https://kioskradio.com/label/skupina-x-mappa

https://mappa.bandcamp.com
https://www.instagram.com/___mappa/

https://skupina.bandcamp.com
https://www.instagram.com/skupinalabel/


SKUPINA & MAPPA is a mixtape series that focuses on the vibrant Eastern European experimental music scene. Fresh news and premieres from the region, unreleased tracks, self-released albums and labels' activities. Music you don't often find in year-end charts and Western music magazines, yet you should!

mappa (Jakub Juhás) is a music label and curatorial cell based in the glittering epicentre of Slovak mining. It is a sounding cartography, a speculative travelogue and a listening mission, focused on releasing and creating unpredictable sound situations.  

Skupina (Ján Solčáni) is an independent music label and publisher based between Slovakia and Czechia. Skupina turns its attention to the field recordings and listening through the practice of recording, releasing, imagination, oral and aural history and acoustic ecology.

Outsiders: Skupina x mappa @ Kiosk Radio

When the poplar trees whisper, the dead are talking. Or maybe it’s God, or memories of people no longer with us. Soundscapes and sonic notes are central to Richard Hronský’s third (bedroom) studio album, Pohreb (The Funeral) – following up thematically on his second release Closures. Squeaking of wooden floors, dim afternoon sunlight coming through the window with bird songs and static in the grandfather’s radio playing in the garage – the record entails the melancholy of growing up and saying goodbye to our loved ones and the world we shared with them. Deeply personal memories and audio sketches tell the oldest story of the life cycle and its inevitable end, but also continuation with generations that come after us.

Through the smallest audio details, Pohreb takes us to the village house of Richard’s grandparents and recollects their daily habits. What began as a need to record one's samples to create beats turned out to be an invaluable library documenting one period of life – audiospace, where lost things resist the passage of time. “For me, the sound is more powerful than the photograph itself,” Richard Hronský explains his relation to the sonic diaries he’s been keeping since the age of sixteen. “When I look at a photograph of myself in that grandparent's house, it doesn't have as much power or isn’t as valuable as the sound.” This intimate connection fuels every track on the album and creates a web of connections only partly accessible to the listener. Even though we cannot understand every reference and sound, the feeling of sadness, longing, but also reconciliation is familiar to everyone regardless of our family histories. Ultimately, we don’t need to make peace only with the absence of our ancestors, but also with the world, which is rapidly changing in ways we cannot predict.

One of the strategies to cope with the constant transformation is to preserve some traditions – whether they come as tones from a fujara, an old recording of a folk song by Slovak ethnographer Karol Plicka (used for the last track on the album), grandmother’s prayers overheard over the sound of television or the tones emanating from organ in the village church. “I reflect on tradition as something that moves, as a thing that is simply a product of the people, that's not closed, but open to criticism, reevaluation and living through over again.” Pohreb is part of this cycle of reinventions, a manual on how to immerse oneself in the flow of time. 

Richard Hronský – fujara, voice, harmonica, field recordings, processed samples
Oliver Hronský – organ (on track 7)
Adela Mede – voice (on track 8)
Krištof Krupa – double bass (on track 8)
Viliam Solovic – cello & fujara (on track 11)
Adam Badí Donoval – field recording (on track 13)


Recorded, produced and mixed by Richard Hronský
richardhronsky.bandcamp.com

Album was created in Slovakia, Estonia and Greece, from November 2023 to March 2025.
Most of the tracks were recorded and produced in Bratislava, Slovakia and finished in Athens, Greece.
Field recordings are from the 2018-2025 artists backpack.

Organ & voice on track 12 performed & recorded by Štefan Bobek
Original sample on track 13 recorded by Karel Plicka


Mastered by Adam Badí Donoval

Artwork “Early winter”, 2023 by Karola Ainsar
www.instagram.com/paljusateadsid/

Design and liner notes by Richard Hronský
www.instagram.com/hronskyy/

Words by Nora Třísková


Thanks to Karola Ainsar, Katarína Aroche, Jakub Juhás, Michaela Cagáňová, Zoltán Czakó, Adela Mede, Adam Badí Donoval, Dominik Gajdoš, Anton Mozola, Ema Mihálová, Agáta Kertész, Štefan Szabó, Krištof Krupa, Nora Třísková, Elena Hronská, Samuel Oravec and Christopher Michael Pauliny.

Dedicated to Mária and Marián Gajdoš, Štefan and Emília Bobek, and generally all (grand) parents.


Released by mappa as MAP061 in 2025

Supported using public funding by Slovak Arts Council

Pohreb

Water can retain or wash away memory; flowing or freezing. It gives life and shapes earth, while frozen imprints of an ancient past are waiting to melt – back into sound or fluid motion, or simply to dissipate and disappear. For their split release, Yoichi Kamimura and Olli Aarni offer two distinct reinterpretations of a performance recorded live at the Temppeliaukio Kirkko – a church in Helsinki built directly into solid rock and bathed in natural light – meditating on glacial landscapes and water cycles, using shared field recordings that bifurcate into two sonic visions of “ice journey”.

Yoichi Kamimura’s extensive recordings formed the bedrock of the original performance, notably from time spent on Suomenlinna Island just outside Helsinki in 2021, aiming to capture the remnants of the glacial movements that formed the area’s geology. Elsewhere, the voices of ringed seals, underground waterways of Kyoto, and icy rivers in Lapland from Kamimura’s library float in as well. “The small, charming, and gentle islands floating in the Baltic Sea—some with little cottages and restaurants—reminded me of the drifting ice in the Sea of Okhotsk between Japan and Russia,” describes Kamimura. Fragments of a Christmas choir creep in too, recorded at the church on Suomenlinna Island. Titled Kōri no ryokō , Kaimimura’s reinterpretation of the performance emphasises a shared future across all icy sea regions of the world: thawing ancient memories and the threat of disappearing entirely.

On Jäämatkailu, Olli Aarni presents his own expansive reworking of the same source material, heavily processed alongside his own field recordings from Vantaanjoki river and Suontee lake in Finland. “I was thinking about the processes of erosion, water carving rock, the prehistoric glaciers over the landscape in my own environment,” explains Aarni. The soundscape hums with both intimate details and macrocosmic flow, and a submersible bass rumble hinting at an iceberg far below the tip, morphing at time scales beyond human comprehension. 

