The original soundtrack we made for Ioana Nicoară & Sergiu Negulici (Reniform) and Cinty Ionescu (Asociația Narative)’s “Ne/Re-văzut Muscel” project.
These are not songs, but background sonic illustrations, meant to play along with AR 3D animations and people telling their stories. Normally, they are designed to play continuously: there are 3 looped audio tracks, of different length, for each “song” – when played together, the overall sense of repetition is less obvious.
Here you can listen to short, ~3m rendered demos. We strongly advise you to download the album, find the 3 images included in the archive, install the Reniform app on your smartphone and use it to see the whole thing. The texts / vocal tracks are Romanian only.
–ͫ̔͂̐̅-̗͙̦̯̙͈̻̐ͫ͋͂͌͌̌–̻̱̦̯̈̃ͭͫ-̪ͥ-̱̗̼͔–ͫͧ̇ͨͯ-͇́-̥-̰̻̰͚̃͗͛̂̌̃ͅͅ-̞-̣͛-͓͕̦͙͒̀̓̂-̼͇ͤ́-̦̪̘̮̝͚̄͌͌̆̑ͪ-̻̟͚͎͙̈ͣ̔́̚-̆̊-͌̿ͤͤͥ̊̚-͓̮̤̥͖–̲̟͙̞͕͙-͓̤͙̫͒͑̈́ͪ-̈́̽ͮ̾̐ͦ-̗̥̼̣͖̳-ͬͨ̎̉–̪̗̙̙̜̮̓͐ͥ͒̐ͦ̋ͅ-̭̘̈́̍-̘ͦ-͑-̳̱̓̿-͚̈́̚ͅ-̤͓̯ͅ–̩͉̠̟̯̘-̟̹͓̥̠͎̘̾͑͐͛̃͐ͮ–͖̙̀͆̚ͅ-̪͕̒ͭ-ͅ—-̯͇̟̙ͯ͛̈́͆-͕͔͕̬͔̙ͅ-̥̦͉̓́̇-̾ͦ-̦̼̱̞̘̬̆̆͂ͨͦͬ-̖̻̟̯̮̫̘̎͌ͪ̆ͮ̒̊-͑ͥͭ̓ͦ-̩̯͙ͣͪ̓-͖̯̣̹-̻̠̼͕̻̬̥ͬ̈́͐ͣͬͦ̅–̦̳-̜͉͚̺͇̠̥-̥̗͈̮͚̝-̫̞-͈̭̤͓ͨ͆ͫ͒̋ͅ-͙͖͚̥̻̘̩͛͒ͮͧ͛͒̎-̪̖͕̣̻ͥ̊͊́̀—̩͍̹͌̋̈́–̈́ͨ̏ͭ̽̚̚-͇̳̜̒̔̈́-̬̰̙̠–̰̭͈͖̹͈ͩ̿̽̀͂̐-ͧ-̩͊–̱̙̹͔͑̑ͦ̋-̬̫̳-̬͌–̫̥̦̗͎̦̄͐̀̍̓̇–͖-͍̭̫͕̬̽ͬ̋̒͌-̱̠̼-͖͓̅̅-͎̜̺̊ͦ͐-͙̻͕̼̬̜ͧ͂ͧ͛̓ͤ-̻̮̅ͯ-̑ͪ͆-ͧ͋͒-
Nouă instalații AR inserate în spațiul urban transformă orașul într-o arhivă vie. Fiecare punct de intervenție devine o poartă către povești personale și memorie colectivă. Cu ajutorul tehnologiei, aceste lucrări nu doar adaugă un strat vizual, ci deschid un altfel de dialog cu orașul în care privirea încetinește, iar memoria se reactivează pornind de la teme actuale identitarului colectiv. Cele 9 lucrări AR se construiesc pornind de la povești ale orașului, reprezentative pentru identitarul colectiv, atent selecționate și desprinse din arhiva artistei multimedia Cinty Ionescu. Aceste istorii sunt recontextualizate de artiștii vizuali Ioana Nicoară și Sergiu Negulici prin animații 3D și sunt incorporate în compoziții audio originale realizate de artiștii de sunet Makunouchi Bento, Sorin Păun și Alex Bălă. Lucrările AR au fost disponibile locuitorilor și vizitatorilor orașului prin folosirea unei aplicații gratuite instalate pe telefonul propriu. Amplasarea lucrărilor în spații publice sau neconvenționale ale orașului a fost însoțită de evenimente, activări și este inclusă pe o hartă fizică și digitală în catalogul interactiv NE/RE-VĂZUT: Muscel.
