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• Management: seb@iwaad.de

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Fragile piano notes on a bed of abstract noise. Silent Noise Revolution is a project of belgian composer Jan De Block.

Minihi is the creative outlet of percussionists and composers Zands and Louise Anna Duggan.

Together, they create a uniquely percussive take on contemporary instrumental music by blending mallets, piano and bell-like textures with earthy drums and bubbling synths. The London-based musicians construct vivid soundscapes where the classical palette intersects with the world of groove and electronics. 

Their debut track 'Tokaido' was released by Deutsche Grammophon as part of Project 12 || Alternative Classical, Post Classical, Modern Classical 2020. In Spring 2021 the pair went on to release their Debut Album, 'Recaptures' on Berlin label Unperceived Records.

Minihi’s tracks have had radio play on BBC Radio 6, BBC Radio London, Soho Radio, Scala Radio, Worldwide Radio, and international radio stations across Germany, USA, Canada and Japan. They have also been on several Apple Music and Spotify editorial playlists including Classical X, Ambiente, Classical Edge and Classicaltronics.  

The pair perform and record individually and together with artists including Agnes Obel, Glaya Bisengalieva, Melt Yourself Down, Hatis Noit, Lady Gaga, Thom Yorke, London Contemporary Orchestra, Royal Philharmonic, Angus MacRae, Kae Tempest, Dan Carey, Alex Somers, Voces 8, Nicholas Brittel, Daniel Pemberton, Michael Giachinno, Jed Kurzel and many others. They have also composed bespoke pieces for theatre, TV and film including an upcoming ITV series and a BBC immersive Dr Who show.

Minihi means sanctuary in ancient Breton French, and is the original name of a remote island reef near Louise’s birthplace of Jersey.

French Music Composer & Sound Designer
Member of SACEM (France) / Music ©PierreOberkampf
For sync and licensing :  pierre (dot) oberkampf (at) gmail.com

Pierre Oberkampf is a French composer and sound designer. 
As a multi-instrumentalist, he signed the original music of more than 50 short films including "And then the Bear"  (Fr. L’Heure de l’Ours) directed by Agnès Patron (in competition at the 2019 Cannes Film Festival, César 2021 for best animation short film, best original score at Music&Cinema Marseille Film Festival).
He recently collaborated with directors Marie Larrivé (Noir-Soleil / César 2023 nominee),  Tal Kantor (Letter to a pig / Oscars 2024 nominee), Florence Miailhe (Papillon / World Premiere and Crystal Bear at Berlinale Generation 2024), Shuchi Talati (Girls will be girls / World premiere and 2 awards at Sundance Film Festival 2024), Maya Dreifuss (Highway 65 / World premiere and grand prix at Reims Polar film festival 2024) and Raphaël Jouzeau (Les belles cicatrices / World premiere at Cannes Film Festival 2024).
Pierre is also a Berlinale Talents 2024 alumni.

Creator of ambient soundscapes, unnerving atmospheres and repugnant noise

Raised in a small village in the very north of the Netherlands and currently residing in Utrecht, Feitsma essentially contributed new nuances to the ever-increasing scene of piano-driven music - an instrument he started to sink his teeth into at an early age already - with his 2019 debut “Under“. The album combined the timeless with the contemporary, offering an intense ride which instantly triggers a palette of emotions among the audience they weren’t aware they were hiding. Two years later, Feitsma’s exploration of the manifold possibilities to manipulate and exhaust his trusted piano continues with a 15-track album titled “Flux“, which feels like the logical successor to “Under“, even though it isn’t shying away from subtlety breaking fresh musical ground. The music of Joram Feitsma is an elaborate affair, it’s deeply heartfelt, it’s sensual, it’s ambivalent, it’s volatile, it’s stunningly beautiful - it’s a work of transience that’s here to stay with the power to emotionally destroy you in the best possible way.
–	Sven Fortmann, Lodown Magazine, on Flux and Under

Plentiful in its exhortation, rich in its search for the meaning in emotion while the accompanying instrumentation seemingly feels restrained, poignant to the point of haunting intensity. Even the playing is exhilarating when it is being quiet. The thing about experiencing Stroom is the sheer quality of detail. As if each note means something on its own, as if each piece occupies exactly the right time. 
–	Greg Fenton, Magazine Sixty, on Stroom

Live:
13/9/25 - Nijmegen, Stevenskerk
20/9/25 - Deventer, Schouwburg Deventer
3/10/25 - Eindhoven, Podium Ongehoord
4/10/25 - Arnhem, Rozet
19/10.25 - Bergen op Zoom, Markiezenhof
1/11/25 - Venlo, Co. de Cultuurontwikkelaar
16/11/25- Hoorn, Rozenkruis
11/12/25 - Tivoli, Utrecht

Digging music since 1992.
Writing / Streaming @ Qombo Magazine

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