Side A is composed by Yoichi Kamimura using field recordings of drift ice (Shiretoko, Hokkaido, 2019–2022), the Lake Biwa Canal (Kyoto, 2020), the Therme Vals baths (Vals, 2017), spring water (a fountain next to Saint Benedict Chapel, 2017), a Christmas choir (Suomenlinna Church, Helsinki, 2021), ice in the Juutuanjoki River (Inari, 2021), and recordings from Yoichi’s and Olli’s concert (Temppeliaukion kirkko, Helsinki, 2021), KORG iPolysix, and KORG minilogue xd.
www.yoichikamimura.com
yoichikamimura.bandcamp.com

Side B is composed by Olli Aarni using the aforementioned sounds + field recordings of the river Vantaanjoki and the lake Suontee, sampled sounds, and a computer.
olliaarni.com
olliaarni.bandcamp.com

Artwork by Yoichi Kamimura & Olli Aarni

Mastered by Adam Badí Donoval
abdonoval.com

Design by Tereza Maco
www.instagram.com/zlatyretriever/

Words by Tristan Bath


Released by mappa as MAP060 in 2025

Kōri no ryokō / Jäämatkailu

For the third time, they had been sent to this forsaken land. It was neither east nor west, neither north nor south. They said it had once been a kingdom, somewhere in the heart of the old continent, something they had pieced together from the ruins scattered across jagged hills sprouting here and there from the ground. Everyone else went islands, dived to the seabed, drilled at the poles, and explored waste in the east, but these two were sent here again, as if someone were trying to get rid of them, just to keep them out of the way.

What were they really supposed to find here? They wandered the land, aimless and bored, like the last bird watching from the sky. Sometimes they landed, took samples for the lab, and then caught a nap by the river bend. They avoided the hot fumes of active volcanoes. Compared to those on other planets, these were more like small, whispered fumaroles, but even so, they had to be careful.

They felt as if they had stepped into a scene from a movie they had once glimpsed. A mad and exhausted conqueror screamed and wildly flailed his arms on a ridiculous wooden raft in the middle of a raging river. It was somewhere in the south of this planet, deep in the jungle. There were many movies made on this planet, but only fragments of the reels survived, and this one quickly became iconic.

When a trumpet sounded in the distance and flooded the land with a booming murmur, when all the fumaroles hissed together, and when wind rolled in, covering the land in heavy fog, both of them knew the third expedition would not be like the previous ones.

At that moment, Kult Masek and Petr Vrba were flying over the land that was once called České středohoří. 

Michael Nechvátal (Kult Masek): modular synthesizer, electric organ
Petr Vrba: trumpet, clarinet, electronics
kultmasek.bandcamp.com
stoned-to-death.bandcamp.com/album/ty-i-esa

Track 8 stretched and manipulated by Trauma
Vocals on tracks 6 and 7 by Adela Mede

Mixed by Mojmír Měchura
www.instagram.com/life_of_trauma/
Mastered by Adam Badí Donoval
abdonoval.com
Artwork and design by Andon Bakarov
www.instagram.com/bak_rov/

Words by Jakub Juhás / mappa
Thanks to Michaela Cagáňová

Released by mappa as MAP062 in 2025
license


Fumarola

Lénok’s 'Langue of Tongue' is a descent. An unhinged pinballing down a realm of incomprehension and lunacy, a darkly psychedelic ego-death-spiral into a world of pure, deranged disquiet. It is, and this cannot be emphasised enough, a truly fucked up place. It comes complete with clearly marked borders delineated by its opening and closing tracks '(Entrance' and 'Exit)’. The message is clear: this is less album than zone.

There's no comfort to be found here. It’s like the inner monologue of some insectile, cyborgian abomination, something unfeeling and hostile, something that could only thrive in a mirror world that perverts light and sullies warmth. It's a netherworld: tracks jut out and stab like cold, craggy wastelandscapes, tangled meshworks of alienic transmissions bleed out into deformed knots of gurgling white noise, lacerations of sound roil and heave and claw as if imprisoned within oppressive waveforms.

‘Tongue’ is marked by a kind of wackiness, a demented slapstick that renders its darkness all the more sinister. Voices wail and taunt like schizophrenic spirits trapped between torment and cackling ecstasy. Tracks giggle and skitter as if populated by grinning, snaggletoothed shadows.

‘Langue of Tongue’ is recommended for the curious and advanced listener. This is music for whatever the opposite of escapism is — it’s REAL twisted. But sometimes morbid fascination takes hold. Sometimes you lift the rock, because you can’t help it, and you observe the squirming mess of life it plays host to. What you experience may not be pleasant, but you might just struggle to tear yourself away. 

Written, produced, recorded and mixed by Lénok
2020-2024: Strasbourg, Bratislava, La Gomera, Lisbon, Den Haag
Pressed with juicer, genres fruited
www.instagram.com/le_n_ek/

Vocals by: Louise Wauters, Mária Macková, Jelisaveta Rapaić, Michelle Dzamková, Lenka Adamcová

Mastered by Andrew Weathers
www.instagram.com/the_land_ethic.wav/

Photography by Charlie Dröge and Ján Kekeli, edited by Lenka Adamcová
Design by Lenka Adamcová

Words by Madjestic Kasual
www.instagram.com/madjestickasual/

Released by mappa as MAP059 in 2025

Supported using public funding by Slovak Arts Council
license


Langue of Tongue

Andrew Oda - Back To The Body
mappa.bandcamp.com/album/back-to-the-body

sever, split, tear
come back

freeze, forget, neglect
come back

detach, withdraw, dream
come back

thrash, recall, engulf
come back

allow, receive, swell
come back

trust trust trust

The wound, as the saying goes, is the place where the light enters you. Even without a god though, the sensation of trauma, and the phenomenon of healing can be a sacred and enlightening experience. Experience always imparts something on those of us still here, for worse or for better. It’s this journey, from trauma to healing and understanding, that inspired Andrew Oda’s beautiful new album: Come Back To The Body. More delicate and plaintive than his previous work, but no less adventurous in its broad palette of synthetic and acoustic sounds, this music is the topography of a descent into the wisdom of the body, “as frightening and unsafe as it may feel” as the composer puts it.

A sweet piano, a gently plucked guitar, and a mournful cello sit alongside garbled synth melodies, rustling field recordings, and sweeping cosmic backdrops throughout, a mimic of the counterintuitive harmony of sensations that meet the traumatised body. Emotions become deformed and bleed into each other. A ruptured sense of oneself collides with engulfing thickets of tension, and yearning. Come Back To The Body demarcates a new step in Andrew Oda’s catalogue, evolving his previously synthesised sui generis ecosystem mockups, into a more natural reflection of the human self, in light of trauma and unknowable emotions best put into music.