~
Nine AR installations embedded in the urban space transform the city into a living archive. Each intervention point becomes a gateway to personal stories and collective memory. Through the use of technology, these works do more than add a visual layer—they open up a different kind of dialogue with the city, one in which the gaze slows down and memory is reactivated through themes that resonate with contemporary collective identity.
The nine AR works are built around stories of the city that are representative of its collective identity, carefully selected and drawn from the archive of multimedia artist Cinty Ionescu. These stories are recontextualized by visual artists Ioana Nicoară and Sergiu Negulici through 3D animations and are embedded within original audio compositions created by sound artists Makunouchi Bento, Sorin Păun, and Alex Bălă.
The AR works were made available to residents and visitors through a free application installed on their personal smartphones. Their placement in public or unconventional urban spaces was accompanied by events and activations and is documented on both a physical and digital map included in the interactive catalogue NE/RE-VĂZUT: Muscel.
~
www.narative.ro/ne-re-vazut-muscel/
Written, produced, mixed and mastered by Felix Petrescu and Valentin Toma (Makunouchi Bento)
makunouchibento.org
released February 1, 2026
A. Stefan Christoff – Demand the Impossible
01. A sky entrance
02. Arc
03. Turning in the Bosphorus
04. Demand the Impossible
An album recorded in Sofia, Bulgaria one late evening in October 2023
Recorded and mixed by Yoncho Pavlov at AD 57, Sofia, Bulgaria
All piano compositions are original improvisations by Stefan Christoff
B. Open to the Sea – The Sofia Intuition
1. Please stop loving me
2. I will not wake you up
3. I recognise you
4. Bodies in contact
Reworks of Stefan Christoff’s original piano recordings with:
Saverio Rosi – OP-1 with wind instruments, double bass, synths
Matteo Uggeri – laptop, samples, random drumming
Enrico Coniglio – guitars
Mastered by Ryan Morey
Original artwork by Catalina Villegas-Burgos
Layout by Angel Draganov
Síntesis boreal
Esta pieza surgió como una experimentación con la idea de los triángulos, sus búsquedas de balance y de síntesis. Me sentía atraída por la energía del sol y los eventos cósmicos como eclipses y auroras boreales, así que los puse a danzar y a atravesarse. Cuando escuché el álbum de Stefan ‘’Demand the Impossible’’ sentí que mi experimentación le venía perfectamente por el juego de voces entre el bajo y las notas un poco más agudas e insistentes de esta obra. De algún modo, veía también los triángulos en su música y los tonos ‘boreales’ sobre fondo oscuro. En ambas obras: la musical y la visual, percibo desplazamientos y formas que se cruzan. Cuando ambos triángulos se encuentran, ¿es el sol un testigo de aquel eclipse o es acaso una fuerza oculta?
– Catalina Villegas-Burgos. (album artwork artist)
///
It felt unlikely that this recording session would actually happen in Sofia, Bulgaria, but I am really happy that it did and I can share this moment in time. I had played a concert in Sofia that same evening hosted by Tsvetan Tsvetanov of the experimental Bulgarian National Radio program Alarma Punk Jazz. After the show finished I rushed over to the basement studio, AD 57, just before midnight. Sound engineer Yoncho Pavlov generously agreed to record this session super late and we recorded until just before 2 am in the morning. After the session I ran back to the apartment where I was staying with Canadian activist scholar Ezra Winton, packed my bags and rushed to the airport for a flight to Berlin that was set to depart at around 6am.
Despite all the rushing around this recording, the mood and feeling of the sound reminds me of the stars. In certain parts of Sofia there aren’t a lot of street lights and the sky feels close to touch. The mountains that shape the Bulgarian landscape also hold a presence and vibe in the capital city. While playing piano I was thinking of the sky above, the stars and the lands around Sofia and the Balkan region. This project is important to me because of my Bulgarian roots, my father is Macedonian Bulgarian. It was a long road from growing up in Canada to finally making it back to Bulgaria and to finding a path to work on this recording and music in Sofia. I hope that you can feel the emotional resonance in the piano tones.
