Employing the dynamics of free improvisation, Ben Kaczor and Niculin Barandun bring their critically acclaimed album Pointed Frequencies to the stage.
The performance weaves ambient timbres into an immersive soundscape that evokes intimacy, movement, and contemplation. Balancing beauty and melancholy, stillness and dramatic intensity, the duo crafts an
experience that feels both intimate and expansive.
The live experience is elevated by the exquisite visuals of Marie Sutter, whose fluid abstractions of light reflect the brooding energy and nascent forms of Pointed Frequencies. Her visualizations, structured yet organic,
interact seamlessly with the music, creating a multisensory narrative that resonates deeply.
Rooted in experimental and ambient music, the performance invites listeners into a realm of wordless thinking, leaving space for personal interpretation and connection.

Music composer & sound artist. Michel Banabila releases music since 1983 and has produced musical scores for numerous films, documentaries, video art, theater plays & choreography. His music varies from minimal loop-based electronica, 4th world and neoclassical pieces, to drones, experimental ambient, and punk-as-fuck tape music. In addition to acoustic instrumentation, Banabila uses electronics, field recordings, and snippets from radio, tv and internet.

(Mr. Ray, Ex-Navel) Jari is back in basel. psychpop at its best.

Michael Fiedler, announces his rebirth as GHOST DUBS with 'Damaged,' his first album for The Bug's PRESSURE label.
After his experimental 'Dub Over Science' LPs, the German producer pushes his sound even further with twelve new tracks of dub deviance. GHOST DUBS takes the fusion of dub techno and ambient drone beyond the legacy of Berlin's Chain Reaction label, creating a sound that disintegrates in your eardrums.Machines dominate the mix, yet Fiedler's soulful touch remains, making 'Damaged' a hypnotic, sedated exploration of low-end grooves.

With its blend of bewitching ambience and heavyweight bass, 'Damaged' showcases Fiedler's live dubbing mastery, adding an improvised, chaotic edge to the album. If you crave submerged melodies, narcotic dub, and evaporating beats, 'Damaged' is your perfect entry into GHOST DUBS' spectral soundworld.

In 2019, Yannick Franck's interest in early ska, boss reggae, rocksteady and dancehall has led him to initiate MT Gemini, a project in which he started exploring the many unexpected polarities taking place between Jamaican music and raw electroacoustic manipulations.

He quickly came up with a debut LP which was released on Belgian label Sub Rosa, it ended up in the "10 records of the year" list of the Wire Magazine's Dub section.

MT Gemini is not dub music per se but rather an incantatory deconstruction of Franck's favorite Jamaican tunes, a home laboratory grown mixture of aural mutations infused with strangeness, joy and nostalgia. But above all, a meditation on alterity and the conciliation of opposites.

Phrex is a real one, a connector who's never afraid to lend his voice to the oppressed. Swim has known him for over a decade and is so so happy to finally have him join the gathering! As an artist, organiser, curator, vibe master, he covers the full spectrum of human warmth and beauty. He's also highly dedicated to the transformative power of low end soniks and a killer deejay, which we appreciate.

Luce Clandestina is the ultra-accoustic metaphor for Alessia Li Causi’s sonic research praxis. She's continuously unearthing new gems from the netherworld, dabbling in the obscure, the illusive, the extreme. Her findings are presented in emissions of Il Vago Spazio del Ritmo, a plattform operated on Mutant Radio, and within the Details Sound music library. In communal settings, the spirit is relayed through channels of acid, trance, dub and decay –– sweaty stuff, all of it.

This is an end of night type undertaking.

When the world fades to #000000 and the year flickers like a c̸̬̆̈́o̶̱̓r̷̹̎͠r̴͓̣̕ǘ̴̲͌p̵̰͛ṫ̵̰̠̕ē̷̲̿d̵̗͈̓ file. We gather to hex, to glitch, to rave our way out of a b̸̭̹̉r̷̤̯̈͠o̴̡͋́ͅk̶͚͓̕ȅ̴̩̣n̶̢͛̇ ̴̘̪͂̄y̶̖͑e̴̘͒ä̴̬͎̊ṙ̵̘.̷̧̒.
We invoke the night with h̶͎̓ͅä̷̼̕u̶̟̜͝n̶͍̆t̸̝͛e̷͔͚͝d̵̺̻͒ ̷͓͂̋f̶͕̚ŗ̵̣͗ë̴̪̞́q̸̳̄͠ư̶͕̹é̶͉͇n̷̢͛͘ĉ̷̦̬͑ḯ̸̯è̷͉̃ṡ̵͕͍, echoes like long-lost data packets returning from the v̴͚͛o̴̩͑̓ĩ̸͓̼̐d̴̢̓. Live and Dj sets unfold like whispers in c̴̝͈̔͌u̵̜̝͝r̸̼̂s̸̡̈́e̸͕͋d̴̂̕ͅ ̶̲͔̆̌f̸̻͚̎̔ó̵̻̃r̷̜̉u̵̙͐̋m̸͔͐̇s̶̥͝.
We’re the phantoms of the Web 1.0, the lost souls of a̷̪͆̚b̶̰̅̾ä̸͕͓͑n̴̞̲̊d̶̙̀̿ͅō̴͖͇͗n̵̜̍͗ẻ̸͓̓d̶͖͝͝ ̷̹̼̎̌c̶̟̹͛͝ḩ̶̳̍ă̷͚͍t̷͇̔̔r̷̥̭̚o̷̙̓ö̸̢̜́͠m̶̥̰̐̓s̴͋ͅ, the d̵̞͊o̷͖͘ö̷͖́m̴̬̰̈-̶̩̊s̴̤͓̆͘c̸̢̃ŗ̶̌o̷̹̲͛l̸͚͇̐̓l̸͕͓̾̐e̴̱̣̊̕r̵̩̼͛s̷̰̽̚, the error screens, the souls tangled up in blue.

