EXUVIE - LP
2026
-OUS Records
«I am interested in the quiet resonance of what is no longer, yet still vibrates.»
The tension between matter and memory is what Noémi Büchi was interested in when she wrote and recorded her third album, titled ‘Exuvie’. Derived from the latin word exuviae, meaning ‘what has been shed’, exuviae refer to the empty skin or shell left behind after a metamorphosis. This casting of skin leaves behind a trace of a body that has changed form, what remains is a fragile imprint of an earlier self, suspended between absence and renewal. What remains after a transition is a state where the past, the now and the promise of a future overlap and create a space moulded by traces and promises.
Exuvie is about the processes of metamorphosis, and the slower rhythms of the body. The album is an exploration of musical and non-musical memories hidden within ourselves, inscribed somewhere in and under our skin.
Büchi combines echoes of video game soundtracks, anime music, pop music, and late Romanticism. Developing her musical language, that combines orchestral elements with electroacoustic spectral layerings, further, Büchi integrates elements from popular music and emphasises unpretentious rhythmical repetitions. These fragments, shifting between the personal and the cultural, form an architecture of remembrance, a fragile skin suspended between temporalities.
2026
-OUS Records
«I am interested in the quiet resonance of what is no longer, yet still vibrates.»
The tension between matter and memory is what Noémi Büchi was interested in when she wrote and recorded her third album, titled ‘Exuvie’. Derived from the latin word exuviae, meaning ‘what has been shed’, exuviae refer to the empty skin or shell left behind after a metamorphosis. This casting of skin leaves behind a trace of a body that has changed form, what remains is a fragile imprint of an earlier self, suspended between absence and renewal. What remains after a transition is a state where the past, the now and the promise of a future overlap and create a space moulded by traces and promises.
Exuvie is about the processes of metamorphosis, and the slower rhythms of the body. The album is an exploration of musical and non-musical memories hidden within ourselves, inscribed somewhere in and under our skin.
Büchi combines echoes of video game soundtracks, anime music, pop music, and late Romanticism. Developing her musical language, that combines orchestral elements with electroacoustic spectral layerings, further, Büchi integrates elements from popular music and emphasises unpretentious rhythmical repetitions. These fragments, shifting between the personal and the cultural, form an architecture of remembrance, a fragile skin suspended between temporalities.
LIQUID BONES - EP
2025
-OUS Records
In the heat
gesticulate elastically
their bodies
disappointing the desire to last.
With 'Liquid Bones', Noémi Büchi marks a directional shift in her approach: while her previous albums put structure in the foreground and distinguished themselves through high density, the new material seems lighter and even playfully teases the listener with pop elements, albeit without loosing the conceptual depth that has carved out Büchi's singular position in today's musical landscape.
The piano, an instrument Büchi has been embracing for the better part of the past two decades, serves as a recurring theme on the five-track EP. Serving as a form-giving and shape-shifting instrument, Büchi extracts a diverse range of sounds: a leading motif, a voice-like element, percussive patterns, atmospheric textures. These are combined with minimal electronic transformations, orchestral sounds, crisp digital textures and Büchi's signature method of punctuating the compositions with noise accentuations, thus creating a highly dynamic listening experience.
The closing track, finally, introduces Joséphine de Weck's poetic voice, adding an intimate layer to the EP. Actress and writer de Weck has been the 'face' of Büchi's current audiovisual live show, in which she grants a seemingly intimate view into the actress' mind. Their track 'Fair Enough' expands this collaboration to the next stage.
As a whole, 'Liquid Bones' continues Noémi Büchi's study of matter, form and structure. By examining their impermanence and transience, Büchi emphasises the temporary nature of being.
2025
-OUS Records
In the heat
gesticulate elastically
their bodies
disappointing the desire to last.
With 'Liquid Bones', Noémi Büchi marks a directional shift in her approach: while her previous albums put structure in the foreground and distinguished themselves through high density, the new material seems lighter and even playfully teases the listener with pop elements, albeit without loosing the conceptual depth that has carved out Büchi's singular position in today's musical landscape.
The piano, an instrument Büchi has been embracing for the better part of the past two decades, serves as a recurring theme on the five-track EP. Serving as a form-giving and shape-shifting instrument, Büchi extracts a diverse range of sounds: a leading motif, a voice-like element, percussive patterns, atmospheric textures. These are combined with minimal electronic transformations, orchestral sounds, crisp digital textures and Büchi's signature method of punctuating the compositions with noise accentuations, thus creating a highly dynamic listening experience.
The closing track, finally, introduces Joséphine de Weck's poetic voice, adding an intimate layer to the EP. Actress and writer de Weck has been the 'face' of Büchi's current audiovisual live show, in which she grants a seemingly intimate view into the actress' mind. Their track 'Fair Enough' expands this collaboration to the next stage.