Another layer to this recording is the fact that recording took place in the context of the Israeli state’s military attacks on the Palestinian people in Gaza. The recording took place in November and the horrifying news coming out of Gaza spanked an intense need to take action around the world. In the week before this recording I had been with friends at protests and events to mobilize for Palestine in Montréal, Amsterdam and London. I was often thinking about Palestine during this recording session and the critical importance of sustaining an involvement and finding ways to support Palestine throughout my lifetime. Walking with and supporting the Palestinian struggle for freedom and against colonialism is one of the essential progressive causes of our time, we must never be silent and always find ways to stand up when Palestine is in the headlines and critically when it is not. I certainly was thinking of my Palestinian friends and comrades around the world who have played such an important role in my life over the last decades throughout this recording, that is the honest truth. I hope that you can hear the sense of commitment and urgency around supporting Palestine that I have carried and acted upon my entire adult life.
Thank you for listening to this solo piano recording from Sofia, it means a lot to me, sending love from Montreal.
– Stefan Christoff.
[mhrk478]
Guitars, electronic devices – Guillaume Blache
I, II & IV- Guillaume Blache
III – Turlough O’Carolan (1670-1738)
Mastering – Diego Gaucho, Caracol musicalestudio
Art cover – Marcos Viso, all rights reserved
The Necrophile Hummingbird Non-Profit Netlabel presents Under The Radar by reFUGeeS From Beyond.
“Forbidden Music for Unknown listeners”
Improvisation recorded the 20th December 2025 at Le Champ Du Possible (The Possibility’s Field) in Dole.
Members :
Master of Ceremony : Psyché Pelik
Disc Jockey (indeed mostly electric & electronic devices) : Yoshiwaku Mushotoku
“We are like Ulysses, hidden under the sheeps, safe from the eye of the Cyclop. It’s time to retaliate before he catches us.”
Special Thanks to Seebille for helping this album to come alive.
Dedicated to all the ICE victims, especially Renee Good & Alex Pretti but they are only the top of the ICEberg. https://en.wikipedia.org/wiki/List_of_deaths_in_ICE_detention and to anyone struggling against ICE, Fascism and Imperialism.
(In france the cops are killing too, this month it was El-Hacen-Diarra. In Iran it’s more than 20 000 protesters killed, 40 000 are in jail and can be executed quickly. Cops are not the only murderers, more than 70 000 Palestinians killed between October 2023 and 2024. In Rojava the kurdes are in danger and 50 000 civilians have been already displaced. What a sick world…)
Spread the ICE List to help the resistance https://icelist.is
Visual Artwork done without IA, good old edit of my photographies.
released January 28, 2026
Philosopher Jane Bennett’s concept of “microvisioning” describes Henry David Thoreau’s devotional practice of keenly observing and focusing on small details of the natural world. She explores this idea in her book, Thoreau’s Nature: Ethics, Politics, and the Wild. She writes that microvisioning transforms nature into something “beautiful, sublime, and Wild.”
Every summer I leave my home in New York City to return to my roots in the Midwest, where I am able to practice my own version of microvisioning. Armed with an array of microphones and different listening devices, summertime in the Midwest has allowed me to sonically engage different environments in a deep, meaningful, and wild way.
All of the recordings contained in this album were recorded across the Midwest during the summer of 2025.
Druhá polovina osmdesátých let, Československo. Zpoza železné opony sem různě konspiračně a pokoutně pronikala i divná hudba, hudba nová jiná odlišná, nové postupy, nové nástroje i nenástroje. Samozřejmě vnímavější domácí hudebníky ihned zaujala a zkoušeli napodobovat i zkoušet zcela po svém. Pomocí kutilství, národu vlastnímu, tvořili, hráli i nahrávali. Současně vznikla potřeba nejen se prezentovat doma, to zcela mimo oficiální instituce, ale i ukázat těm na Západě, že umíme, že nejsme jen národ Gotta a častušek. Iniciátorem byl Tonda Hlávka z Veselích Filištínů, kazety se kompilovaly u Vítka Hofhanzla. Zúčastnili se tak hlavně přátelé okolo VF, ale v té době byla scéna natolik malá a uzavřená, že přátelé byli všichni kdo začali tvořit industrial, postindustrial, různé zvukové experimenty atd.Ale obě kazety, které byly propašovaný přes hranice a vyšly pod hlavičkou italského labelu Old Europe Cafe a belgického Corrosive Tapes nejsou jen o industriálu. Je to průlet mnoha styly od postindustriálu, nové vlny po postpunk, sound experiment až po romský folklor.