Brooklyn Bridge brings the feral energy of the underground free party scene to the surface, where hardcore and breakcore collide like restless ghosts. Known for spinning pure, untamed chaos, they’ll take you on a relentless journey across glitching beats and shadowed frequencies.

DJ Coccyx spins the night into an intoxicating web of glitch and doom, breaking bones with industrial bass and dark, fractured beats. Dj Coccyx brings the sharp edge of hardcore straight to the dance floor—don’t expect to leave unscathed.

Endobliss channels spectral noise and beats torn from the depths of the web. Known for twisting breakcore into eerie, ethereal realms, this DJ set is a digital séance, glitching soundscapes and bass hauntings that’ll carry the night far beyond the edge of sleep.

A spectral engineer of sound, ñńńñçćčçłllłpppp crafts an otherworldly live set where order dissolves into chaos. Using FFT analysis to shatter and warp samples, this set will bend reality at the edges, melting familiar sounds into glitch-laden fragments and spectral noise.

Ata Ebtekar, better known as Sote, is an electronic music composer and sound artist based in Tehran, Iran. His deep love for rich sounds and textures spans a diverse range of styles, from hardcore club music to collaborations blending traditional acoustic instruments with electronic elements, as well as solo experimental electronics. Over the past three decades, he has released music on labels such as Warp, Diagonal, SVBKVLT, Sub Rosa, Morphine, and Opal Tapes. On his first album of 2024, Ministry of Tall Tales, Ata intensifies his compositional approach, attempting to process the immense frustration, anger, confusion, helplessness, and fear he has experienced in recent years, largely due to the sociopolitical circumstances in Iran and his surroundings. His latest release, Sound System Persepolis, is a futuristic hardcore album featuring pummeling rhythms and harmonically complex computer music. The album draws its name from Persepolis, the historical administrative center and beating heart of the Persian Empire.

Ján Solčáni is a Slovak sound artist, curator and theoretician working with the phenomena of culture that are perceivable and expressible with sound. He organises a lecture series on contemporary art practice and theory Videogram, is co-founder and curator of music label Skupina, curator of the listening archive Unseen and he organizes activities of the Roman Radkovič Collective.

‘Basta Now. Women, Trans & Non-binary in Experimental Music’ is a non-academic essay by French poet, novelist and music enthusiast Fanny Chiarello.

Basta Now may be seen as an introduction to the extensive experimental music scene of trans and non-binary people and cis women that has never been written about, and which in the end exemplifies a list of 2371 names of femme, trans and non-binary artists and marks the tip of an iceberg of a scene made invisible as a never-ending project.

Playful in form, a careful design with illustrations, photographs and lists, including discographies, also points to the seriousness of the endeavour; Basta Now discusses the challenges of collecting, listening to and - in many cases - describing so many different practices.
‘Actually, the book is mostly an invitation to curiosity. I chose very weird angles or very personal ones to talk about experimental music. But really, it's not exhaustive and I'm a little embarrassed by it because I forgot many people or didn't know about them [before the book was published]. My list is ever expanding.’

Chiarello not only wants to share all these sounds with others, but also find innovative ways to write about them that are more open and less authoritarian.

Basta Now is the first book release from Permanent Draft, a record label exclusively dedicated to TINFA, founded by musician Valentina Magaletti and writer
Magaletti and writer Fanny Chiarello.

In many ways, the book also functions as a symbol for the ‘Permanent Draft’ project, which seems to have dedicated itself entirely to the visualisation and promotion of TINFA (Trans, Inter, Nonbinary, Femme, Agender) at all levels of the music business. The talk and discussion will be held in English. We will be happy to translate on site should you feel more comfortable with German yourself.

Organised with the kind and essential support of Catapult Basel, as a collaboration between Nadiia Rohozhyna & mental load agency.

The conversation with Fanny Chiarello is conducted by Q.U.I.C.H.E Collective — a queer writing collective in Basel founded by Till Langschied.

Following the conversation, we invite you to another premiere: a concert by BOLTS OF LACE (Taimashoe & Vivian Wang).

Since 2005 Simon Whetham has developed a practice of working with sonic activity as a raw material for creation. He uses environmental sound, employing a variety of methods and techniques in order to obtain often unnoticed and obscured sonic phenomena. When presenting work in a performance or installation, for him the space and the objects within become instruments to be played. His artistic investigations have caused him to work increasingly in multi-disciplinary projects, leading his work to become more visual and tangible. He is currently exploring ways to retain physical traces of sound and transforming energy forms.

Simon will present “Channelling” — a kinetic audiovisual project, in which a collection of motor devices salvaged from obsolete and discarded consumer technology is reanimated by environmental sound recordings. In turn, this produces new sounds from the devices, which are amplified using various microphones and techniques. The recordings feature seemingly mundane sound phenomena that occur unpredictably and irregularly in everyday life – passing traffic, wind, doors closing – and also sounds of other machines malfunctioning. Because of this, the movement of the devices is random, variable, and autonomous. This means the relationship between performer and devices is a collaboration rather than a master and servant type situation.

Whetham performs and exhibits internationally, participating in Fresh Winds Biennale 2018 & 2016 (IS), Nakanojo Biennale 2017 (JP), ACC Showcase 2018 (KR), Tsonami Festival 2017 & 2012 (CL), Madeiradig 2010 & 2011 (PT) and Moers Festival 2011 (DE); has a large number of works published through many specialist record labels including Mappa (SK), Crónica (PT) and Line (USA) and collaborates with dancers, musicians, performers, painters and video artists. Simon's practice also covers giving active listening and field recording workshops internationally (most recently in South Korea, UK and Taiwan). This includes workshops for children and young people, which began in Medellín, Colombia in 2013, and has led to larger projects in Norway and Australia, and with unaccompanied minors in a refugee camp in Munich, Germany in 2014.

