Experimental

Honest Thoughts on the Past that had Lead to Now and Never.

by A.J. Kaufmann



My first solo cassette was recorded in 1998. It was awful. I had some good ideas for a kid, but no talent at all, maybe except a knack for lyrics, and a bit of a gift for classical guitar and bass, definitely not for singing. I was also interested in much different music than most people my age in Poland back then. That’s why it took 4 years to form my first band in 2002. To take the shortcut, it took 9 more years to release my studio debut album “Second Hand Man”. In 2012, I started Sauer Adler, my second real band. And to take the shortcut again, in 2022, I formed Psychedelic Mayhem, and in 2024, I formed Bezkwit. Along the way, I also jammed, recorded, played, composed, and improvised whenever and wherever possible, with whoever was available at the time. That, through many shortcuts, takes us directly into the once-very-futuristic year 2026 (certainly around 1998).

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On The Spur Of The Moment

by Hugo Espírito Santo

têmpora - hugo espirito santo


Dissipation, flow, forces in flux. With têmpora, I dive back into my musical universe, taking listeners on a journey through dark, gloomy electronic soundscapes. têmpora explores the idea of fluidity and stillness in motion, while being deeply influenced by ambient, minimalist, and concrete music.

This new project, mostly instrumental, is the result of 12 months of experimentation with synths and sound collage. The ethereal atmospheres and soundscapes serve as a representation of the abstract, non-linear forms that constitute the core of the artist’s usual visual work. têmpora follows the raw ideas and textures of my previous project, debris (ep, 2024).

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String Decay: Inside “CrIspP,” My Collaborative EP with Aymantium

by treeholder


Music is often perceived as an act of pure creation. However, for our new collaborative EP CrIspP, my partner Aymantium and I wanted to explore the primal beauty of decay. The central concept underlying the entire release is dark, surreal, and provocative: the decaying body of Jimi Hendrix. It serves as a metaphor for the disintegration of traditional guitar-driven rock music, left to decompose and mutate into a chaotic electronic ecosystem. To bring this vision to life, I took Aymantium’s original tracks and completely turned them on their heads. I pulled apart the seams of his arrangements until his guitar work literally turned to dust, assembling these sonic particles into something utterly alien, fluid, and heavy.

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Reviving the Past, Colliding with the Present: An Organic Experiment in Sound

by Ayman a.k.a. Aymantium

Aymantium - Grossobalia


Recorded on Saturday, December 6th, this album is a fully organic exploration of rhythm, memory, and improvisation — no MIDI, no digital manipulation, just hands, found objects, and a willingness to discover. Percussion led the way: it was the initial spark that pushed me to create something as raw and immediate as possible, letting the sounds emerge naturally through the act of playing.

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Who are the demons of this time?

by Giacomo Pedicini

Like inside a mirror. On one side the artist, on the other the critic. It is a mirror game. A sending back and forth of suggestions, echoes, signs. Both on the way towards the imaginary.
(Gerardo Pedicini – Dentro lo Specchio)

This quote is my starting point to approach the review of “Hard Boiled”, an album produced and played by me for Liburia Records – giving me the opportunity to investigate the hidden reasons in my music after reflecting on these words.

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Living in the Now

by J V W N


JVWN — which stands for Just Vibing With the Now — is more than just a name; it’s a whole vibe, a way of life, and a philosophy that defines how we make music. We’re all about being present in the moment, letting the energy around us guide what we create, and finding inspiration in everything happening right now. Each of us brings something unique to the table, but together, our approach to music is one of freedom, expression, and constant growth.

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Electric Birds

by Nathan Plante

Nathan Plante
© by Beate Waetzel

My life as a musician started at a young age in the handbell choir of my family’s church near San Diego, California. I remember that I couldn’t yet read music, so one of the elderly ladies in the choir would take a highlighter and mark the notes in the music I was responsible for. A few years later, I picked up the trumpet in school and never looked back — no more handbells for me, and at some point, no more church.

Fast forward several decades later and I’m making a living as a professional musician. Despite many years of playing contemporary music and working extensively with living composers, it never occurred to me to write my own music. I wasn’t even sure what „my“ music would sound like. Even improvisation was something I shied away from – I was perfectly happy interpreting the music of others.

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Painting the Soundscape

by Charlie Wright

Charlie Wright - Painting the Soundscape


There is often an expectation that great work comes only from deep intention. That it is birthed from the mind of the artist, fully formed. Picture the romantic image of Mozart, writing out his scores fully formed with no eraser marks. I find this to be a harmful narrative that can hinder creatives.

Just think of how many great improvisers we can look to and see their apparent musical genius. For example, just about every great jazz musician. The point that I am getting to, albeit in a roundabout way, is that it is okay not to know the end result when you start something creative. And it’s even better if you can begin to without expectation.

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Classical Crossover Music on the Theme of Belonging

by Sam Joseph Delves

Sam Joseph Delves


As an established composer of music for picture, my writing has been featured in documentary series throughout Europe. But for my debut EP, “Content”, I wanted to take a new approach.

In the last few years, I’ve had to travel a lot. Capturing sounds from the various places I’ve visited and putting them together into this EP has been therapeutic, like keeping a journal.

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A Sort of Musical Debris in the Form of Eight Tracks

by Hugo Espírito Santo

Hugo Espírito Santo


It all started for me in the mid-2000s as a pre-adolescent who had fallen in love with hip-hop culture in all its forms. After a few attempts at beatmaking throughout my teens, life eventually led me to cinema, visual arts, and abstract painting.

But the enthusiasm for (making) music never left—hence the debris EP. This project is the result of six months of experimenting with synths and plugins. It is a sort of musical debris in the form of eight tracks inspired by minimalism, time perception, and the soundscapes of daily life.

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