As a whole, 'Liquid Bones' continues Noémi Büchi's study of matter, form and structure. By examining their impermanence and transience, Büchi emphasises the temporary nature of being.
DOES IT STILL MATTER - LP
2024
-OUS Records
«The new avant-garde isn’t about creating something that doesn’t yet exist, it’s about abandoning and confusing rigid genres. I want to open up, in order to both abolish and reconstruct the musical past.»
Noémi Büchi’s album ‘Does It Still Matter’ completes a series of releases whose titles - ‘Matière’, ‘Matter’, and ‘Does It Still Matter’ - place the physicality of music in the center of attention. Büchi’s specific sound structures and aesthetic choices question the state of materiality in a world that is becoming more and more fluid and intangible.
From ‘Matière’ to ‘Matter’, Büchi subtly transferred from a focus on substance to questioning the enigmatic core of
being, passing from a noun to a verb, and from a single word to an inquiry. ‘Does It Still Matter’ weighs in on the importance of questioning. Her pieces juxtapose multi-layered analog synthesizer textures, crystal clear sounds and almost brutalistic noises, while they unfold in compositional structures akin to pop songs. Driven by an orchestra of myriad parts, her music creates transcendent intonations that resonate deeply with the listeners’ bodies. A daring blend of complexity and accessibility are molded into captivating sound sculptures that challenge and intrigue listeners alike.
Deviating from conventional time divisions, ’Does It Still Matter’ immerses listeners in a discordant succession of elements, and guides them towards an eternal present that erases the past with each new revelation, while maintaining it through recurring themes that serve as intimate memories. Büchi’s avant-garde approach rejects predictability, inviting listeners to immerse themselves fully in the present. Everything starts anew at any given instant. Each musical idea exists for one precise moment, rendering the future unpredictable.
‘Her compositions resonate like an infernal machine, questioning the instantaneous dissipation of everything. Finally, echoes and fragments of sounds remain, haunting memories like ghostly companions ’Does It Still Matter’ is an immersive experience that invites listeners to contemplate the impermanence of our world and the enduring power of sound.
2024
-OUS Records
«The new avant-garde isn’t about creating something that doesn’t yet exist, it’s about abandoning and confusing rigid genres. I want to open up, in order to both abolish and reconstruct the musical past.»
Noémi Büchi’s album ‘Does It Still Matter’ completes a series of releases whose titles - ‘Matière’, ‘Matter’, and ‘Does It Still Matter’ - place the physicality of music in the center of attention. Büchi’s specific sound structures and aesthetic choices question the state of materiality in a world that is becoming more and more fluid and intangible.
From ‘Matière’ to ‘Matter’, Büchi subtly transferred from a focus on substance to questioning the enigmatic core of
being, passing from a noun to a verb, and from a single word to an inquiry. ‘Does It Still Matter’ weighs in on the importance of questioning. Her pieces juxtapose multi-layered analog synthesizer textures, crystal clear sounds and almost brutalistic noises, while they unfold in compositional structures akin to pop songs. Driven by an orchestra of myriad parts, her music creates transcendent intonations that resonate deeply with the listeners’ bodies. A daring blend of complexity and accessibility are molded into captivating sound sculptures that challenge and intrigue listeners alike.
Deviating from conventional time divisions, ’Does It Still Matter’ immerses listeners in a discordant succession of elements, and guides them towards an eternal present that erases the past with each new revelation, while maintaining it through recurring themes that serve as intimate memories. Büchi’s avant-garde approach rejects predictability, inviting listeners to immerse themselves fully in the present. Everything starts anew at any given instant. Each musical idea exists for one precise moment, rendering the future unpredictable.
‘Her compositions resonate like an infernal machine, questioning the instantaneous dissipation of everything. Finally, echoes and fragments of sounds remain, haunting memories like ghostly companions ’Does It Still Matter’ is an immersive experience that invites listeners to contemplate the impermanence of our world and the enduring power of sound.
MATTER - LP
2022
-OUS Records
«Music gives us the illusion that time is not time, but space. It is then that the music transforms from process to object, which I find a very interesting thought; a materialisation of the sound process. Sound is matter.»
Noémi Büchi’s debut album ‘Matter’ captures the tension between growth and decay, consonance and dissonance, mirroring Büchi’s own catharsis through music. Her most personal material to date, ‘Matter’ is an opus of refined, sculpted beauty, one that aims to blur the distinction between ephemerality and physicality. Inspired by late romantic classical music and early 20th century contemporary music, ‘Matter’ is driven by the compositional methodologies of Igor Stravinsky, Alexander Skrjabin, Gustav Mahler and György Ligeti to modern sound forms, adapting and expanding upon their ideas in an awe-inspiring exploration of cutting-edge potency and tactility.