Sergei Demin is a Dutch, Siberian-born experimental artistm based in Hilversum, Netherlands. Sergei's works combine elements of sound design, technology and music. His recent release 'Digi-Tongue Twister' is a digital take on Crirythme (1958), a poem by François Dufrêne, a French pioneer in sound poetry and décollage art. The poem is meant to be spoken aloud and is a tongue twister that challenges how we pronounce words. In this version, TikToks text-to-speech engine takes on the challenge, reading some randomly generated text inspired by Dufrênes poem. The work looks at sound poetry in the era of technofeudalism, where speech synthesis has become a new form of voice and expression. Yet, it remains a tool — a sound that hides our real voices. These digital voices have become part of our daily lives, changing how we communicate and find entertainment. As digital platforms shape our social and economic worlds, this release asks listeners to think about the authenticity and enjoyment of these synthetic voices while feeding our own voices to the big-tech algorithms.

Evgeny Bylina (b. 1994, Kharkiv) is a cultural theorist, curator, sound scholar, and artist exploring memory and nostalgia through both artistic and academic lenses. Drawing on the concepts of hauntology and "lost futures," Evgeny examines how the past resonates within contemporary sonic cultures, evoking forgotten or repressed histories. His musical works, which he terms "love ambient," blend early gothic and post-punk influences with lo-fi radio electronics and loops of bygone, long-forgotten romantic pop music. Evgeny is the editor of the book series "The History of Sound" at New Literary Observer Publishing (Moscow, Russia) and has been based in Tbilisi, Georgia, since 2022.

Half Princess - Half Necromancer, Dr Dr4kken dreams of world healing by radical kicks and euphoric synths. Beyond the explosive aspect of his live set, the master of Safe Cloud drives the crowds through a sensitive universe at the crossroads of gabber and cyber fantasy. Dr Dr4kken's releases are stamped with a fine-tuned crossgenre approach as he often blends video game melodic references to hard psy basslines, gabber kicks and syncopated rythms. His tracks were released on Casual Gabberz, Muakk, Southfrapp Alliance, Gabber Industries, Hard Trade, Menuise records, Maythey.rise, an of course Safe Cloud Records, which he founded. He also collaborated with Swan Meat, 2at, technopagan and released 3 EPs: Nitrosport, Hydrospheres, and the last one: Contre Club. Dr Dr4kken interprets his tracks live and makes all his shows unique moments of euphoric rave. He makes his tracks sound 200% more powerful and blends it with ultra dynamic mixing technics.

FalseSelf and Antony No Limit are two angels sent down to Earth to spread Acid, Rave, Donk, Hardcore and Trance. Once their mission is accomplished, they return to heaven, leaving their followers dazzled and fulfilled.

Fuelled by the rage of the decolonial, queer and anti-capitalist struggles, BITCHCANIC's sets reflect their anger as much as their bitchy side sprinkled with a dose of acid. They don't hesitate to switch from one style to another to take you into their borderline world. Floor massage guaranteed. Lyrics and sounds from Arabic, Afro-descendant, Latin American and Indian music appear in their selection.

Transitionless is the duo formed by the two co-founders of Cringecore, Crypto Soso and Anesthesia. In their b2b's, they focus on a sharp and varied selection, the initial watchword being literally "transitionless", with no defined style and fluctuating between various genres of electronic music. From trance to bass to gabber, each surprise cover is made from the finest ingredients, some more cringe-worthy than others. Expect fast and furious music, but also more experimental and eclectic DJ sets, combining the fruit of their joint musical research.

Originally from Paju South Korea, bela (they/them) is a musician and a performance artist based in Berlin. They are known for electronic music performance merging pungmul - a Korean folk act rooted in agricultural traditions and linked to past social movements - and vocals inspired by extreme metal. bela shapes pungmul into the ritual for queer rage and grief with sub-heavy distortions and cries. Their LP Noise and Cries, co-released on Subtext UK and Unsound PL in April 2024, debuts their raw vocals for the first time. Spanning over 5 avant-garde basement experiments and 2 grounding lengthy ambient scenes, it comprises a fierce reflection on the precarity of life back in South Korea, queer identity, severance of relationships, and endurance. bela was nominated for the SHAPE+ Platform 23'-24'. They have presented their solo and collaborative works across different stages in Europe including Berghain, Trauma Bar und Kino, Schauspielhaus Zürich, Cafe OTO, A4 Bratislava among many others. They have performed in experimental music festivals CTM Festival(DE), Ephemera(PL), Unsound Kraków(PL), and Rewire Festival(NL). They also premiered their works in European art festivals transmediale(DE) and EVA International(IE). bela is a co-runner of Sorrow Club: a mixed event series spanning from music to non-music.

Rat Section are a music and performance act currently based in London. Formerly active 1989-2001, their recent reemergence came in the form of What Stays In Vegas via Halcyon Veil in November 2023- the first album from Rat Section since the late 90s. Known for placing emphasis on choreography, set design and tailoring each performance to the space has seen them present: Splash Zone, a water based installation at Ormside Projects and 47 Lines Of Vision a modular curtain set up developed during their month long residency at Scythe, Melbourne. If Even For A Moment, The Sax Melts Our Worries Away is a theatre piece and video work that has been shown at galleries in Malmo, London and New York.

Ka Baird returns with Bearings: Soundtracks for the Bardos, an album that intertwines elements of the New York based vocalist, multi-instrumentalist & composer’s ecstatic live performances within minimalistic, visceral compositions that expand in scope and sound through collaboration.
For more than twenty years, Ka has explored the outer dimensions of sound through performance. Extending far beyond their roots in the psychedelic folk movement of the early aughts, Ka is known for their raw, boundary pushing solo performances that bridge experimental sound, performance art, and ritual. Their tool set in the live arena includes extended voice and microphone techniques, electronics, flute and piano. Bearings follows their 2017 debut Sapropelic Pycnic and Respires, their acclaimed 2019 album.