“Poslouchej skrz sluchátka. Jsi majitel jediné kopie. Kopie je chráněna Dolby. V Praze jaro 1989 Československo!!”
The second half of the eighties, Czechoslovakia. From behind the Iron Curtain, strange music was also penetrating here in various conspiratorial and subtle ways, new music, different, new methods, new instruments and non-instruments. Of course, the more receptive domestic musicians were immediately interested and tried to imitate and experiment in their own way. Using DIY, a craft of their own, they created, played and recorded. At the same time, there was a need not only to present ourselves at home, completely outside of official institutions, but also to show those in the West that we can, that we are not just a nation of Karel Gott and chastushki. The initiator was Tonda Hlávka from Veselí Filištínů, the cassettes were compiled by Vítek Hofhanzl. Mainly friends from around VF participated, but at that time the scene was so small and closed that friends were everyone who started creating industrial, post-industrial, various sound experiments, etc. But both cassettes, which were smuggled across the border and released under the Italian label Old Europe Cafe and the Belgian Corrosive Tapes, are not just about industrial. It is a journey through many styles, from post-industrial, new wave to post-punk, sound experiment to Romani folklore.
“Collected not lost” is a decade of Autonomaton’s work, outside of LPs and EPs, collected. The music was released in the period from 2015 to the end of 2025. It’s done mostly through dubbing and overdubbing sound approaches. Both computer and hardware were used. Programmed or live. The tracks included have been released mostly on VA collections of works, through various online labels from around the globe: Animal Breaks (BE); Treetrunk (USA); DIGITAL DIZZY (UK) – dismissed; EcoSci (BG); eden.deeply (AU); Linear Obsessional Recordings (UK); Petroglyph Music (NOR); Studio 4632 (USA) – dismissed; Cian Orbe (CL); We are all ghosts (UK); Cousin Silas Emporium (UK); Doomcore Records (DE); L.O.T.R (FR); Attenuation Circuit (DE); Mahorka (BG); and couple of self-released entities. Included are various (re)mixes, versions and rebuilds for different artists like Cousin Silas, Passenger of Shit, Mystfied, Emerge!, Protuberance, Teeth of Divine and couple others. These three albums will take you mostly through 3 aspects of Autonomatons sound – teknoiz, ambient drone and dub breakz, reflected also in the title of each volume. The music on the albums will follow this trajectory, starting with noises and drones, then turning to more fluffy ambient and in the final chapter entering the zone of dub and breakz.
All music couresty of Nikolay Stanchev a.k.a. Autonomaton
It is yet another new artist joining the MiMi Records family.
In this strange space–time condition saturated with information, where the excess of data overrides sensory experience, the Anthropocene no longer presents itself as a future hypothesis but as an immediate, almost physical presence, breathing down our necks.
It is within this horizon of slow collapse — ecological, technological, and symbolic — that over the past decade Nuno Afonso, under the heteronym Falésia, has been searching for liminal sonic territories: landscapes at times volcanic, at times stratospheric, where beauty is still reassembled out of strangeness and deviation.
Música Pobre emerges as one of these singular microcosms: a technological reality that insists on remaining primitive, almost archaic, as if electronics were here less an instrument of progress and more a trace — a remainder, an active ruin.
Between echoes of Mark Fisher’s theoretical formulations, broadcasts from distant and exotic radios, and a panoply of electroacoustic devices, a piece takes shape, divided into two sides that are also two visions of the same world: a fracture, rather than an opposition.
Atomai constructs a bridge between the hiss of the past and the synthesis of the future.
SIGNALAI 3 continues ambient journeys through old tape recordings and new inventive adaptations of audio technology.
An exploration of signal processing by manipulating found footage, tape artifacts and integrating harps, strings and flutes.