Creaking synth chords hove into view on several of Oda’s new pieces, resembling the first rays of dawn and an imminent sense of absolution. A dull electric hum and submersible bass rumble similarly haunts many moments, like lingering tinnitus, only to be swept away by a host of fresh musical lifeforms, sounds, pulse, and melodies wandering spritely into Oda’s music. Healing isn’t simply the forgetting of a trauma; it’s the process of attuning to a wound and evolving into something new. It’s about moving towards a place “where true intimacy can happen,” as Oda describes it. “A place of forgiveness of self and other.”

released November 10, 2022

Composed by Andrew Oda
andrewoda.bandcamp.com/album/cocoon

Artwork by Stephen Alexander Clark
stephenalexanderclark.com/mountains
www.instagram.com/stephenalexanderclark/

Layout by h5io6i54k
www.instagram.com/h5io6i54k/

Bonus artwork by Ádám Horváth
www.instagram.com/adm.hrvth/

Mastered by Adam Badí Donoval
abdonoval.com

Special thanks to:
Landon-for being on this path with me, for everything.
Greg-for invaluable insight, encouragement, and guidance.
Gita-for being in the waves and sharing your own journey of healing.
Kyra-for understanding the wisdom of the body and sharing your practice.
Lauren-for your vortex and mirror.

Words by Tristan Bath
www.tristanbath.com

Photography by Zoltan Czakó

Released by mappa as MAP037 in 2022

Song Of Seeking

Kensho Nakamura - Electric Rust
https://mappa.bandcamp.com/album/electric-rust

To decay is also to transform. Rusting metal is the visible traces of passing time, as the oxidation process accumulates dampness in our atmosphere and imprints it as unpredictable patterns onto hard iron and steel. Working in construction for a year now, Kensho Nakamura sees rust all the time, clambering up ageing chunks of material. Normally discarded as waste, Nakamura began discerning beauty in the phenomenon, organically spiralling around and consuming some of the very hardest of manufacturing stuffs into unique new forms.

‘Electric Rust’ continues the conceptual electronic composition mode of Nakamura’s previous works with a series of fractured musical dioramas. These scurrying notes, sparse hums, and quivering bleeps explore the topics of rust and the accumulation of time. The music ticks like a clock, drips like a tap, and manifests unknowable inorganic shapes. Recognisable musical snippets of bells, pianos, or murmured voices are buried inside counterintuitive synthetic rhythms and tension.

On ‘wet air’ piano notes tinkle and pipes gargle, digital detritus tap dances and arpeggios stumble. On ‘unique faces’, idle marimbas and malfunctioning animalistic squeaks flounder. This is music from the promethean space between being forgotten and being conceived. ‘Electric Rust’ is a topography of a world of rust, where corroding structures evolve into new — and beautiful — patterns of life.

released November 17, 2022

Composed, recorded and mixed by Kensho Nakamura in 2022
pampsychia.bandcamp.com/album/llamhigyn-y-dwr
www.instagram.com/c___t___t___/

Artwork and layout by Madzia Zalewa
www.instagram.com/zalevajka/

Mastered by Adam Badí Donoval
abdonoval.com

Words by Tristan Bath
www.tristanbath.com

Photography by Zoltan Czakó

Released by mappa as MAP036 in 2022

Feooh

SKUPINA & MAPPA is a mixtape series that focuses on the vibrant Eastern European experimental music scene. Fresh news and premieres from the region, unreleased tracks, self-released albums and labels' activities. Music you don't often find in year-end charts and Western music magazines, yet you should!

🌐 "Outsiders" is our daily show hosted by labels, collectives, agencies, venues, clubs, ... worldwide
📡 Connect with the Outsiders, every day, at 9 am or 9 pm CET
🔗 kioskradio.com

Outsiders: Skupina x mappa @ Kiosk Radio 05.05.2025

Outsiders: Skupina x mappa @ Kiosk Radio 07.07.2025

Outsiders: Skupina x mappa @ Kiosk Radio 04.08.2025

By its very nature, intuition is something of which we easily lose sight. Music however, as both bridge and secret technology, connects the natural, artificial, and the earned. It can act as both a reminder of cultures and people gone, while materialising and alchemising from thin air elements not to be found on any periodic tables, and visions no human can see.

“Pin Down The Dust'' is the first meeting of Nighte - Christina Carter (Charalambides) and Mari Maurice (more eaze) - and it feels both automatic and natural. The collaboration stems from a spontaneous decision by the duo to start playing together weekly. “That's how this music was made,” explains Carter, “with gut feeling as the guiding principle. Mari understands the music I've made on such a deep level that playing with her feels so natural.”

The result of this meeting is inarguably some of the most beautiful music to ever emerge from either Carter or Maurice. The structures are spacious, generous, and gentle, with scraped violin strings and seemingly ancient moans strewn sparingly like falling leaves on a picnic blanket. Having begun life as freeform interplays between the duo recorded live at Maurice’s house, overdubs were later added and the material mixed by Maurice alone into finalised pieces.

Maurice’s varied instrumentation litters the background with distant and oneiric miscellanies, from groaned saxophone phrases and heavenly organ drones to glissandi guitars. Carter’s voice sits in the centre, embodying and channelling (mostly) wordless human ecstasy - and at times unease - amidst the allotment of blossoming sounds. Maurice & Carter’s clairvoyant connection notwithstanding, music always offers a portal back to our buried intuitions. “Pin Down The Dust” is both a tribute and a guide to this spontaneity and instinct, putting aside thought in favour of feeling.



released November 22, 2022

recorded, composed, performed & mixed by nighte
all instrumentation - Mari Maurice
voice - Christina Carter
moreeaze.bandcamp.com
christinacarter.bandcamp.com

artwork & layout by Ádám Horváth
www.instagram.com/adm.hrvth/

mastered by Andrew Weathers
andrewweathers.com

words by Tristan Bath
www.tristanbath.com

photography by Zoltan Czakó

released by mappa as MAP038 in 2022

sweet star

In the coming months, Skupina & mappa dedicate space to their favourite Eastern European labels and platforms. 

To kick things off in the most energetic way, we ask friends from the Budapest-based digital ambient/post-club label EXILES. Mixed by kidwar, and the cover artwork is responsible our bestie, Máté Elod Janky.

🌐 "Outsiders" is our daily show hosted by labels, collectives, venues, clubs, ... worldwide 
📡 Connect with the Outsiders, every day, at 9 am or 9 pm CET 
🔗 kioskradio.com

Outsiders: Skupina x mappa w/ EXILES @ Kiosk Radio 06.10.2025

The album Symposium Musicum is developed from field recordings, interviews, and observations collected in the villages of Podolínec, Lomnička, Levočské Vrchy, and Kolačkov - all areas of the eastern and north-eastern Slovakia with significant Romani enclaves. The pieces resulting from these interactions encourage the listener to tune in for a delicate negotiation of language, (audible) gesture, and storytelling.

The collaboration with the local participants appears lighthearted and whimsical on the records, but this seeming easiness is clearly a result of devoted fieldwork planning and committed post-production. The curated compositions represent and emphasize not only performative aspects of the acoustic activities but also point attention to seemingly non-productive aspects of creation, such as silence, hesitation, observation, perception, or waiting.

