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Find the trailer to my most recent spoken word opera 'TODESFUGE / DEATH FUGUE', based on the poetry of Paul Celan, in German and English language (with subtitles) at Maxim Gorki Theatre / Studio я.

Proud to say all shows have been sold out so far. Tonight is the last show before the end of the year.
Find tickets under the link in bio. We return to the stage on February 1st.

Trailer by the one and only only @etritainment.

@andreabelfi @eddie.barroso @elena_kakaliagou @kidogohn @lindylarssonforss
@steve_katona @wanda.portal @muratdikenci
@meerajoellebhatti @marco.michelle_
@elisabeth_kuntze @maxim_gorki_theater

"We judged for love,
while our hearts sat uneasily in our pockets,
we judged in love's name."

The spoken word opera I PITY THE GARDEN with poetry by Forough Farrokhzad is currently on display at the Studio Я @maxim_gorki_theater. The piece is performed in English language with German subtitles. For further information, tickets and performance dates, please use the link in bio.

Trailer: Etritanë Emini
@etritainment

Direction, Stage and Costumes: Nazanin Noori
@nznnsmmnr

Composition: Andrea Belfi
@andreabelfi

Live Music: Andrea Belfi (Drums / Electronics), Sofia Salvo (Baritone Saxophone / Flute)
@andreabelfi @salvosoff

Performers: Kate Strong (Spoken Word), Samin Ghorbani (Classical Iranian Singer), Steve Katona (Countertenor)
@katestrong76 @samin_ghorbanii @steve_katona

Dramaturgy: Murat Dikenci
@muratdikenci

Please note: Strobe light effects will be used during the performance.

#foroughfarrokhzad #ipitythegarden #spokenword #doomjazz #ambient #newclassical #folk #experimental #countertenor

Tomorrow at the opening of Kiezsalon at Schloss Britz, @andreabelfi & @jules_reidy present a live set for drums and guitar.

Hailing from opposite ends of the globe, Australia and Italy, but both longtime residents of Berlin, their collaboration is shaped through improvisation, shifting rhythmic cycles, and guitar tunings based on just intonation.

They are joined at Schloss Britz by producer alice does computer music and folk ensemble Susannah Stark & Band.

→ Tickets via the link in bio 🔗

#kiezsalon #kiezsalon2026 #KS26 #digitalinberlin #andreabelfi #julesreidy #schlossbritz

Tomorrow at the opening of Kiezsalon at Schloss Britz, @andreabelfi & @jules_reidy present a live set for drums and guitar.

Hailing from opposite ends of the globe, Australia and Italy, but both longtime residents of Berlin, their collaboration is shaped through improvisation, shifting rhythmic cycles, and guitar tunings based on just intonation.

They are joined at Schloss Britz by producer alice does computer music and folk ensemble Susannah Stark & Band.

→ Tickets via the link in bio 🔗

#kiezsalon #kiezsalon2026 #KS26 #digitalinberlin #andreabelfi #julesreidy #schlossbritz

Tomorrow at the opening of Kiezsalon at Schloss Britz, @andreabelfi & @jules_reidy present a live set for drums and guitar.

Hailing from opposite ends of the globe, Australia and Italy, but both longtime residents of Berlin, their collaboration is shaped through improvisation, shifting rhythmic cycles, and guitar tunings based on just intonation.

They are joined at Schloss Britz by producer alice does computer music and folk ensemble Susannah Stark & Band.

→ Tickets via the link in bio 🔗

#kiezsalon #kiezsalon2026 #KS26 #digitalinberlin #andreabelfi #julesreidy #schlossbritz

working on the poetry of paul celan has been one of the most moving artistic dialogues i’ve ever had. collaborating on this work with @wanda.portal @eddie.barroso @lindylarssonforss @steve_katona @kidogohn @elena_kakaliagou @andreabelfi @muratdikenci brought something into being that could have not come about in any other way. together, we took the risk of expressing what is, at its core, deeply human and therefore divine. at the same time, we placed a finger in the wound of those who seek to detach german history from the present. in doing so, we were quickly confronted with the outrage of those who instrumentalize this very responsibility to obscure their own forms of dehumanization, projecting them instead onto those who are simply crying out for life, and those who are crying with them. especially in light of the current political climate in germany, this became unmistakably clear with this work. and it spoke for itself.

due to a new curatorial program at @maxim_gorki_theater from the next season on, our spoken word opera TODESFUGE will be shown only two more times, on may 1st and may 26th, after which it will not be performed again.

