The day after the performance of Einstein on the Beach, Moor Mother returns for a duo set with cellist Mathis Mayr. Camae Ayewa, better known as Moor Mother, moves between poetry, sound and research, exposing how colonial histories remain active in the present. Her latest album, The Great Bailout, takes Britain’s compensation for slavery as its point of departure: a state loan, repaid until 2015, that compensated slave owners rather than those who were enslaved. Voice and cello meet without fixed roles: text, tone and noise pressing against each other in real time.  

Razen starts from sound itself. Their latest album Stained Glass Starling, recorded in a living room and largely captured in single takes, presents music in its most concentrated form. Brecht Ameel, Kim Delcour and Dick van der Harst, together with Berlinde Deman and Paul Garriau, build a field of sound as a painter would: layer by layer, with attention to tension, texture and nuance. With a wide range of instruments, including the erhu and Javanese kacapi, the sonic landscape shifts almost imperceptibly.