exists in relation to all the others. This project ultimately aims at creating new paths for those who keep their ears and minds open.
Deeply thanks to all the artists that took part in this journey: Alessandro Adriani, Emma DJ, Lucy Railton, Mc Yallah & Debmaster, Moin, Quelza, Regis, Space Afrika, Studio Labour, Valentina Magaletti & Zongamin, μ-Ziq, Ziúr.
Thanks to Modern Matters and AFG Record Manufacturing.
Tracklist:
A1 / 1. Moin – Lapsed
A2 / 2. Space Afrika – <3less
A3 / 3. V/Z, Valentina Magaletti & Zongamin – All The Rest Of It
B1 / 4. Studio Labour – Mass And Mess, Dispersion Of Subjectivity
B2 / 5. Alessandro Adriani – Impressioni Dinamiche
C1 / 6. Emma DJ
C2 / 7. Mc Yallah & Debmaster – Nzimba Zinyota
C3 / 8. Ziúr – Vacuum
C4 / 9. Quelza – Boiling Ice in Frozen Cup
D1 / 10 μ-Ziq – Never
D2 / 11. Regis – Let Love Decide
D3 / 12. Lucy Railton – Medieval Sui
Released May 17th, 2024
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[RAUM001] SALÓDigital / Double LP Vinyl 12”
LTD Edition, 500 hand-numbered copies
September 8th 2023
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