beautiful images captured by beautiful @etritainment.

working on the poetry of paul celan has been one of the most moving artistic dialogues i’ve ever had. collaborating on this work with @wanda.portal @eddie.barroso @lindylarssonforss @steve_katona @kidogohn @elena_kakaliagou @andreabelfi @muratdikenci brought something into being that could have not come about in any other way. together, we took the risk of expressing what is, at its core, deeply human and therefore divine. at the same time, we placed a finger in the wound of those who seek to detach german history from the present. in doing so, we were quickly confronted with the outrage of those who instrumentalize this very responsibility to obscure their own forms of dehumanization, projecting them instead onto those who are simply crying out for life, and those who are crying with them. especially in light of the current political climate in germany, this became unmistakably clear with this work. and it spoke for itself.

due to a new curatorial program at @maxim_gorki_theater from the next season on, our spoken word opera TODESFUGE will be shown only two more times, on may 1st and may 26th, after which it will not be performed again.

beautiful images captured by beautiful @etritainment.

working on the poetry of paul celan has been one of the most moving artistic dialogues i’ve ever had. collaborating on this work with @wanda.portal @eddie.barroso @lindylarssonforss @steve_katona @kidogohn @elena_kakaliagou @andreabelfi @muratdikenci brought something into being that could have not come about in any other way. together, we took the risk of expressing what is, at its core, deeply human and therefore divine. at the same time, we placed a finger in the wound of those who seek to detach german history from the present. in doing so, we were quickly confronted with the outrage of those who instrumentalize this very responsibility to obscure their own forms of dehumanization, projecting them instead onto those who are simply crying out for life, and those who are crying with them. especially in light of the current political climate in germany, this became unmistakably clear with this work. and it spoke for itself.

due to a new curatorial program at @maxim_gorki_theater from the next season on, our spoken word opera TODESFUGE will be shown only two more times, on may 1st and may 26th, after which it will not be performed again.

beautiful images captured by beautiful @etritainment.

10.10.2025 – The Arcarde Orchestra plays a tribute concert for Dean Roberts @km28berlin

Is there a right way to remember someone? Probably not. Like the filming of a written story, it will necessarily betray the collection of images, sounds, impressions, projections that we created for ourselves. After Dean Roberts’ passing, many of us felt the need to come together in his absence, to commemorate him as a friend and as an artist. Music and a little irony felt – if not the only right way to do so – one that felt natural to us.

Inspired by his seminal 1998 record All Cracked Medias, we thought of coming together as the ‘cracked’ pieces of an imaginary band, taking on an equally scattered and performance-based approach to music-making. The open-endedness, the loose form, the glitches, the unpredictable cracks in the seemingly uninterrupted surface of sound, the space and the moment as part of the piece, the stratification of sound. There is something extremely powerful about something, or someone, that could fall to pieces at any moment, yet doesn’t. The tension, the energy, and the beauty that reside in the very unpredictability of the unsettled parts of a whole.

On this evening, we, Andrea Belfi, Adrián de Alfonso, Margareth Kammerer, Stefano Pilia, Emanuele and Elisabetta Porcinai, and Valerio Tricoli, will be performing a continuous piece for percussions, guitars, voice and tape, in which nothing has its given place but somehow does ultimately fall into place. We’ll be drawing from Dean’s repertoire in our many different but equally personal ways, in the hope of creating a space for joyful remembrance.

Friday 10, October, 2025
KM28
Karl-Marx-Str. 28, 12043 Berlin
Doors 20:00
Start time 20:30

@andreabelfi
@adriandealfonso
@margareth.kammerer
@stefanopiliaviviani
@emanuelewsr
@intheseawkwardvoids
@valerio_tricoli

- “Above My Door, There Is Knocking” by drummer and composer Andrea Belfi focuses on two acoustic percussive instruments: a bass drum and a cymbal. Both merge into a broader electronic composition. The piece was developed during a residency at MONOM in Berlin, using their 4DSOUND system, and was presented at the SPATIAL festival in Berlin and at Lobe Studio in Vancouver. @andreabelfi

- Gear(s) & Glass by Romain Azzaro and Jeanne Briand, was crafted from the echoes of shattered glass. Throw a glass onto the floor, and it breaks,” Azzaro explains. “The sound lasts forever.” This spatial sound experience deepens the exploration into a question often debated between the two artists: What might machine music sound like if crafted from glass? The glass may shatter, but it is reborn as glistening granules of sound. @romainazzaro @jeannebriand_