Crude! Ugly! Nefarious! Rough! Obscure! Angry! Harsh! Eerie!

Berlin’s Cuntroaches have defiled countless venues across Europe + the UK with their putrid take on noise-punk-metal, a cannibalistic torrential wall of sound. Since 2015, audiences have been subjected to spewing beer bra harnesses, diaper outfits, empty pet food containers or witnessed band members performing from the inside of a trash bag. They’ve thrown a lot of trash on a lot of people. Cuntroaches released a 12” split record with UK’s Guttersnipe in 2020 and both bands are back as a rare package deal to one-two wallop your eardrums. Cuntroaches released a self-titled full length album on SKiN GRAFT Records earlier this year, check it!

Leeds duo Guttersnipe wield guitar, drums, electronics and voice to unleash brutal rainbow abstraction, smothering the Rock idiom in hyper-accelerated bio-luminescent hysteria! Formed in 2014 with the initial aim to marry the dislocated rhythms of no-wave and noise rock to the batshit insane solos on Reek of Putrefaction by Carcass then churning it out with the intensity of extreme free-jazz and punk. After a few years of hibernation Guttersnipe are back touring and celebrating 10 years with new compositions and new approaches for exploring ever more far-flung regions of derangement, gesture, horror and joy. New LP coming late 2024, so stay posted!

DJ, and label boss of Animalia & Cirrus, currently based in Melbourne, Australia. Kia’s speedy rise to notoriety is no surprise. Although young, Kia plays with the confidence and experience expected of a DJ with many more years under their belt. With a keen ear for bass heavy rhythms, idm and the deeper shades of techno and trance, Kia glides through genres and emotions in exciting and often unexpected ways. Her talent for weaving musical narratives has been recognised by local and international labels, having already constructed revered mixes for Nous’klaer, Truants, c- and Patterns of Perception. Whilst the popularity of these mixes clearly proves her ear for telling stories with music, it’s her bubbly presence behind the booth that really makes her stand out. Kia is an open-eared music digger, searching tirelessly for lost obscurities to pair alongside modern finds and hidden gems by local artists. She wields together her intimate knowledge of local music and attuned ear, bringing it all to a masterful fruition in her record label, ‘Animalia’, with an ambient sub label ‘Cirrus’ recently launched. Beginning in 2019, Animalia is now home to a highly reputable powerhouse of releases, mixes and events which pave the way forward for the future of electronic dance music in Australia. Bringing underground and DIY sounds to the forefront, Kia encourages experimentation and nuance in every release. Bookings at Amsterdam Dance Event, Dekmantel, Sustain Release and Monument festival are a part of a growing list of impressive gigs Kia is being booked for. As she relocates to Europe in early 2023, with a number of exciting shows on the horizon and solo productions in the works, Kia is without a doubt one to keep tabs on.

Scaling the liminal nexus of UK club futurism with tempoless inhibitions and adventurous textures in sound, Piezo explores the kinetic infinites of dance music’s vast permutations. Luca Mucci's output as Piezo revels in the hi-def synthetics of sound sculpting, pirouetting through off-kilter frameworks of total dance crud in a remarkable multiplicity of psychedelic variations. Cast from the embers of dubstep’s heyday and its UK bass counterpart experienced from his native home of Milan, he soon relocated to Bristol enjoying a temporary immersive spell in the city’s legendary sound system culture and vibrant alternative music community. Releases on seminal British labels Idle Hands, Swamp81 and Facta & K-Lone's Wisdom Teeth followed, plus a turn for Orson's Version imprint based out of Berlin. Ansia was founded by Piezo in the midst of this, a label acting as his creative appendage for wild dancefloor tools by himself and fellow club deviants characterised by a mischievous attitude and wry humour to both composition and sound design. It is currently 8 releases deep, featuring a mix of various artist compilations and solo turns from Luca himself, including 2023’s ‘Odd Hooks’ EP. Following that, he makes an exciting debut for kindred dance futurists Nervous Horizon with the ‘Cyclic Wavez’ EP. Remixes and V/A contributions inbetween continue a prolific release schedule. 2020 saw the release of Piezo’s debut album ‘Perdu’ on cult Milanese label Hundebiss, run by PAN affiliate STILL. His most substantial work to date, he channelled his myriad of influences into a versatile suite of tracks traversing technoid UK bass, hypnotic 4th-world textures and heavy sound-design. That same year saw Luca become a participant in the SHAPE roster, a Creative Europe-supported platform for innovative music and audiovisual art, while he also separately collaborated with Milanese artist duo Invernomuto on their BlackMed multimedia project. Piezo weighs all of these influences and experiences together with a ferocious appetite for perc-y wrigglers in his celebrated DJ sets and mixes. Applying his limitless ideology to open ended dancefloor narratives, he traverses quite wild bpms and styles with a remarkable flair best exemplified in sets at Terraforma Festival and Nowadays NYC, and mixes for Crack Magazine, Animalia and DjMag.

Making complex, quickly-paced techno with forward-thinking sentimentalities of the UK club continuum, Kombé is one of the most thrilling up-and-coming producers from Basel. In 2017, he co-founded Somatic Rituals, a label and platform dedicated to showcasing new sounds emerging from Switzerland's young and vibrant club scene. His practice as a DJ and producer is marked by intense tempos and mesmerizing beats that flow together like liquid and strike with the power of lightning. A dedicated community-builder and keen connector of dots, Kombé has collaborated with a range of today’s electronic avant-garde, sharing the stage with DJ Stingray 313, Batu, Jeff Mills, DJ Lag, Carl Craig, and Courtesy. With his debut EP Foreign Exchange brewing, Kombé continues to move forward in the unwavering belief in his artistic vision, driven by a desire to keep redefining boundaries.