Sound experiment and preservation is not the only goal of the project. Some of the records capturing acoustic activities in peculiar places but also carry an element of social novelty that accompanied their making - according to the locals in Lomnička, the recording visitors were the first non-Romani persons who spent the night in the village.

In many instances, these recordings explore liminal spaces that have lost their original function (a church ruin or an out-of-business grocery store) and became a lively territory for acoustic exploration and playful reciprocity. For instance, in track 7, "Kavka", local children used crackling leaves as percussion devices.

Such moments betray a high level of engagement in the subtle details of the recorded spaces and their social ecologies. According to the creators, their creative processes involve "a social sound practice" as an attitude towards exploring sound in its social setting.

Symposium Musicum leaves behind many aesthetic conventions of sound capture and what is considered "musical", including the usual notions of a linguistic unit, narrative, memoir, and play. Instead, it engages in a self-reflective questioning of the way we listen to the world around us.

This project invites us to experience places outside the divided sociolinguistic provinces, resulting from multigenerational displacement and neglect of the Romani communities from the explored areas. The result is in many ways revelatory and poetically impactful. 

Concept by Marika Smreková, Elia Moretti
Field recording, composition, mixed by by John-Robin Bold, Anna Khvyl, Elia Moretti

Recorded on August and September, 2019 in Podolínec, Lomnička, Levočské Vrchy and Kolačkov, Slovakia.

Mastered by Giuseppe Ielasi
Designed by Martin Kyjovský
Cover art by Pierre Louis Barge

Liner notes by Jan Dužda, John-Robin Bold, Anna Khvyl, Elia Moretti
Words by Dominika Moravčíková
Photography by Zoltan Czakó

Originally made for UM UM - Community Festival of Contemporary Theater and Art, which, for its 8th edition, focused on the relationship between Roma and Slovaks in Stará Ľubovňa.
umumfestival.com

Thanks to Ľudmila Smreková, Peter Smrek, Jan Dužda, Domninika Moravčíková, Anička Oračková, Magdaléna Pompová, Matyáš Dlab, Hamed Mundi, Matěj Sýkora

Released by mappa as MAP030 in 2023



Romane Gila

Named after the mythological hybrid of the chimaera, Forces’ first collection for mappa was put together in a similar fashion. The sounds all stem from a fruitful residency at Stockholm’s EMS Elektronmusikstudion in May & June 2022, leading to a bounty of source material with which to build. The sounds and concept are equally chimeric, stringing together disparate and unintuitive jams, the music mimicking the multi-limbed, sewn together beasts of both creative open source coding and destructive multinational concerns who hide their cores amid endless appendages. Like Doctor Moreau, Forces - aka Finnish artist Joonas Siren - weaves wildly varying attributes into something new, from short-circuiting 8-bit dream ambience to fractured digital groans, drones, and noisy freakouts.

Though EMS is best known for its Buchla and Serge modular systems, Forces went ‘digital’ and largely navigated a lesser-known synth rack one can wheel between studios, affectionately known as the ‘90s Wagon’. “It housed different digital rack synth modules,” explains Siren, “ like the super unknown EVS-1 by Evolution Synthesis, a UK company who only produced this one rack synth only and then vanished.” Some truly alien sounds emerge from Forces’ creative misuse of forgotten 90s boxes and sampled modular jams. The result is an erratic trip through mismatched circuitry and digital codes, slipping between emotional artifice and harshly logical music.

The track titles stem from both famous mythological chimaeras and multinational arms dealing conglomerates. “Different quite sinister firms can operate in broad daylight, easily hiding their true nature. Many of these mega-corporations have different branches (like chimeric limbs) that are producing quite normal mundane every-day items, as well as mass-producing weapons.” A dedicated SuperCollider user too however, Siren states how open source coding snippets are also ‘chimeric beings’. “You end up always using some part of some old code and then building completely new work on some old idea,” Siren explains. Despite its misuses, there’s also something hopeful in the malleability of ideas, and the ability to creatively collage the world as it is into something wholly new, even better.

Complete gear list:
SuperCollider
Evolution Synthesis EVS-1
Yamaha TX81Z
Nord G2 Modular
Nord Wave
GRM Plugins
OddVoices website
Omnisphere VST
Vital VST
Diva VST
Waldorf Microwave XT
Serge Modular
Buchla 200 System
Buchla 100 clone 






Recorded, coded, composed, performed & mixed by Forces (Joonas Siren)
joonassiren.fi
www.instagram.com/fffforces/

Recorded at EMS Stockholm, June 2022, with the digital synths of the "90's wagon" synth rack, and the SuperCollider programming language

Artwork by Marutonkun
www.marutonkun.com
www.instagram.com/marutonkun/

Mastered by Adam Badí Donoval
abdonoval.com

Words by Tristan Bath
Photography by Zoltan Czakó

Released by mappa as MAP039 in 2023

Perspecta

Kotobuki

Musician and field recordist Action Pyramid finds magic in the everyday on Mardle, a compelling and confounding suite of hydrophone compositions revealing the sonic 24-hour cycle of the UK’s freshwater ponds.

Rooted in Jack Greenhalgh’s sonic research on pond biodiversity, Mardle brings to the surface the delicate sounds of aquatic insect stridulations, plant respiration and photosynthesis - an ecology of otherworldly rhythms and alien hyper-sounds that feel more like early synth experiments than biological processes.

As Greenhalgh explains, “It's so exciting that we've discovered the woodland bird song dawn chorus equivalent for ponds, in the form of nocturnal aquatic insect choruses at night-time, and the whining of aquatic plants as they photosynthesise like busy factories during the midday sun.”

In doing so, Mardle takes the daily cycle as its compositional cue. Beginning above water, the listener is plunged into a “strange and mysterious” world, peaking in the frenzied, pulsing activity of midday and midnight, before the calm of the early morning rain returns above. Inspired by Jana Winderen’s creative underwater soundscapes, the result is quietly breath-taking.

“To actually consider the living presence of plants with direct sonic evidence is quite profound,” Action Pyramid says. “It's such an evocative way to capture people's attention and highlight these fragile and maligned habitats. There have definitely been moments where I think I can’t believe I'm listening to this.”

Accompanied by detailed liner notes that explain Greenhalgh’s findings and the implications of acoustic ecology in freshwater monitoring, Mardle is a perspective-shifting, mind-expanding missive from the shallows of one the most familiar and overlooked ecologies on Earth. 