- With “Scatter, Swarm, Sublimate”, by Casimir Geelhoed, Casimir connects methodologies of noise music, counterpoint and spatial sound, making expressive use of the tipping point at which individually perceivable sound sources melt into overarching sound masses. His piece combines dazzling environments of overstimulation with moments of fleeting clarity - a sublime surrender. In memory of Ivan / IOANN. @casimirgeelhoed

- IOANN was the artist project of Ivan Sapozhkov. Since 2006, he experimented with forms of electronic sound and virtual instruments, working in the field of experimental sound, film and theatre. In 2014, Sapozhkov founded his experimental sound studio and label Negativespace. On 2016 he was Artist-in-Residence at the Spatial Sound Institute in Budapest. @ioannsound

All works will be presented in @4dsound across Saal 2 and MONOM Studio at @funkhaus_berlin.

- “Above My Door, There Is Knocking” by drummer and composer Andrea Belfi focuses on two acoustic percussive instruments: a bass drum and a cymbal. Both merge into a broader electronic composition. The piece was developed during a residency at MONOM in Berlin, using their 4DSOUND system, and was presented at the SPATIAL festival in Berlin and at Lobe Studio in Vancouver. @andreabelfi

- Gear(s) & Glass by Romain Azzaro and Jeanne Briand, was crafted from the echoes of shattered glass. Throw a glass onto the floor, and it breaks,” Azzaro explains. “The sound lasts forever.” This spatial sound experience deepens the exploration into a question often debated between the two artists: What might machine music sound like if crafted from glass? The glass may shatter, but it is reborn as glistening granules of sound. @romainazzaro @jeannebriand_

- With “Scatter, Swarm, Sublimate”, by Casimir Geelhoed, Casimir connects methodologies of noise music, counterpoint and spatial sound, making expressive use of the tipping point at which individually perceivable sound sources melt into overarching sound masses. His piece combines dazzling environments of overstimulation with moments of fleeting clarity - a sublime surrender. In memory of Ivan / IOANN. @casimirgeelhoed

- IOANN was the artist project of Ivan Sapozhkov. Since 2006, he experimented with forms of electronic sound and virtual instruments, working in the field of experimental sound, film and theatre. In 2014, Sapozhkov founded his experimental sound studio and label Negativespace. On 2016 he was Artist-in-Residence at the Spatial Sound Institute in Budapest. @ioannsound

All works will be presented in @4dsound across Saal 2 and MONOM Studio at @funkhaus_berlin.

- “Above My Door, There Is Knocking” by drummer and composer Andrea Belfi focuses on two acoustic percussive instruments: a bass drum and a cymbal. Both merge into a broader electronic composition. The piece was developed during a residency at MONOM in Berlin, using their 4DSOUND system, and was presented at the SPATIAL festival in Berlin and at Lobe Studio in Vancouver. @andreabelfi

- Gear(s) & Glass by Romain Azzaro and Jeanne Briand, was crafted from the echoes of shattered glass. Throw a glass onto the floor, and it breaks,” Azzaro explains. “The sound lasts forever.” This spatial sound experience deepens the exploration into a question often debated between the two artists: What might machine music sound like if crafted from glass? The glass may shatter, but it is reborn as glistening granules of sound. @romainazzaro @jeannebriand_

- With “Scatter, Swarm, Sublimate”, by Casimir Geelhoed, Casimir connects methodologies of noise music, counterpoint and spatial sound, making expressive use of the tipping point at which individually perceivable sound sources melt into overarching sound masses. His piece combines dazzling environments of overstimulation with moments of fleeting clarity - a sublime surrender. In memory of Ivan / IOANN. @casimirgeelhoed

- IOANN was the artist project of Ivan Sapozhkov. Since 2006, he experimented with forms of electronic sound and virtual instruments, working in the field of experimental sound, film and theatre. In 2014, Sapozhkov founded his experimental sound studio and label Negativespace. On 2016 he was Artist-in-Residence at the Spatial Sound Institute in Budapest. @ioannsound

All works will be presented in @4dsound across Saal 2 and MONOM Studio at @funkhaus_berlin.