The release “Help Wanted” by Yogurt for Breakfast (Emilio Adasme) is a journey that involves the painstaking deconstruction of a sonic fragment into unique spaces, where the sample comes alive, being played like an instrument, as the performer explores the complex relationship between rhythm, melody, and timbre. It is the beautiful experience of witnessing a beat flow and stretch into a passage full of layers — or listening as it suddenly collapses into itself, sounding almost like a guitarist juxtaposing rapid passages, pauses, and fluctuating melodies that hover in the limbo between tone and rhythm.
It is expression carried to its highest potential: using the smallest grain of sound and shaping it into an architecture that is both intricate and thrilling. At times we are given glimpses of its raw material; moments later, we witness its metamorphosis and allow ourselves to be enveloped by its striking presence. It’s astonishing to hear how something so tiny becomes disassembled, revealing its inner complexity — and even more exciting when we recognize its origin, yet find it transformed into something entirely different.
It’s funny that the majority of these sounds feel both familiar and unfamiliar at the same time, creating a strange duality of closeness and distance. We experience a kind of Berenstain-syndrome effect, where we believe we recognize something even though we are not certain what it is.
To sum up, I find it remarkable how something so small and recognizable can turn into such a complex, unsettling monster — all thanks to the exploration of sound with the sensitivity of someone playing an instrument, where fluidity breathes life into something that feels both familiar and entirely new.
José Miguel Barriga
(Santiago, Chile. January 2026)
Artists were given the single word ‘HIRAETH’ to interpret with whatever audio they deemed appropriate. There were no instructions other than a deadline for contributions.
HIRAETH is Cymraeg (Welsh), the approximate meaning is a homesickness tinged with grief and sadness over the lost or departed, especially in the context of Wales and Welsh culture.
Releases by Audiomat (inc. Andreas Brüning), Dental Drill Slips, Eaten By Worms, GLOBAL SYSTEMS INTNL., Iliaque, Sobria Ebrietas, Substak and WarpCensor can be found elsewhere on the TCFSR bandcamp.
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Andreas Brüning, in addition to his solo work, is part of various groups:
Audiomat tcfsr.bandcamp.com/album/audiomat
Gruppe BASS tcfsr.bandcamp.com/album/extended-technique
Releases by Substak can be found at substak.bandcamp.com/music and all over Bandcamp.
Releases by Sobria Ebrietas are at sobriaebrietas.bandcamp.com
Scientia is on Burnt Seed at scientia.bandcamp.com and has audio on Instagram www.instagram.com/lelskaye/
Releases by vacant possession are at vacant possession records, Adventurous Music, <1 and on a range of compilations
vacantpossession.bandcamp.com
adventurousmusic.bandcamp.com/album/intimate-spaces-of-everyday-life
lessthanone.bandcamp.com/album/return-of-the-dark-ages
Iliaque is a project of one of the co-founders of Ziklibrenbib (www.ziklibrenbib.fr a French project to promote Creative Commons (CC) music in library) from Normandy (France). His releases from many labels are at iliaque.bandcamp.com
Autistatic releases are at autistatic.bandcamp.com Also, he runs the Zenflesh Records label zenfleshrecords.bandcamp.com
Releases by GLOBAL SYSTEMS INTNL. are on the Hand Canyon Label handcanyon.bandcamp.com and also at globalsystemsintnl.bandcamp.com
Hiraeth is the 18th TCFSR Solo Word project, following DECIMATE, Fool, EPOCH, Twilight, NEW, OLD, Agency, Zucker, Melancholy, Anteontem, Cloister, EARTH, Geräuschkörper, Yellow, Sentience, RUST and AIR.
tcfsr.bandcamp.com/album/decimate
tcfsr.bandcamp.com/album/fool
tcfsr.bandcamp.com/album/epoch
tcfsr.bandcamp.com/album/twilight
tcfsr.bandcamp.com/album/new
tcfsr.bandcamp.com/album/old
tcfsr.bandcamp.com/album/agency
tcfsr.bandcamp.com/album/zucker
tcfsr.bandcamp.com/album/melancholy
tcfsr.bandcamp.com/album/anteontem
tcfsr.bandcamp.com/album/cloister
tcfsr.bandcamp.com/album/earth
tcfsr.bandcamp.com/album/ger-uschk-rper
tcfsr.bandcamp.com/album/yellow
tcfsr.bandcamp.com/album/sentience
tcfsr.bandcamp.com/album/rust
tcfsr.bandcamp.com/album/air
The Necrophile Hummingbird Non Profit Netlabel presents Radio Pirate by ardleg.