Field recordings by Action Pyramid / Tom Fisher and Jack Greenhalgh
Music and composition by Action Pyramid / Tom Fisher
actionpyramid.com
www.jack-greenhalgh.com

Photographs by Jack Greenhalgh, Amanda Sosnowski, Jon Rulton
Liner notes by Jack Greenhalgh

Mastered by Filip Johánek
Design by Ján Solčáni

Press text by Anton Spice
www.antonspice.com


Thanks to Carl Sayer and Helen Greaves at University College London for bringing us together and guiding our curiosity of pond soundscapes. Additional thanks to Gareth Jones and Martin Genner for supporting the research that this album draws inspiration from, and to the GW4 FRESH CDT for providing research funding.

Release is produced as a collaborative project of the friendly labels mappa and Skupina.

Released by mappa & Skupina as SKUMAP002 in 2023

Submersion

Daylight - Plant Photosynthesis

Michal Vaľko, aka Line Gate makes a return to mappa with his third cassette for the label. Once again the material is deeply minimalist, but shows marked evolutions in the Slovak, Prague-based artist’s unique trajectory. This time comprising two relatively short pieces (compared to the 40- and 60-minute works previously published on mappa), 'Trap' is perhaps Line Gate’s darkest yet.

Whereas previously his works focused on psychoacoustic phenomena, or highlighted the sacredness and timelessness of “the drone”, ‘Trap’ is a personal reflection of the artist’s innermost feelings, and perhaps a mirror that is held up to each listener: disillusionment, hopelessness and apathy have become an ever-present features of the society around us. ‘Trap’ very directly expresses the feelings of being lost, of despair, of wandering and not seeing the end. Vaľko utilises drones and repetitive vocal/instrumental phrases to express the endlessness of these feelings, and his own captivity within them.

The pieces draw once again on the hurdy-gurdy, but also on Vaľko’s processed, sometimes transposed voice. On “Maze I” layers of humming voices and meandering sung melodies form an impenetrable wall of sound, as the voices’ timbres intertwine and overlap, giving rise to fascinating overtones and singular resonances. On “Maze II” Vaľko returns to the earthy sound of the hurdy-gurdy alongside some deep, crooning voices (transposed an octave lower) and embellishes its drones with a performance on glass cups. More than ever, Line Gate's music resonates not just in sonic terms, but also in its deep humanity and social relevance. 






Music by Line Gate
voice, hurdy-gurdy, glasses
linegate.bandcamp.com

Recorded and mixed by Line Gate

Artwork and design by Andon Bakarov
andonbakarov.info

Mastered by Adam Badí Donoval
abdonoval.com

Words by Adam Badí Donoval
Photography by Zoltan Czakó

Released by mappa as MAP044 in 2023

Maze I

A year and a half has passed since Slovak-Hungarian artist Adela Mede self-released her debut album ‘Szabadság’. Its liner notes described it as “a navigation”, a search through “the personal, familial, cultural, folkloric and geographic of her past and present.” Her second album, ‘Ne Lépj a Virágra’ no longer searches; here, she puts down roots and delves deeper into the earthy reality of her home, Central Europe. Mede sings in three languages with newfound conviction and grace – this is an album of profound faith and confidence in the potential of this fertile soil.

Composed and recorded during the last 18 months in Bratislava, Slovakia – a city where three countries meet, where the East and the West collide – 'Ne Lépj a Virárga' translates to “don't step on the flower”. Its themes – budding potential, recognizing the beauty in the ordinary, solidarity, turning despair into hope – emerged through Mede's wholehearted involvement with her community, teaching singing to both children and adults, and various grassroots volunteering initiatives. It features collaborations with local artists, Mede's singing students, as well as fellow Eastern European contemporary artists Martyna Basta and Wojciech Rusin.

Adela Mede embellishes carefully crafted songs with minimalist and folklore influences, but also embraces more experimental approaches. The result is a collection of quite varied yet consistent pieces which highlight Mede's proficiency as a singer, arranger, producer and improviser. It is a grounded, confident next step for the Bratislava-based artist. Whether her vocals are naked, heavily processed, warped and reversed, or looped and layered; whether the production is sparse and minimalist or overwhelming and swampy; none of that changes the fact that the gentle tentativeness of her debut is gone. This is “Central European music”, at its most striking and meaningful: patient, determined, embracing both complexity and possibility. 





Released by mappa as (MAP046) and Warm Winters Ltd. (WW033) in 2023
warmwintersltd.bandcamp.com

Written, produced and performed by Adela Mede
adelamede.bandcamp.com

Accordion by Jakub Smiček
Vocals on track 7 by Marta Canderle

Mixed by Adela Mede & Adam Badí Donoval
Mastered by Amir Shoat

Artwork & photography by Kvet Nguyen
kvetnguyen.com
Design by Aurélia Garová
cargocollective.com/aurelia-garova

Words by Adam Badí Donoval

Special thanks to Jakub Juhás, WORM Rotterdam, NEHERA, Shimona Zdútová, Smiček family

Supported using public funding by Slovak Arts Council

Sing With Me

Hol A Tavasz (ft. Martyna Basta)

When you listen to birds, they usually talk about food, sex/family, or anxiety. If they knew about the true nature of humanity's cruel and exploitative relationship with birds, they would be discussing rebellion. Humanity's current trajectory about birds is to cause the extinction of one-third of all bird species by the end of this century.

This record crystallises the borders between memory, beauty, and anxiety. At the core is an amalgam of all the birds we have met and heard, their sounds synthesised from a blend of memories. Esthetically it simulates the qualities of bird sounds, hitting similar frequential sweet spots. There is a great variety of birds captured here, from high to low frequencies, from solo voices to groups, from birds standing on their own to complex world-building, where the bird voices are part of an ecosystem, becoming one of the instruments.

You could stop there, enjoying this record on a musical level, but it invites us to do one step further, to consider reconfiguring our relationship with the Earth and its inhabitants. To question our impact, and to ask why we need synthetic bird music. Is it just a visionary endeavour or is it because we are failing at fostering a world in which organic birds and other creatures can thrive?

32 artists from the whole world, including our favourite artists from Eastern Europe, have contributed to this compilation both with new and previously released music. Their music is ordered from dawn to dusk and into the night. For many of the artists it's their first time on mappa, but some have previously released an album with us.

🕊🕊🕊
Profits from the record will be donated to the SOS/BirdLife Slovakia, organisation protecting the bird biotops by river Ipeľ, in south of Slovakia, where mappa has been formed.
www.vtaky.sk  





released November 7, 2023

Thank you to Jonáš Gruska, Dialect, Makakinho do Amor, Baldruin, Olli Aarni, Øyvind Torvund, Vic Bang, Grykë Pyje, Tomutonttu, Native Instrument, HMOT, Artificial Memory Trace, Floris Vanhoof, JAB, Cheryl E. Leonard, Mike Cooper, Matthias Puech, Enchanted Lands, Ursula Sereghy, Ecka Mordecai & Malvern Brume, Banana (Alexandra Spence & MP Hopkins), Rie Nakajima, Martina Lussi, James Rushford, Maria Komarova, Misha Kurilov, Kate Carr, Infant, Andrew Pekler, Atte Elias Kantonen, Kensho Nakamura, Felicity Mangan.