- “Above My Door, There Is Knocking” by drummer and composer Andrea Belfi focuses on two acoustic percussive instruments: a bass drum and a cymbal. Both merge into a broader electronic composition. The piece was developed during a residency at MONOM in Berlin, using their 4DSOUND system, and was presented at the SPATIAL festival in Berlin and at Lobe Studio in Vancouver. @andreabelfi

- Gear(s) & Glass by Romain Azzaro and Jeanne Briand, was crafted from the echoes of shattered glass. Throw a glass onto the floor, and it breaks,” Azzaro explains. “The sound lasts forever.” This spatial sound experience deepens the exploration into a question often debated between the two artists: What might machine music sound like if crafted from glass? The glass may shatter, but it is reborn as glistening granules of sound. @romainazzaro @jeannebriand_

- With “Scatter, Swarm, Sublimate”, by Casimir Geelhoed, Casimir connects methodologies of noise music, counterpoint and spatial sound, making expressive use of the tipping point at which individually perceivable sound sources melt into overarching sound masses. His piece combines dazzling environments of overstimulation with moments of fleeting clarity - a sublime surrender. In memory of Ivan / IOANN. @casimirgeelhoed

- IOANN was the artist project of Ivan Sapozhkov. Since 2006, he experimented with forms of electronic sound and virtual instruments, working in the field of experimental sound, film and theatre. In 2014, Sapozhkov founded his experimental sound studio and label Negativespace. On 2016 he was Artist-in-Residence at the Spatial Sound Institute in Budapest. @ioannsound

All works will be presented in @4dsound across Saal 2 and MONOM Studio at @funkhaus_berlin.

Waiting for Godot.

In 2024 I composed the music for Samuel Beckett’s “Waiting for Godot” under the direction of @ulrichrasche at @schauspielhausbochum.

For this project, I have been lucky to collaborate with @boniface_____ @spelcamastnak @sevensetti and #hilaryjeffery and many more.

Direction: @ulrichrasche
Actors: Steven Scharf, @guyclemens , @dominikdosreis , @yannik.stoe
Stage Design: Ulrich Rasche, @franz_dittrich_design
Costume Design: @_annikalu_
Lighting: Sirko Lamprecht
Composition, Musical Direction: Andrea Belfi
Musical Assistance: Alfred Brooks
Dramaturgy: @medi_terrain
Assistant Direction: Linda Hecker, Mattis Krems, David Moser
Stage Design Assistance: @lukas_koetz
Costume Assistance: Jana Kuhlemeier
Prompter: Dr. Arian Schill
Speech Coaching: Roswitha Dierck
Stage Management: Ulrike Schaper
Directorial Internship: Berrit Sandkühler
Stage Design Internship: Zora Mette
Costume Internship: Vesa Osmani, Merle Bismark
Musicians: Andrea Belfi, Alfred Brooks, Hilary Jeffery, Špela Mastnak

Pictures by Jörg Zimmermann

Waiting for Godot.

In 2024 I composed the music for Samuel Beckett’s “Waiting for Godot” under the direction of @ulrichrasche at @schauspielhausbochum.

For this project, I have been lucky to collaborate with @boniface_____ @spelcamastnak @sevensetti and #hilaryjeffery and many more.

Direction: @ulrichrasche
Actors: Steven Scharf, @guyclemens , @dominikdosreis , @yannik.stoe
Stage Design: Ulrich Rasche, @franz_dittrich_design
Costume Design: @_annikalu_
Lighting: Sirko Lamprecht
Composition, Musical Direction: Andrea Belfi
Musical Assistance: Alfred Brooks
Dramaturgy: @medi_terrain
Assistant Direction: Linda Hecker, Mattis Krems, David Moser
Stage Design Assistance: @lukas_koetz
Costume Assistance: Jana Kuhlemeier
Prompter: Dr. Arian Schill
Speech Coaching: Roswitha Dierck
Stage Management: Ulrike Schaper
Directorial Internship: Berrit Sandkühler
Stage Design Internship: Zora Mette
Costume Internship: Vesa Osmani, Merle Bismark
Musicians: Andrea Belfi, Alfred Brooks, Hilary Jeffery, Špela Mastnak

Pictures by Jörg Zimmermann

Waiting for Godot.

In 2024 I composed the music for Samuel Beckett’s “Waiting for Godot” under the direction of @ulrichrasche at @schauspielhausbochum.

For this project, I have been lucky to collaborate with @boniface_____ @spelcamastnak @sevensetti and #hilaryjeffery and many more.