Büchi structures the electronic works that constitute ‘Matter’ in movements, stratifying myriad instrumental parts like the constituent sections of an orchestra. During her work on the album, Büchi engaged in extensive research, obsessively studying specific chords and progressions, and searching for transcendent intonations with resonant properties; complexions of sound with the ability to connect with the listener’s body. Transforming our inner worlds into zones of suspension and levitation, Büchi exposes the listener to intoxicating slipstreams of sound. Prominent voices ascend, tectonic disturbances threaten the foundations, perception and sensation becomes subject to elemental countercurrents and inversions. ‘Matter’ illustrates the fraught pursuit of momentary equilibrium, and makes the fragility of euphoria tangible.
2022
-OUS Records
«Music gives us the illusion that time is not time, but space. It is then that the music transforms from process to object, which I find a very interesting thought; a materialisation of the sound process. Sound is matter.»
Noémi Büchi’s debut album ‘Matter’ captures the tension between growth and decay, consonance and dissonance, mirroring Büchi’s own catharsis through music. Her most personal material to date, ‘Matter’ is an opus of refined, sculpted beauty, one that aims to blur the distinction between ephemerality and physicality. Inspired by late romantic classical music and early 20th century contemporary music, ‘Matter’ is driven by the compositional methodologies of Igor Stravinsky, Alexander Skrjabin, Gustav Mahler and György Ligeti to modern sound forms, adapting and expanding upon their ideas in an awe-inspiring exploration of cutting-edge potency and tactility.
Büchi structures the electronic works that constitute ‘Matter’ in movements, stratifying myriad instrumental parts like the constituent sections of an orchestra. During her work on the album, Büchi engaged in extensive research, obsessively studying specific chords and progressions, and searching for transcendent intonations with resonant properties; complexions of sound with the ability to connect with the listener’s body. Transforming our inner worlds into zones of suspension and levitation, Büchi exposes the listener to intoxicating slipstreams of sound. Prominent voices ascend, tectonic disturbances threaten the foundations, perception and sensation becomes subject to elemental countercurrents and inversions. ‘Matter’ illustrates the fraught pursuit of momentary equilibrium, and makes the fragility of euphoria tangible.
PAROXYSM - LE114
2022
Longform Editions
In this piece composed for Longform Editions, Büchi explores the potential of consonance and dissonance, contrasts rhythmic physicality with disruption and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation.« I am interested in shapes based on these very simple parameters. Concrete sound shapes that I can mould any way I want, like a sculpture, and create relations among those shapes.
I work across genres in my music. Familiar elements from classical music, jazz, folk and also techno can be recognised. There is nature, and the outside world to hear, made of plastic, metal, wood, water and earth. The subject of matter continues to occupy me in my musical work, and I try to get as close as possible to the physical world through sound.»
2022
Longform Editions
In this piece composed for Longform Editions, Büchi explores the potential of consonance and dissonance, contrasts rhythmic physicality with disruption and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation.« I am interested in shapes based on these very simple parameters. Concrete sound shapes that I can mould any way I want, like a sculpture, and create relations among those shapes.
I work across genres in my music. Familiar elements from classical music, jazz, folk and also techno can be recognised. There is nature, and the outside world to hear, made of plastic, metal, wood, water and earth. The subject of matter continues to occupy me in my musical work, and I try to get as close as possible to the physical world through sound.»
HYLE - EP
2022
-OUS Records
Noémi Büchi’s first EP for -OUS, ‘Hyle’ is a reference to an ancient Greek term for ‘matter’ (fire, water, air, and earth) which receives form and determination from outside itself. Balancing elements of electroacoustic music, neo-classical composition, and sound design, ‘Hyle’ unfolds in three compositions that translate ‘matter’ into music. ‘We all are matter, and music is matter. My compositions convert personal and collective memories of trauma and joy into music rooted in emotive resonances and intellectual euphoria’ she explains.
Representing a conscious return to familiar harmonical structures, Noémi Büchi develops the musicality of ‘Hyle’ through chordal aggregations and interstitial spaces. Her pieces are informed by a classical (western) understanding of compositional forms, structures, and textures, transposed to experimental electronic music.
‘Hyle’is a prelude to her debut album ‘Matter’, which will be released on -OUS in 2022.
2022
-OUS Records
Noémi Büchi’s first EP for -OUS, ‘Hyle’ is a reference to an ancient Greek term for ‘matter’ (fire, water, air, and earth) which receives form and determination from outside itself. Balancing elements of electroacoustic music, neo-classical composition, and sound design, ‘Hyle’ unfolds in three compositions that translate ‘matter’ into music. ‘We all are matter, and music is matter. My compositions convert personal and collective memories of trauma and joy into music rooted in emotive resonances and intellectual euphoria’ she explains.