Also to labels: LOM, RVNG Intl., Servinakuy, Hubro, Kit Records, Alter, Shelter Press, In Context Music, tsss tapes

Compiled by Jakub Juhás (mappa)

Artwork by Roberta Di Paolo
robertadipaolo.com
www.instagram.com/roberta.di.paolo/

Mastered by Adam Badí Donoval
abdonoval.com

Liner notes by Andrej Chudý
Photography by Zoltán Czakó

Many thanks to Michaela Cagáňová and Luděk Čertík for careful listening, notes, and help with compiling the tracklist.

Released by mappa as MAP045 in 2023

Infant - starlings gulls doves

The post-Anthropocene planet isn’t going to be one without humans. It’s going to be a planet where the interdependencies of nature and man are realigned, the lines between the organic and synthetic blur, and we ultimately become something more-than-human. The rich, mulchy sonic environments of Slowfoam’s Worlding With Earth are the optimistic soundtrack to this realignment, subsuming the human, natural, and synthetic into one shimmering whole. Coming together over the last three years, this luscious music is akin to damp trundles across soggy marshlands and dripping green fern forests, ambient soundscapes scattered with discernible detritus, the odd voice, the odd saxophone. Byrd found inspiration from the ‘worlding with earth’ concept of Donna Haraway, sitting at the crossroads of technoscience and ecofeminism. Its emphasis lies on collaboration with the more-than-human world.

These overtures for an imagined realm synthesise something new by blending electronic sounds with various instruments and field recordings collected in Croatia, London, and Berlin, where Slowfoam’s Madelyn Byrd is currently based. “The word synthesis itself contains a plurality of meaning,” they explain, “suggesting the combination of two disparate entities to create something new, infinitely generative.” The organic/digital beauty of this music toys with such distinctions as natural vs. artificial. Beside, as Byrd asks, “what is synthetic life but an extension of the biological ecosystems of which humanity constitutes a mere fraction?”

Enriched with subtle elements of psychedelia, hopefulness, exploration, and sorrow, Worlding With Earth comprises previously unreleased content spanning 2020 to 2023, elevated with the addition of guitar, vocals, field recordings, and contributions from Sarah Allada (including sax), breathing new ‘life’ to the sounds. 





released December 6, 2023

Composed, recorded and mixed by Madelyn Byrd (Slowfoam)
slowfoam.bandcamp.com

Recorded in London and Berlin in 2022 and 2023, with field recordings from Croatia, in 2020
Saxophone and Accompaniment by Sarah Allada

Mastered by Adam Badí Donoval
abdonoval.com

Cover art by Johanna Bath
www.johannabath.de

Layout and text by Basia Strzeżek
www.instagram.com/balbinka_s/

Words by Tristan Bath
Photography by Zoltan Czakó

Released by mappa as MAP041 in 2023

Silk Song & Viridescence

Phantom Memories, Iambic Limbs

Sporadic Dawning

Soft Montage of Hypotactic Logic

Allowing yourself to find meaning or beauty in the mundane is an act of generosity, Whether it’s seeing a smiling face in an electrical outlet socket, or discerning cosmic design amidst the forest floor detritus, it comes from a place of kindness to yourself and senses – and openness to hidden spirit of the world. These tracks came together during a period of intense personal change for adaa, rooted in a fruitful reflection on the connections between spirit and body, “feeling my flesh so I can feel and understand my spirit,” as adaa puts it. The sense of a crossover and clash of multiple connected realities – on-screens, on-line, on-earth, off-world, after-life – unites adaa’s multifaceted productions.

Ostensibly an assemblage of found sounds. scribbled thoughts and poems from diaries, and musial snippets, the album's scattered production reflects adaa’s own many mirror worlds. Field recording sit behind most tracks, alongside VST synths, guitars, and a variety of voices, from adaa’s own mangled vox to EVP samples taken from YouTube (recorded sounds believed to be spirits or paranormal activity), all processed to varying degrees.

While the music was mostly produced either in adaa’s studio in Providence, Rhode Island, or in bed, the field recordings bring the outside world in. The result of walks in the woods, hum of roads and highways, hiss of beaches, warmth of walks with friends and past lovers “around the East Coast”. It sits behind tracks like ‘sight’ where a lilting piano lin bobs atop a pond of rustling and distant whistles. Is that birdsong? Or ghosts? Saccharine hyperpop arpeggiation crossfades sharply into noise guitar squall. Angelic demon voices yawn into a hefty crescendo. Pure drones duet with gales of undefinable field sounds.

“Sometimes I feel like a seed in frosted soil,” says adaa. “If i choose to be optimistic.” 






Composed, recorded, found and mixed mostly in and around "providence, rhode island" and the east coast of "america" by adaa in various moments between 2021 and 2024
adaa.bandcamp.com
www.instagram.com/adaa_w_w/

Mastered by Adam Badí Donoval
abdonoval.com

Artwork and design by Jaeyon
www.instagram.com/jaeyonjo/

Words by Tristan Bath
Photography by Zoltan Czakó

Released by mappa as MAP047 in 2024
license


heart

For the November show, Skupina & mappa are happy to share a mixtape curated by the Brno-based rapid fire collective favu label, showcasing a cross-section of their catalogue.

🌐 “Outsiders” is our daily show hosted by labels, collectives, venues, clubs, … worldwide
📡 Connect with the Outsiders, every day, at 9 am or 9 pm CET
🔗 kioskradio.com

Outsiders: Skupina x mappa w/ favu label @ Kiosk Radio 03.11.2025

Budapest’s Alley Catss wants m Helux to serve as both a new station in their work and an homage to the new age-influenced and sample-heavy synthesis of previous albums (such as 2020’s "compassion & paralysis", 2016’s ℶ, or 2021’s "exophage"), and it already feels like a genre unto itself: Absurd Ambient. Inspired by the emptiness and silliness of theatrical sets left empty, devoid of action, still and incomplete, m Helux is an awkward place of bleak humour; poured over and yet frozen.

Produced by Máté Janky over the course of late 2023 through to early 2024, this is an unpredictable collage of hefty symbolic audio mysticism, 90s sampling, dub influences, fractured R&B vocals. It’s nonetheless interspersed with the knowing cheesiness of new agey bells and chimes, at times cut up to cartoonish levels, melding their most laughable and wonderful connotations.

Influenced by the likes of Klein, Alley Catss’ collaging and sampling techniques seek to sonify utopic scholastic visual concepts –poking a dose of fun at them along the way.