“When the music is over… the radio is still on air”
One more Plunderphonics Masterpiece ! Would say the virtual sandwich man… When you reach a difficult point… listen the F… word : épreuve… in the 21st century… would say the insane translator… but me, I’m only speaking of the track number 21… when you realize that yes, it’s a challenge, and this pirate radio isn’t going to hack your brain, but… it’s tight close.
– So never give this kind of album to sensitive people like me !!
– That said, I really like it, it’s very disruptive and the kind of thing that’s perfect for end-of-the-world holiday meals.
– In the 23rd I heard the voice of God. (The French call it “dieu”)
– No, I’m just speaking normally, I don’t see what you mean.
– Do you want to release it on the Necrophile Hummingbird Netlabel on December 30th?
– I’d love to. It’s unusual, but a nice culmination. What are you going to do now that the music is finished?
– Oh, nothing, may be, just keep creating really beautiful, psychoactive music.
– Is this practically an introduction?
This could have been written by an Artificial Intelligence… If there are only Artificial Intelligences behind the screen, what the point to keep it human ?
Perhaps because when the lines are blurred, we need to focus on what is the real humanity : unsubdued & untamed & underground.The Necrophile Hummingbird Non Profit Netlabel presents Radio Pirate by ardleg
“when the music is over… the radio is still on air”
One more Plunderphonics Masterpiece ! Would say the virtual sandwich man… When you reach a difficult point… listen the F… word : épreuve… in the 21st century… would say the insane translator… but me, I’m only speaking of the track number 21… when you realize that yes, it’s a challenge, and this pirate radio isn’t going to hack your brain, but… it’s tight close.
– So never give this kind of album to sensitive people like me !!
– That said, I really like it, it’s very disruptive and the kind of thing that’s perfect for end-of-the-world holiday meals.
– In the 23rd I heard the voice of God. (The french call it “dieu”)
– No, I’m just speaking normally, I don’t see what you mean.
– Do you want to release it on the Necrophile Hummingbird Netlabel on December 30th?
– I’d love to. It’s unusual, but a nice culmination. What are you going to do now that the music is finished?
– Oh, nothing, may be just keep creating really beautiful, psychoactive music.
– Is this practically an introduction?
This could have been write by an Artificial Intelligence, because if there are only Artificial Intelligences behind the screen what the point to keep it human ?
Perhaps because when the lines are bluried we need to focus on what is the real humanity : unsubdued & untamed & underground.
All music by My Nocturnal Twin.
For more music visit:
soundcloud.com/my_nocturnal_twin/tracks
The necrophile hummingbird non profit netlabel presents Novy Put’ by reFUGeeS From Beyond
“End Of System Music for End of Time Music Lovers”
Improvisation recorded the 7th October 2025 at Le Champ Du Possible (The Possibility’s Field) in Dole https://www.soloist.ai/atelierkol We did a trilogy of double albums and I thought why don’t we try to do a Quadruple album under the same name ? And we did it. Next we released all the 4 album inside this 4 hours album. What a mess indeed.
Members :
Master of Ceremony : Psyché Pelik
Disc Jockey (indeed mostly electric & electronic devices) : Yoshiwaku Mushotoku
About the artwork I took this photo the 1st May in London, I didn’t know I was a slave, I didn’t know I will be free few weeks later. I do know I will never go back to such toxic relationship. Thanks to Psyché Pelik for being there during this spawn.
Dedicated to all the people who died in 2025 to allow the super rich people to make more profit. Never forget that, behind any illusions, there are only the people at the top waging war against the bottom people. To end the war, it needs not only to cut their heads, but also to change ourselves, because we have let them climb to the top. As long there will be the exploitation of the one by the others, there will be people at the top of the exploited pyramid.
The number of truths is as many as the number of people.
We are only ourselves.
Please receive each element (song) through your own interpretation.
To all the artists who participated in EPV and were involved in our 15th anniversary——.
Arigatou.
