Live @ Haiku Fest, UK!

Big fan of Naviar Records here, as I’ve said multiple times before. Now even more, as their crowd have accepted my request to play at the next Naviar Haiku Fest, a celebration of the amazing Naviar Haiku initiative, a weekly challenge to soundtrack a haiku poem.

The coolest thing (if possible) is that this event happens as part of the Norfolk & Norwich Festival, in the United Kingdom. This will mark the first Subespai gig overseas!

If you happen to be around, come check it out? 🇬🇧😉



Subespai vs Rich Machine (video)

Rich Machine (Rich Daddona) managed to record our live improvisation battle back in February for the Sounds Unsound #12 edition. This recording is uncut and unedited and has bodies blocking the camera here and there, room noise, etc, almost like being there! Enjoy 🙂

More news about “A deafening silence”

This week, my latest work “A deafening silence” got reviewed by the talented Roland Torres from the French music blog drawing parallels with Christian DelplanquePan Sonic and the late solo work of Mika Vainio, quite humbling comparisons 😳

Here’s an excerpt of the article, translated by me for you:

Subespai offers silence to own the space without disappearing / appearing, combining the small variations on floating drones to become hypnotic. A transversal EP linking oblique experimentation and sonic meditation.

Very strongly recommended.

And here’s the link to read it all (in French, of course): A deafening silence – Huge thanks to Roland for the kind words! 👍🏻

Other than this, “Overtime” the first track of the mini-album, has been included in the chemical imbalance label sampler #8 CDR, alongside tracks from legends like Jeremy Hegge, Red Kangaroo and others. Listen and buy from here:


Some media coverage for “A deafening silence”

First up: “Overtime”, the first track of my last album “A deafening silence” released by chemical imbalance, was included in the last edition of the podcast Abstract Paradigms, a show focused on experimental and underground music in Melbourne and surroundings, perfect to keep in the loop with regards to the aussie scene. You can listen to this edition of the program here.

Then, the album got a beautiful and in-depth review by Rowan Blair Colver from The Electro Review. This is an excerpt:

Silence fades over the sound like a blanket of sleep, allowing the final number to clear its throat. As the airwaves become ever more still in between the art, reflecting on the music allows a non-judgemental appreciation of the uniqueness and novel element from which it grows. Although many artists work in abstract and experimental sound, it takes a lot of courage to strip it down to bones such as these.

And you can read the full review here in this link.


Backwoods, a collaboration with slow creations

Subespai is mainly a solo project, out of comfort and actual fear of how talented everyone else is. From time to time though, I manage to get over this fear and dare to collaborate with other artists.

Sometimes it’s musicians, like the recent live improvisation with Rich Machine, or Moonlit Falls, the hopefully first of many split promo records with my good friend jwptn. And then sometimes, I get the privilege of working with visual artists like Danraebru or, this time, with slow creations, the queen of dyed fabric and old natural photography, all the way up from Stockholm, Sweden.

Managed all through Instagram and messaging, we agreed she would collate a slideshow of her pictures, pics that I’ve been hooked to since I discovered her account back then when I was barely posting random pictures in my own profile. With that slideshow in hand, I would try to soundtrack, and see what happened. As expected, given the eerie flair of Petra’s forest photographs, the soundtrack has an ominous overarching feeling, very organic in design. Svarte Greiner’s Moss Garden in my mind when I was composing this.

Hope you enjoy watching/listening this as much as I do enjoy following Petra’s works, which you should follow too!



A deafening silence

A milestone. A proper record label has released my works. Sydney’s chemical imbalance. is only 3 years old, but has already more than 70 experimental titles in its catalog, and my latest mini-album is the number 74 in this vast and rich collection.

“A deafening silence” is made of two tracks, fifteen minutes of cross-over between noise and ambient, microsound and electronics, painting two mundane scenes in which silence is uncommon, and doesn’t really exist as such, revealing a world of small sounds, unknown in origin, but as constant and powerful as their louder siblings.

Limited cassette release to twenty copies, it’d be awesome if it were to sell out, as that would send the message to the label and to the world that my stuff is worth publishing. If you want to help here, you can buy the record from this link:

More information on this release in its project page: A deafening silence