These seven tracks shimmer and shake, but never rumble. Alley Catss’ sui generis approach creates a beautiful parody of reference genres. Myriad tropes are desiccated and reworked into an exquisite corpse of blissed out sounds and voices. This is maddening music that’s monstrous and pretty, often all at once.



Composed, recorded and mixed by Alley Catss
elodjanky.com
www.instagram.com/711f/

Dedicated to JCH

Mastered by Adam Badí Donoval
abdonoval.com

Artwork by ppillovv
www.instagram.com/ppillovv/

Words by Tristan Bath
Photography by Zoltan Czakó

Released by mappa as MAP048 in 2024

Consume Grey

Water ripples all around, and echoing sounds stretch out into a shady sub aquatic habitat. Its dark corners slowly burst into view as cresting noises reveal fresh caverns teeming with liquid life. This is Sueños Acuáticos, the latest sonic exploration from Lamina, a musical project by French artist, Clarice Calvo-Pinsolle. Built from years of carefully gathered field recordings, the album constructs immersive, detailed soundscapes where watery environments, caves, and forests intertwine with digital manipulations.

Rooted in the myth of the ‘Lamina’, a creature from Basque folklore, the project blends this oral tradition with technology to build a geological myth. The Lamina’s world—a nocturnal ecosystem of water and stone—serves as the foundation for the album’s sound design. Lamina reshapes these natural recordings into something new: stretching, pitching, and layering them to build intricate sound environments that feel simultaneously organic and synthetic. “I transform these sounds much like I would sculpt in ceramics,” explains Calvo-Pinsolle, “by adding, removing material, and imagining landscapes.

Drawing from hydrofeminist and posthuman ideas, particularly those in Astrida Neimanis’ Bodies of Water, the album treats sound like water—shifting, flowing, connecting, and buoying life. Tracks flow into one another without clear boundaries, much like the natural currents they represent. The result is a continuous listening experience, inviting deep focus on texture above melody.

Lamina is exploring the potential of the field recording as a compositional tool. Natural sounds, like trickling water or wind through trees, are processed out of recognition—or cliché. A sense of weightless immersion takes hold as Lamins’a music unfolds, and listeners float freely and choose their own adventure in the Lamina’s home. Less a set of songs than its own evolving environment, Sueños Acuáticos (‘Aquatic Dreams’ in English) is a meticulously constructed work in which we can freely float. 


All tracks composed, recorded and mixed by Clarice Calvo-Pinsolle in Brussels in 2024
With the voice of Mars on Aqualines
www.claricecalvopinsolle.com
lalamina.bandcamp.com
www.instagram.com/laminalalamina/

Mastered by Adam Badí Donoval
abdonoval.com

Artwork and design by Fen ToucheMoulin
www.instagram.com/touche_moulin/

Words by Tristan Bath
Photography by Michaela Cagáňová

Released by mappa as MAP054 in 2024

Dissolution

Two musicians, two different folk music traditions, two soundscapes hundreds of miles apart and one nightingale song. Nightingale melodies inspired this intoxicating folk album by Slovakian flautist Michaela Antalová and Norwegian double bassist Adrian Myhr. The Oslo-based duo’s album follows their meditative 2021 debut Zvony (Bells), which featured harmonium, field recordings of crickets and a Slovak male choir.

Sing Nightingale is a translation of ‘Zaspievaj Slavicku’, a traditional Slovakian song. The duo experiments with this theme of the songbird; exploring instrumentation from around the world and its rich tonal textures. On ‘Night Singing’, Michaela plays a Slovakian fujara, a tall, upright wooden bass flute originally played by shepherds. The fujara’s smooth, deep tones are laid over a recording of a nightingale by musicologist Tomáš Šenkyřík, with Michaela’s flute mimicking the bird’s nocturnal chirps and warbles to attract a mate. Michaela is carefully imitating the bird, who is in turn improvising his melody. In ‘Worm Moon’, named after the springtime full moon in March, when nightingales return from Africa where they have spent the cold winter, Adrian’s slow and resonant double bass is brightened by the sweet trills of a real nightingale and Michaela’s fujara.

The Norwegian Hardanger fiddle or hardingfele, features on two specially written songs; ‘Lament’ and ‘Rosenhave’ (rose garden) which bring together the nightingale’s symbolic associations with undying love, sacrifice, deep sorrow and loss. Celebrated Hardanger fiddle player Helga Myhr plays alongside Adrian’s double bass and Michaela’s seljefløyte or willow flute. Helga also plays on ‘Flagre’ (Flutter) and ‘Dance Nightingale’. The seljefløyte is very similar to the Slovak overtone flute koncovka. By using this Norwegian instrument, Adrian and Michaela’s new compositions are reminiscent of both countries’ folk traditions. Folk music often comes from unknown sources; the original writer may not be known and the melodies are typically passed down orally. Michaela and Adrian’s project merges the different folk musics from their respective countries, finding common ground in the sonic qualities of instruments and evolving a new hybrid folk style, authentic in its own right.

For the stunning adaptation of the traditional Slovakian fujara song ‘Dolu Ovce Dolinami’ (‘Sheep down the valleys’), Adrian’s friend Javid Afsari Rad plays the Iranian santur, similar to the traditional Slovak string instrument cimbalom. By coincidence, Iran’s national bird is the nightingale, making another unexpected connection to the symbolic bird. These 11 tracks are a beguiling fusion of traditional folk styles, approached by musicians from an avant-garde, improv and jazz background. The album pays tribute to a hugely expressive bird and finds a strange, soothing universality in the folk sounds of different countries. 


Adrian Myhr – double bass, harmonium
Michaela Antalová – fujara, seljefløyte, xylophone bar, shaker, voice
Helga Myhr – hardanger fiddle, voice
Javid Afsari Rad – santur

All compositions by Adrian Myhr and Michaela Antalová (except folk melodies on tracks 3, 9, 10 and 11)

Recorded at Maridalsveien 3 in Oslo, Norway by Adrian Myhr and Michaela Antalová, from February to April 2024
Mixed and mastered by Christian Obermayer at Strype Audio in Oslo, Norway

Vocals on track 10 was recorded in the former silo of the sugar factory in Rimavská Sobota, Slovakia
Singers: Anežka Matoušková and Lucie Páchová
Recording of the nightingale singing on tracks 4 and 6 by Tomáš Šenkyřík and Libor Měřínský, kindly borrowed from Skupina label

Design by Richard Hronský and Karola Ainsar
www.instagram.com/hronskyy/
www.instagram.com/paljusateadsid/

Words by Claire Sawers

Released by mappa as MAP053 in 2024


Supported using public funding by Slovak Arts Council

Dolu Ovce Dolinami

Shadows fold into colour. Memory dissolves into noise. You brush up against the walls of the mind. Touch is soft as breath. On ‘B-Side’, Areliz Ramos follows her work’s current into its more “fantastic and elusive… and even romantic” side; a place where fantasy loosens the bolts of reality and memory, and emotion is alluringly refracted into musical collages and loose-strung compositions. Across the album, voices drift in and out of an intimate space, while pensive guitar lines stumble and bloom like scribbled unresolved notes in a diary. Beneath its icy, often chaotic surface, ‘B-Side’ radiates a deep sense of joy and fragility. Ramos sketches out an entire world by free association, collaging notions and echoing quiet thoughts into deeply honest snapshots of daydreams.