Mafou is a Basel-based DJ and producer whose layered sound expands the medium of dance music into otherworldly atmospheres. His debut EP Khezu, released in 2021 on his own imprint Somatic Rituals – co-founded with Kombé and Mukuna – is a percussive workout that’s as hypnotic as it is ecstatic, taking the limitless spirit of techno and pushing it forward to bold horizons. His productions have also appeared on compilations via Rhythm Section International, Grid, and Tilt. Behind the booth, his warm presence and forward-thinking selections add richness and depth to the dance floor. A resident DJ at the renowned Elysia club and with Frankfurt’s EOS Radio, Mafou’s practice as a DJ has seen him tour across Europe, with performances at Tresor 31, Macadam, and RSO.BERLIN. International acclaim has also come from media outlets like Mixmag, PAM, Groove Magazine, Electronic Beats, and Worldwide FM, charting his increasing momentum as one of Switzerland’s most exciting artists.

Over the course of almost a decade, Mukuna has become a significant presence in the Basel dance music scene. As a producer, Mukuna’s music draws from early childhood experiences learning Senegalese drums to map out connections to his own musical heritage. Percussive rhythms continue to form the core of his practice, across his work with Somatic Rituals, the label he co-founded in 2017, and on compilations from Behuá Ic​á​ra, ClubCultureCH and Electronic Beats. His DJ style, refined through his residency at the iconic Elysia club in Basel, blends a diverse range of polyrhythmic sounds, never shying away from surprising the crowd. Time spent in Amsterdam further strengthened Mukuna’s bonds with the European club scene, with performances at De School, Garage Noord, kanaal40, and Rotterdam’s POING CLUB, plus streams with Future Intel and Dekmantel. Always connecting the dots between global sounds and local scenes, Mukuna continues pushing definitions of club music into new and exciting territories.

The improvisations of Nicolas Wolf (drums, strings & field recordings) offer intimate insights into the deeply emotional inner world of the musician from Bern. With a background as both a punk guitarist and a jazz drummer, he developed a love for contrasts, an appreciation for eclecticism, and, not least, a critical questioning of traditions. In the past, he has performed in a duo with a highway, given concerts with a cactus, set boxing matches and basketball games to music, and stayed up all night for solo sleep performances. For his freely improvised solo concerts, Wolf draws inspiration from the day and location, carefully selecting his instruments shortly before the performance, often incorporating the space itself. Music guided by gut instinct, raw and honest.

As a static image is taken by a photographer, the duo captures the instant and translates it into sounds, moods, a feeling or a soundtrack for imaginary landscapes. They worked previously with different photographers per project, each time telling their story with their instruments, their voice or just objects.

Pak Yan Lau - electronics, synth, objects
Audrey Lauro - alto saxophone

Texas-based Craig Clouse, aka Shit and Shine, has been called a genius and a maverick by the Wire. And the Quietus says he’s “uninterested in the self-imposed restrictions of genre.” With highly acclaimed releases on Editions Mego, Diagonal, Riot Season, and others, Shit And Shine have wasted no time clearing away the rubbish whilst cutting up their own path towards giddy bass-heavy shape-shifting dance mutations.

Carlos Giffoni is a Venezuelan experimental musician and writer living in Los Angeles. Carlos came up on the scene as a noise guitar player in the late 90s, with the noise rock band Monotract, as well as solo and collaborations, but quickly pivoted into electronic music composition in the early 00s with milestone releases on Important Records and his label No Fun Productions. The Venezuelan artist's solo and collaborative work with musicians like Thurston Moore and Lee Ranaldo from Sonic Youth, Nels Cline from Wilco, Jim O'Rourke, and Merzbow has earned him a reputation as one of experimental music's most-known contemporary performers. From 2004 to 2010 Carlos’ transnational avant-garde music summit No Fun Fest, and celebrated New York record label No Fun Productions, vitally propelled the trajectory and strengthened the cultural camaraderie of noise and improvised music worldwide. Carlos's new record 'Dream Walker' will be released on Ideologic Organ in the Spring of 2024. His music has also been featured in fashion shows and promotional campaigns by Jil Sander, Ermenegildo Zegna, and Prada.

frixie regex (kleinbasel) is a noise duo designed to serve shit & shine — michael kunkel (rickomat, soprano sax, mini synth) and daniel steiner (voice, drums, larynxophon). in their first show they present hits like reeds smelling like a man, larynx release them, eating a bat from hell. reign above all, mighty shit and holy shine.

Keep Your Aura Charged

°°° 7 x 12 minutes of drone music

As the days are flooded with light that seems to get darker and darker, I found refuge in a compositional practice that unites deep listening and meditation with the very essence of music itself: somatic stimulation using vibrations. Recognizing that we and the world around us are nothing but vibrations/oscillations, drone music can get in touch with a profound aspect of our ways of being. Calmly and urgently, it has the power to animate the connection between things and critters, between matter and spirituality. It enables us to get in tune with our surroundings and with each other. «Keep Your Aura Charged» is 7 x 12 minutes of drone music I created in a short residency at La Becque. Bringing this to a live context is an attempt to create a non-dogmatic ritual for collective introspection and to open ourselves to empathy, a wordless mantra to stay hopeful.

Pavel Milyakov is an electronic artist and music producer from Moscow, whose contributions have seen him rise as a formative figure of Russia’s electronic music scene.

Summoning the pseudonym Buttechno for his extensive research and hyper-focused framing of rhythm-based music, he has performed at venues such as De School, Bassiani and Berghain.

2019 saw the artist confrm his position on the international scene, gracing esteemed festivals like CTM, Terraforma and Berlin Atonal, where he showcased an outstanding exploration of sound and light.