Direction: @ulrichrasche
Actors: Steven Scharf, @guyclemens , @dominikdosreis , @yannik.stoe
Stage Design: Ulrich Rasche, @franz_dittrich_design
Costume Design: @_annikalu_
Lighting: Sirko Lamprecht
Composition, Musical Direction: Andrea Belfi
Musical Assistance: Alfred Brooks
Dramaturgy: @medi_terrain
Assistant Direction: Linda Hecker, Mattis Krems, David Moser
Stage Design Assistance: @lukas_koetz
Costume Assistance: Jana Kuhlemeier
Prompter: Dr. Arian Schill
Speech Coaching: Roswitha Dierck
Stage Management: Ulrike Schaper
Directorial Internship: Berrit Sandkühler
Stage Design Internship: Zora Mette
Costume Internship: Vesa Osmani, Merle Bismark
Musicians: Andrea Belfi, Alfred Brooks, Hilary Jeffery, Špela Mastnak

Pictures by Jörg Zimmermann

Waiting for Godot.

In 2024 I composed the music for Samuel Beckett’s “Waiting for Godot” under the direction of @ulrichrasche at @schauspielhausbochum.

For this project, I have been lucky to collaborate with @boniface_____ @spelcamastnak @sevensetti and #hilaryjeffery and many more.

Direction: @ulrichrasche
Actors: Steven Scharf, @guyclemens , @dominikdosreis , @yannik.stoe
Stage Design: Ulrich Rasche, @franz_dittrich_design
Costume Design: @_annikalu_
Lighting: Sirko Lamprecht
Composition, Musical Direction: Andrea Belfi
Musical Assistance: Alfred Brooks
Dramaturgy: @medi_terrain
Assistant Direction: Linda Hecker, Mattis Krems, David Moser
Stage Design Assistance: @lukas_koetz
Costume Assistance: Jana Kuhlemeier
Prompter: Dr. Arian Schill
Speech Coaching: Roswitha Dierck
Stage Management: Ulrike Schaper
Directorial Internship: Berrit Sandkühler
Stage Design Internship: Zora Mette
Costume Internship: Vesa Osmani, Merle Bismark
Musicians: Andrea Belfi, Alfred Brooks, Hilary Jeffery, Špela Mastnak

Pictures by Jörg Zimmermann

Waiting for Godot.

In 2024 I composed the music for Samuel Beckett’s “Waiting for Godot” under the direction of @ulrichrasche at @schauspielhausbochum.

For this project, I have been lucky to collaborate with @boniface_____ @spelcamastnak @sevensetti and #hilaryjeffery and many more.

Direction: @ulrichrasche
Actors: Steven Scharf, @guyclemens , @dominikdosreis , @yannik.stoe
Stage Design: Ulrich Rasche, @franz_dittrich_design
Costume Design: @_annikalu_
Lighting: Sirko Lamprecht
Composition, Musical Direction: Andrea Belfi
Musical Assistance: Alfred Brooks
Dramaturgy: @medi_terrain
Assistant Direction: Linda Hecker, Mattis Krems, David Moser
Stage Design Assistance: @lukas_koetz
Costume Assistance: Jana Kuhlemeier
Prompter: Dr. Arian Schill
Speech Coaching: Roswitha Dierck
Stage Management: Ulrike Schaper
Directorial Internship: Berrit Sandkühler
Stage Design Internship: Zora Mette
Costume Internship: Vesa Osmani, Merle Bismark
Musicians: Andrea Belfi, Alfred Brooks, Hilary Jeffery, Špela Mastnak

Pictures by Jörg Zimmermann

A JAMES MACMILLAN LAMENT REWORK.

Copenhagen-based @thelakeradio has commissioned a 20-minute radio art piece by Andrea Belfi and Nazanin Noori. The title is 'A JAMES MACMILLAN LAMENT REWORK'.
 
Scottish composer and conductor James MacMillan intertwines the political and the spiritual in his work. He draws on Catholic and Scottish musical traditions, while addressing liberation theology. His composition ‘Tuireadh’ (Lament) is dedicated to the 167 victims of the 1988 Piper Alpha disaster. Piper Alpha was an oil platform that exploded and collapsed under the effect of sustained gas jet fires in 1988. Mcmillan's lament for the dead premiered on June 25, 1991, at St Magnus Cathedral, Kirkwall, Scotland. Nazanin Noori and Andrea Belfi have reworked ‘Tuireadh’, incorporating drums, rhythmic percussion and modular electronics, as a tribute to the cries of mourners of human cost.