Areliz Ramos is a Peruvian producer living in London, recognized for an evocative palette weaving lo-fi and downtempo threads into dreamlike, abstract emo narratives. While her debut ‘Frío’ (Where to Now?), orbited around homesickness and estrangement, ‘B-Side’ embraces imperfection, incorporating her guitar (named "Frank"), pedals, synthesizers, and her own vocal textures for the first time, privileging emotional immediacy over technical precision. The creative process behind this album reflects a conscious decision to let go, loosen control, let intuition lead, and engage her own ‘B’ side.

Rather than constructing a safe haven from hardship, Ramos offers a cracked mirror, staring right at it, embracing that vulnerability. The gentle and beautiful ‘B-Side’ explores fleeting satisfaction, or the elusive comfort sitting just out of sight. 

Composed, recorded and mixed by Areliz Ramos
arelizramos.bandcamp.com

Special thanks to : Ru (AF85) <3, RIP DRARI (½ of Voice Actor), Johann Merel, Joby Bond, Cam Molloy and Mattia Marconi

Mastered by Adam Badí Donoval
abdonoval.com
Artwork and design by Marutonkun
www.instagram.com/marutonkun/

Words by Tristan Bath
Thanks to Michaela Cagáňová

Released by mappa as MAP063 in 2025

Blue, very.

Pohreb (pt. I)

I bid you farewell (from this world)

6 october 2018

Transfiguration

Päritolu

Oblok

Kōri no ryokō (Yoichi's version)

Jäämatkailu (Olli's version)

pocitově kratší

rýhy

skrz

ledabyle

ferity

Shy and Valentine

(Entrance

xxx-xxx-x

xxx-xxx

Exit)

xxx-xxx-xxx-x

xxx-xxx-xxx

xxx-x

liquid cartography
sonic wanderings

mappa.editions@gmail.com

𝟚𝟘𝟚𝟝
MAP059 Lénok - Langue of Tongue
MAP062 Kult Masek & Petr Vrba - Fumarola
MAP060 Yoichi Kamimura & Olli Aarni - Kōri no ryokō / Jäämatkailu
MAP061 Richard Hronský - Pohreb
MAP064 Areliz Ramos - B side
MAP063 Plume Gril - Unnameable Glory
MAP057 claire rousay & Gretchen Korsmo - quilted lament
MAP058 Adam Badí Donoval - a mirror where the image and the mirror wholly coincided
MAP056 fraufraulein - greater honeyguide
MAP055 - Julek ploski - Give Up Channel

𝟚𝟘𝟚𝟜
MAP053 Michaela Antalová & Adrian Myhr - Sing Nightingale
MAP051 michaela turcerová - alene et
MAP052 E/I - explicit isolation
MAP054 Lamina - Sueños acuáticos
MAP049 - Päfgens - Aspect of What
MAP050 - Henrique Vaz - De Silenti Natura
MAP048 Alley Catss - m Helux
MAP047 adaa - …img…
MAP041 Pentu - And I Saw My Devil And I Saw My Deep Blue Sea

𝟚𝟘𝟚𝟛
MAP041 Slowfoam - Worlding With Earth
MAP045 VA - Synthetic Bird Music
MAP044 Line Gate - Trap
SKUMAP002 Action Pyramid & Jack Greenhalgh - Mardle: Daily Rhythms of a Pond
046 Adela Mede - Ne L​é​pj a Vir​á​gra
043 Plume Girl - In the End We Begin
039 Forces - Chim​æ​ras
040 Rob Winstone - sifting through heaven
SKUMAP001 Lucie Vítková - Cave Acoustics
030 Symposium Musicum - Symposium Musicum

𝟚𝟘𝟚𝟚
038 Nighte - Pin down the dust
036 Kensho Nakamura - Electric Rust
037 Andrew Oda - Back To The Body
031 Baldruin - Kleine Freuden
035 CC Sorensen - Phantom Rooms
034 Alexandra Spence - a veil, the sea
033 Manja Ristić - Him, fast sleeping, soon he found In labyrinth of many a round, self​-​rolled
Grykë Pyje - The Fantastic World of Grykë Pyje
032 Atte Elias Kantonen - POP 6 SUSURRUS

𝟚𝟘𝟚𝟙
029 Grykë Pyje - Squirlich Stroll
028 Cucina Povera - Dalmarnock tapes
027 Nick Storring - Newfoundout
025 Lucia Nimcová & Sholto Dobie - DILO
026 Cheryl E. Leonard - Schism
024 Tastin Menu - Stand closer when you have something to say
023 Infant - face first in the entangled

𝟚𝟘𝟚𝟘
022 Line Gate - Apex
021 Andrew Oda - SOTTO
020 Cristián Alvear & d'incise - Bow down thine ear, I bring you glad tidings
019 Vlad Dobrovolski - Natursymphony No​.​1 — Spring Music
018 Felicity Mangan - Creepy Crawly
017 Roman Radkovič Collective - Televize
016 Olli Aarni - Mustikoita ja kissankelloja
015 Sarah Hughes - I love this city and its outlying lands
014 Sébastien Branche - Lignes de Fuite

𝟚𝟘𝟙𝟡
013 Grykë Pyje - Collision And Coalescence
VA: UŠAMI / Sound mapping camp - Gemer Gothic Route
012 IQ+1 - Conversaphone Plus

𝟚𝟘𝟙𝟠
011 Sarah Hennies - Sisters by Lenka Novosedlíková
010 Simon Whetham - Open and Closed Circles
009 MP Hopkins - Aeroplanes & Puddles

𝟚𝟘𝟙𝟟
008 Bruno Duplant, Pedro Chambel - Autofictions
007 Catriel Nievas, Sergio Merce - Pampa
006 Diatribes - Sistere
005 Line Gate - Den

𝟚𝟘𝟙𝟞
004 Sarah Hennies: Orienting Response by Cristián Alvear
003 Daniel Lercher & Vinzenz Schwab - Decrecimiento Exponencial
002 Adam Asnan - Carriers, PA
001 Jeph Jerman - 34​°​111'3"N 111​°​95'4"W

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