Yanik Soland - Walking On Rubber Eggshells (2026)

Brussels avant hub Futura Resistenza invites Yanik Soland back to the fold for a second album of architectural electroacoustic experiments that attempt to bend time and space..

Following stunning records from Stine Janvin & Morton Joh, Musica Mosaica and Oren Ambarchi & Will Guthrie, Basel-based artist Soland's exploration of structure as it pertains to sound fits right in. The music accompanies a solo exhibition at Kunsthaus Baselland, where Soland examined the structure of the building, using the architecture's unique resonances to inform the sound itself. And how that plays out shifts from track to track; on the opener 'Soft Saliver', Soland's voice is funneled through his modular system and interrupted by disorienting pulses and oscillations that play into the room's deepest crevices. But it's a soft opening, the record really starts to open itself up on 'Enryo No Katamari' when Soland project bowed koto scrapes into the reflections, pairing the echoes with Larissa Rapold's stacked choral tones. For 10 minutes, he lets the room ingest these various elements, adding an unsettling synthesized chant and just lightly fluttering the pitch to provoke a kind of sonic motion sickness.

And everything shifts when we hit 'Artificial Fool', an unexpected romp made using what sounds like a flute and some homemade instruments. This nearly ushers us towards the title track, where all of Soland's threads are knitted together: uncomfortable sampled rhythms, nauseous synths and acoustic sounds, everything manipulated to make perfect use of the gallery's cavernous reverb. It's a surreal, genuinely psychotropic experience, exemplified by the brief 'Tanuki', a spry shanty composed from artificial voices, cascading synth plucks and modified bird calls that turns the space into a plasticky island paradise Discrepant would be proud of.