Collections
Six editorial lines, indicative and evolving. A single work may belong to more than one collection.
Folclorum Imaginarium
Imaginary Folklore
Electro-acoustic music drawing from traditional repertoires worldwide — not to reproduce them, but to displace, reactivate, and mutate them. Field recordings, acoustic instruments, electronic processing. A sonic archaeology oriented toward what has not yet happened.
Ars Moriendi
The Art of Dying
Radical, uncompromising music. Noise, punk, industrial, post-punk, abrasive experimental. The legacy of "& no future" as an aesthetic stance, not nostalgia. Works that refuse comfortable listening without refusing form.
Popinator Experrectus
The Awakened Tavern Guest
Contemporary electronic music for dancefloors and headphones. Acid, techno, footwork, UK bass, club mutations. But also more intimate forms — bedroom, ambient dancefloor, nocturnal electronics. Pop codes displaced: recognisable, but off-centre.
Symphonica Electronica
Electronic Symphonic Music
Western musical heritage encountered, hijacked, reinterpreted through electronic tools. Radical covers, register collisions, improbable reorchestrations. From baroque on modular synthesis to classical in hardbass — electronics as an instrument of critical reading of the canon.
Corpus Sonorum
Sound Matter
Sound art and musique concrète oriented toward raw sonic materials: organic, industrial, artifactual, speculative. Recording as gesture. Editing as composition. Sound extracted from context, transformed, aged, or pushed into abstraction.
Viva Vox
Living Voice
The human voice in all its states — living, archived, artificial, found. Sound poetry, spoken word, song, vocal performance, synthesis and processing. Speech archives, reworked historical recordings. The voice as raw material and as a site of memory.