Recently his focus has shifted toward experiments released under his birth name Pavel Milyakov. Here he fnds a more experimental angle, creating abstract and freeform pieces that refect his desire to create complex conceptual works, where sound sits alongside visual artwork representing the music across varied spaces using the possibilities of both sound and light.

Milyakov’s most recent work is the forthcoming double LP “MASSE MÉTAL” on Will Bankhead‘s Trilogy Tapes label, a record which best embodies his current sound and approach to music.

Hannah Weinberger studied at the Zurich University of the Arts, where she graduated in 2013 with a Master of Fine Arts (specialization in Media Arts).

Hannah Weinberger creates immersive experiential spaces, whether through associatively condensed sound and video installations that blend into an overall composition across multiple channels, or through orchestrated live musical performances that aim at a collaborative, process-oriented and open-ended art production. For the multi-layered sound and video collages, she draws on her constantly growing archive of sound and image material, which consists of prefabricated sound elements from online databases, digital audio programs and studio recordings as well as her own field recordings – personal snapshots in moving images that the artist captures on her travels with a digital camera. The moods that the artist evokes with her works are also processed into scores with which she guides musicians to improvise freely, and which combine with her own soundtracks in site-specific live performances. Hannah Weinberger’s artistic practice is about resonating with the environment and achieving a subtle but reverberating break with familiar perception.

Simeon Sigg lives and works in Zurich and Burgdorf. His artistic practice ranges from installations and sound design to sound performances and music publications. His focus is on compositional challenges in various contexts. He usually enters into a dialog with landscape, space and audience through sound production and processing.

With a focus on experimentation, WAT TAKLEAW creates textures by combining elements of feedback, tape, field recordings, and various instruments.

Drawing inspiration from Thai heritage, the artist's name holds significance as ‚wat‘ translates to 'temple‘, symbolizing a spiritual connection to the craft. Additionally, ’thakleaw' derives from a Thai boy name, associated with the concept of militancy.

The debut release 'Pillars of the Apex,' on the Zurich-based label Webarchive, takes listeners on a captivating journey of introspection and ethereal exploration. Each track unfolds like a chapter in a story, inviting listeners to explore the depths of their own imagination and delve into the realms of mystical beings.

YRLNG is a new project by Gilles Aubry, dedicated to ambient and abstract electronic music. The
album Rbia, Harsha, Cinta was released on Antibody in June 2024 and features eight tracks of
haunting voices and analog textures. Described by BBC3's Late Junction as a « dark hymn for
endangered seaweed species », the album is a reworking of Aubry's 2022 experimental film
Atlantic Ragagar, which explores seaweed and pollution in Morocco. In live performances,
YRLNG improvises on modular synths using material from the album.
Gilles Aubry is a Swiss musician and sound artist based in Berlin. He creates experimental
compositions using field recordings, electronic manipulations, and feedback processes. He is also
known as a member of the Berlin-based noise collective MONNO, which released five albums
between 2003 and 2015. As a sound artist, Aubry's practice includes film, installation, radio, and
performance.

Auslotungen. Das ist wohl die beste Umschreibung für das, was hier passiert. Auslotungen in Sound und Struktur, in Harmonie und Disharmonie. Das klingt entsprechend… sperrig, eruptiv, manchmal brutal, oft auch ruhig und sanft. Es klingt aber nie unspektakulär, nie halbherzig, nie unüberlegt. Hier haben sich drei einander ergänzende Klangtüftler und Freigeister gefunden.

Christoph Erb — tenor- and soprano saxophones

Magda Mayas — clavinet

Gerry Hemingway — drums

Merve Salgar and Anil Eraslan are two musicians of Turkish origin who share their lives between Strasbourg, Berlin and Istanbul. Their musical practices are situated at the edge between traditional and improvised music. Merve works as well on new forms of compositions for ancient instruments (notably with SAVT or her duo with Zoe Hesselton) as with a more classical repertoire (Karmanota). As for Anil, his career as a cellist leads him from Anatolian music to free music (Fred Frith / Tom Malmendier) which flirts with the contemporary. He is currently working on a documentary about the Istanbul improv scene.
Merve Salgar — Tanbur
Anil Eraslan — Cello

A noisy trio consisting of Sonja (guitar and vox), Marta (bass and vox) and Karolina (drums) exploring sonic dissonances and cross-genre intricacies, navigating between no wave, noise and punk. Expert at dashing out cascades of sound accelerating, rotting, and falling apart.

A hardcore punk band formed in 2022 in Berlin by Syahida, Per, Ana and Sebastián. Sihir's lyrics are written and bahasa which express their intentions, statements and political views against oppression structures everywhere, affecting lots of people around the world.

Christine Abdelnour — saxophone
Frantz Loriot — Viola
David Meier — Percussion
Pascal Niggenkemper — Double Bass

🔗 christineabdelnoursehnaoui.jimdofree.com

🔗 frantzloriot.com

🔗 d-meier.ch

🔗 pascalniggenkemper.com

Benjamin Brodbeck — drums & objects
Volker Böhm — electronics & tabletop guitar

RM Francis is an artist based in Seattle working with computergenerated sound and language via recording, installation, and performance. He has presented work at the Mills College Center for Contemporary Music (Oakland), Gray Area (San Francisco), Kolonia Artystów (Gdańsk), as well as clubs, auditoriums, warehouses, and galleries throughout North America. His practice foregrounds computation-based compositional strategies, focusing on methods that exploit discrepancies between human and artificial auditory systems.
His current work exploits latent phonological data extracted from non-linguistic sound in order to generate the tonal, rhythmic, and semantic content of synthesized speech. The resulting asubjective narration articulates the potentialities of speech decoupled from
embodied human expression, navigating between abstract sound and uncanny characterological specificity.
His oeuvre spans multimedia work incorporating sound, video, performance, and chocolate (Hyperplastic Other, 2017), investigations of historical computer synthesis methods (A Taxonomy of Guffaws, 2020), procedural text works for a chorus of synthetic voices (Every Single Person Has Some Muscle, 2022), and hallucinatory duets between dictation apps and deep learning networks (pedimos un mensaje, 2023). In addition to his solo projects, in recent years he has collaborated with Jack Callahan & Jeff Witscher, Jung An Tagen, and farmersmanual, among others. “RM Francis generates rivulets of ruptured, highly warped and pulverized tones that sound like a 21st-century Xenakis on meth.” — The Stranger