Representing a conscious return to familiar harmonical structures, Noémi Büchi develops the musicality of ‘Hyle’ through chordal aggregations and interstitial spaces. Her pieces are informed by a classical (western) understanding of compositional forms, structures, and textures, transposed to experimental electronic music.
‘Hyle’is a prelude to her debut album ‘Matter’, which will be released on -OUS in 2022.
Ne parle pas de secrets
2020
« The idea was to create an amniotic atmosphere.»
Anecdotal sounds that remind us of specific moments in our lives cross our mind, liquid, metallic, soft, subtle sounds, and dense drones mingle to create an experience of their own, each one embedding itself in the personal experience of the listener.
2020
« The idea was to create an amniotic atmosphere.»
Anecdotal sounds that remind us of specific moments in our lives cross our mind, liquid, metallic, soft, subtle sounds, and dense drones mingle to create an experience of their own, each one embedding itself in the personal experience of the listener.
Le souvenir d’une ignorance essentielle
2021
Drone piece composed for ICST, ZHdK Zürich, Lange Nacht der Musik.
Sequences of glory - sequences of misery - sequences of elysium.
The short ones behind the longer ones - changing between hope, despair, sadness, fear, and ecstasy.
2021
Drone piece composed for ICST, ZHdK Zürich, Lange Nacht der Musik.
Sequences of glory - sequences of misery - sequences of elysium.
The short ones behind the longer ones - changing between hope, despair, sadness, fear, and ecstasy.
MATIÈRE - LP
2020
Light Of Other Days
Noémi Büchi’s debut Ep «Matière» is the result of an extensive study with a modular synthesizer as her instrument of choice mixed with field recordings of sounds and noises surrounding her every day life . Apart from being a student of Electroacoustic Composition and listening to tons of music, Noémi finds most of her inspiration in long nature walks through nearby forests and foggy hills situated close to her bedroom studio.
With her music she leads the listener safely through deep paths of complex rhythms and otherworldly sounds. Her awareness of timbre, nuance and harmonic diversity are constantly matched with her ability to produce fresh and revealing arrangements.
«Matière» is an exciting excerpt from the works and life of a very
talented young artist with a bright future ahead.
2020
Light Of Other Days
Noémi Büchi’s debut Ep «Matière» is the result of an extensive study with a modular synthesizer as her instrument of choice mixed with field recordings of sounds and noises surrounding her every day life . Apart from being a student of Electroacoustic Composition and listening to tons of music, Noémi finds most of her inspiration in long nature walks through nearby forests and foggy hills situated close to her bedroom studio.
With her music she leads the listener safely through deep paths of complex rhythms and otherworldly sounds. Her awareness of timbre, nuance and harmonic diversity are constantly matched with her ability to produce fresh and revealing arrangements.
«Matière» is an exciting excerpt from the works and life of a very
talented young artist with a bright future ahead.
REPRISE R - Digital Album
2020
Reprise R is an album based on piano works of Maurice Ravel placed in a new space.
«By slowing down the piano pieces I discovered the deep sadness contained in them, which I was not able to hear in that way at the original tempo. As if one had to slow down certain things to feel them out better.
I felt that I had finally fulfilled my dream of being in dialogue with Ravel.»
2020
Reprise R is an album based on piano works of Maurice Ravel placed in a new space.
«By slowing down the piano pieces I discovered the deep sadness contained in them, which I was not able to hear in that way at the original tempo. As if one had to slow down certain things to feel them out better.
I felt that I had finally fulfilled my dream of being in dialogue with Ravel.»
Études Métalliques
No.I, No.II und No.III
2018
‘Études Métalliques’ is a trilogy of pieces related in content and sonority, based on pure metal sounds.
A transformation takes place both within the individual sounds and their relationship to each other, also on the level of the comprehensive form of the three etudes. From modus 'agité', the listener enters the state of a seemingly infinite continuity of an almost immobile fluctuation of sound, which, however, never stops moving.
Composed during the master studies in Electroacoustic Composition at the Zurich University of the Arts, 2018.
No.I, No.II und No.III
2018
‘Études Métalliques’ is a trilogy of pieces related in content and sonority, based on pure metal sounds.
A transformation takes place both within the individual sounds and their relationship to each other, also on the level of the comprehensive form of the three etudes. From modus 'agité', the listener enters the state of a seemingly infinite continuity of an almost immobile fluctuation of sound, which, however, never stops moving.
Composed during the master studies in Electroacoustic Composition at the Zurich University of the Arts, 2018.