You can find the link to the piece in Bio.

Photographed by the one and only @etritainment in the exhibition 'THE ECHO OF PROTEST IS DISTANT TO THE PROTEST' @ccaberlin.

A JAMES MACMILLAN LAMENT REWORK.

Copenhagen-based @thelakeradio has commissioned a 20-minute radio art piece by Andrea Belfi and Nazanin Noori. The title is 'A JAMES MACMILLAN LAMENT REWORK'.
 
Scottish composer and conductor James MacMillan intertwines the political and the spiritual in his work. He draws on Catholic and Scottish musical traditions, while addressing liberation theology. His composition ‘Tuireadh’ (Lament) is dedicated to the 167 victims of the 1988 Piper Alpha disaster. Piper Alpha was an oil platform that exploded and collapsed under the effect of sustained gas jet fires in 1988. Mcmillan's lament for the dead premiered on June 25, 1991, at St Magnus Cathedral, Kirkwall, Scotland. Nazanin Noori and Andrea Belfi have reworked ‘Tuireadh’, incorporating drums, rhythmic percussion and modular electronics, as a tribute to the cries of mourners of human cost.

You can find the link to the piece in Bio.

Photographed by the one and only @etritainment in the exhibition 'THE ECHO OF PROTEST IS DISTANT TO THE PROTEST' @ccaberlin.

OUT NOW! Pleased to announce that today my album with the one and only @jules_reidy “dessus oben alto up” was released by @marionettelabel.

Music by Jules Reidy and me
Recorded @calliesberlin by @marco.anulli
Additional recording at Studio Distante
Mixed and Mastered by @joetalia
Cut by Noel Summerville
Artwork by Andreas Bauer

Dedicated to Dean Roberts

OUT NOW! Pleased to announce that today my album with the one and only @jules_reidy “dessus oben alto up” was released by @marionettelabel.

Music by Jules Reidy and me
Recorded @calliesberlin by @marco.anulli
Additional recording at Studio Distante
Mixed and Mastered by @joetalia
Cut by Noel Summerville
Artwork by Andreas Bauer

Dedicated to Dean Roberts

excited to announce that @andreabelfi and i are working on the realization of a spoken word opera based on forough farrokhzad poems under the title 'I PITY THE GARDEN' with performer and actress @katestrong76, classical iranian singer @samin_ghorbanii, countertenor @steve_katona, baritone saxophonist @salvosoff, dramaturg @muratdikenci and many more. the piece will premiere on the 17th of october in the studio of @maxim_gorki_theater.

photo by @peteroliverwolff

#foroughfarrokhzad #ipitythegarden #spokenword

Announcing the first collaborative recordings by @andreabelfi and @jules_reidy titled ‘dessus oben alto up’ - four expansive soundscapes that revolve around Reidy’s distinctive just-intoned guitar arpeggios shimmering over Belfi’s delicate brushwork and propulsive drum accents.

Recorded with @marco.anulli manning the desk at the sound studio of Berlin’s Callie’s, an arts institution housed in a 19th century machine factory where the pair was working together during a residency.

Pre-order the album and listen to ‘up’ on the label’s bandcamp page. Out on November 8 (LP/Digital Download) and distributed by @honestjonsrecords / @morr_music .

Artwork by Andreas Bauer
Photo by Camille Blake

Announcing the first collaborative recordings by @andreabelfi and @jules_reidy titled ‘dessus oben alto up’ - four expansive soundscapes that revolve around Reidy’s distinctive just-intoned guitar arpeggios shimmering over Belfi’s delicate brushwork and propulsive drum accents.

Recorded with @marco.anulli manning the desk at the sound studio of Berlin’s Callie’s, an arts institution housed in a 19th century machine factory where the pair was working together during a residency.

Pre-order the album and listen to ‘up’ on the label’s bandcamp page. Out on November 8 (LP/Digital Download) and distributed by @honestjonsrecords / @morr_music .

Artwork by Andreas Bauer
Photo by Camille Blake

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IT‘S COMING !
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postproduction almost done
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see you soon!
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IT‘S COMING !
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postproduction almost done
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see you soon!
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IT‘S COMING !
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postproduction almost done
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see you soon!
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IT‘S COMING !
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postproduction almost done
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see you soon!
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IT‘S COMING !
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postproduction almost done
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see you soon!
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IT‘S COMING !
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postproduction almost done
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see you soon!
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