Robert Schwarz is a sound artist from Vienna with a background in computer music, sound studies and architecture. His current work explores the acoustic dimensions of insects, focusing in particular on spatio-temporal patterns resulting from the coupling of swarm behaviour and time synchronisation. In his compositions, synthetic sounds interact with audio recordings of insects, following their internal logic while creating new and abstract entities. By deliberately obscuring the distinction between synthesis and field recording, Schwarz suggests profound and dissociative states of listening. His work has been presented in numerous institutions, including CTM Berlin, Singuhr Hörgalerie Berlin, MAK Center for Art and Architecture in Los Angeles, Kunsthalle Wien, Ars Electronica Linz and Tokyo Arts and Space. He has released several albums on ETAT, ALTER, Gruenrekorder and AVA. He is co-founder and curator of the Vienna festival for adventurous music PARKEN and co-creator of the works “Los Bar”, “Strookoffer”, “Laxbar” and “Relax”, a series of walk-in sculptures in Los Angeles, Brussels and Vienna.
This is a beautiful amalgamation of divergent acoustic universes, deeply human even in its more unemotional characteristics, totally appealing in terms of aural anatomy, full of sibylline reverberations, confusing lights, subterranean activities, melted geometries. —TOUCHING EXTREMES

Jung An Tagen invites us to reflect on the diffuse but persistent term “experimental” not as deviation from aesthetic orthodoxy, but as the design and implementation of compositional systems that offer unpredictable results; “electronic” as an annulment of the previous instrumental tradition, and as a simultaneous reversion towards aesthetic openness; as the fragmentation of a theoretical or mythical musical syntax by obsessive repetition, sequential motivic mutations, aleatoric arrays, pareidolic illusions and moiré effects; “electronic” as the ultimate split, dehumanisation, mechanic strangeness. Backed up by 2 decades of discographic activity under diverse pseudonyms and multiple collaborations on labels such as Editions Mego and Diagonal, Stefan Juster performs tirelessly at Festivals like Unsound or Sonic Acts, researching the boundaries of techno and dissociative computer music. Testing strategies of physical disorientation and forceful sonic phenomena, encouraging minds and bodies to calculate and intuit their own place in spacetime. It’s addictive music. Music in constant explosion. In 2020 Jung founded the netlabel label ETAT.xyz. Setting aside any hint of expressionist gestures, one is left with form and abstract sound, emotional alienation: “dissociative, psychoacoustic, computer music”.
Since 2019 Jung An Tagen is collaborating with the filmmaker Rainer Kohlberger on audio-visual performances that conquer the observer’s perceptual apparatus and transports the audience into the presence Jung An Tagen Vienna * ETAT, Editions Mego
● Jung An Tagen
● Emergent Properties (ETAT)
● Feat. Rainer Kohlberger (FACT)
● Jung/Frye - Pulsar Acid (Superpang)
● Feat. Cam Deas (Diagonal)
of an immediate immensity, where boundaries of self and world become obscured. Jung’s body of work as a filmmaker stands squarely in the tradition of abstract conceptual experimental film. Through the application of newest technologies, he succeeds in updating this tradition in a manner aesthetically suited to the 21st century. "Barely adhering to established syntaxes of rhythm, melody, and timbre, Jung An Tagen seems to want to rewrite the rule book when it comes to electronic music. He's off to a hell of a start." —The Wire

Brooklyn-based Estonian-American producer umru emerged into the pop music zeitgeist at 18 years old quickly ascending from high school and online music circles to performing worldwide and collaborating with some of pop's most forward-thinking acts.
With a first credit on Charli XCX's seminal mixtape Pop 2, he was quickly recruited by A. G. Cook to co-produce the highlight track »I Got It«. The release of his debut EP search result on Cook’s PC Music label revealed his strength in merging intense, bass-heavy sound design with earworm melodies from a lineup of the internet's most influential vocal talent including Lewis Grant & Laura Les (of 100 gecs). umru’s work has gone on to excel in and help define the emerging space right between underground & pop, from his star-studded 7-minute »movinglikeazombie (remix)« with ericdoa (named one of the best tracks of 2020 by NPR) to production for Yung Kayo, Caroline Polachek, Tommy Cash, or Fraxiom, to his sound cache sample pack series that has become an industry staple, extending beyond his own productions as a defining sonic influence on modern music production.

French Geneva-based artist nunu ntp is known for unique sound crafting, infusing each composition with distinctive character.
nunu ntp's catalog features a blend of influences, ranging from rhythm-heavy, hazy atmospheric harmonics, and forward-thinking tracks crafted for immersive listening and club settings.
Nunu ntp embraces versatility and gritty club aesthetics in his experimental approach, creating pieces that resonate with unfiltered authenticity.

Avia, a Basel based DJ and visual artist is one of Mercury Tracer’s hosts. She is kown for her traversing layers of sonic melancholia with a strong sense of narration and experimentation. Her mixes craft ethereal soundscapes that intertwine with the gritty, raw essence of the club sphere and its speculative futures.

Basel based DJ and multi-disciplinary artist varni has a distinct sonic practice of re-interpretating pop cultural music with an experimental approach that lies at the intersection of video game tunes and ancient celtic soundscapes.

Piotr Kurek is a Warsaw-based musician, multi-instrumentalist, and composer who creates music centred on the human voice and occasionally composes for film and theatre. Known to work as a solo musician, but also as part of various collaborations, he has released his records on Unsound, Edições CN, Mondoj, Hands In The Dark, Longform Editions, Black Sweat, etc. Drawing on a diversity of approaches and influences, Piotr takes his cues from early and post-medieval composition, baroque, and experimental jazz, blending these influences with traces of contemporary computer music.

Yara Asmar is a musician and puppeteer based in Beirut, Lebanon. In her live improvisations and recordings, Yara utilises a range of instruments, including a metallophone and her grandmother's vintage Hohner Marchesa accordion, which she found in the attic of her grandparents' home in Lebanon. Her second album, released via Hive Mind Records, was featured in Pitchfork’s 30 Best Jazz and Experimental Albums of 2023, where it has been described as a transmutation of her instrument’s “droning tones into a sweep of introspective, breath-catching moments of beauty.”

Trholz, a riot punk band from Toulouse, are the mini Lego on which the patriarchy steps and stubs its toe. Nuff said! Come and rage
Ezra Basse
Opal Batterie
Ziggy‎ Gratte
Zitoun‎ Chant

YCCY a band that sets to music Dante Alighieris „Inferno“ if that dude ever cared to make a decent movie out of that.
„A cacophony between electro-noise, bombast, madness, genius, shoegaze, industrial, not of this world and the sound that this planet deserves shortly before the downfall.“ as OX Fanzine coined their record „Every time I close My Eyes“ they now return to the belly of the beast with their newest sprinter at phantom__recordss „Wake Me Up Again“, excited is an understatement.

Aleyna Günay with her alias ALY-X (re)processes speedcore while weaving chaotic tapestries, bringing her dystopian alter-ego to function cybersplitter and enigmatic tonalities. Through her cross-genre style, she sculpts sound into a dynamic form characterized by abrasive textures, distorted elements, and unrelenting dissonance in her live performances.

Caterina De Nicola’s music production draws inspiration from diverse sub-genres of noise music, and it is characterized by fast and violent staccato rhythms, that push the boundaries of «no-fi aesthetics» to their extreme. Embracing the term «no-fi» as a deliberate lack of fidelity, her approach transcends the conventional perception of noise, creating a space where elements considered wrong become choices. Rejecting conventional professionalism, she fosters a place for sonic abstraction and tangible, physically noisy experiences, allowing individuals to engage with the space on their own terms.

godspeed
༄ؘ /᭄ꘀ/ᬽ⁐⁙⎃⎃⎃ꂒ

Π®´ß´˜†ß: July 2001
(˙å®ß˙ åµ∫ˆ´˜† ÷ ˜øˆß´çø®´ ÷ √øçå¬ß)

Auf der Suche nach neuen Klängen und Spieltechniken kam die Cellistin Elisabeth Coudoux vom klassischen Instrumentalstudium über den Jazz zur Neuen Musik und freien Improvisation. Als Solokünstlerin ist das Erforschen des Klangspektrums des Instruments eine sich ständig erweiternde Suche nach ihrer eigenen Stimme. Bei der Analyse intuitiver Bewegungsmuster entstehen poetische Miniaturen, werden geräuschhafte Geschichten erzählt und eigenwillige Klangwelten erkundet. Sie liebt die Herausforderung spontaner Begegnungen, wenn das Cello als orchestraler
Klangkörper gleichberechtigt mit dem Klang der anderen Spieler mitschwingt zwischen individuellem Ausdruck und freier kollektiver Energie. Was ausgehandelt werden muss,
ist die Balance zwischen improvisatorischer Eigenwilligkeit und einer inneren musikalischen Form. Im Solo verwirklicht sie diese Spielhaltung mithilfe elektronischer Effekte, Stille und Raum.

Elisabeth Coudoux — Cello

Seijiro Murayama und Roger Fähndrich improvisieren mit Stimme, Perkussion und elektrischer Gitarre. Bereits vorgefertigte Texte werden mit der Improvisation verflochten. Sie spielen keine Konzerte, sondern Test Gigs und ihre Liebe für Noise, Punk und Deep Listening treibt sie in diesem neuen Abenteuer voran.

Seijiro Murayama — Schlagzeug
Roger Fähndrich — Gitarre, Gesang

Norbert Möslang operates at the interface between
visual arts and music. He makes use of unused
sounds and uses the laws of physics and electronics to make spaces resound. He became known with with his "cracked everyday-electronics" in the duo "voice crack" until 2002, since then he has been touring solo and with poire_z, king übü örchestrü played with borbetomagus, otomo yoshihide, günter müller, erikm, jérôme noetinger, lionel marchetti, jim o'rourke, kevin drumm, jason kahn, oren ambarchi, tomas korber, keith rowe, I-sound, toshi nakamura, maria, keiichiro shibuya, aube, carlos zingaro, christian weber, florian hecker u.o.
Möslang is internationally regarded as a pioneer of so-called "hardware
hacking". In addition to performances in Japan, Europe, North and South America
he has received several awards for his work as a film composer.
awards for his work as a film composer.

Nik Colk Void is an electronic musician and artist, based in the UK with a vast reputation in experimental shapeshifting and collaboration. Void’s interests lie in the unconventional encounters with her tool, both analogue and digital, as a means of expression. Voice, Guitar, and Modular euro-rack systems are her key instruments engaging in a new language using extended technique and cut-up sampling through synthesis. As a result, the blends of her compositional tracks lean towards techno, club, experimental and noise. Bringing a unique perspective from her background in visual arts, Nik has played a pivotal role as the guitarist and vocalist for Factory Floor, shaping their avant-garde and electronic sound. Collaborations with notable figures like Cosey Fanni Tutti and Peter Rehberg, and visual artists such as Haroon Mirza and Philippe Parreno. Her debut Bucked Up Space was released via Editions Mego in April 2022. Bucked Up Space combines Void’s love of improvisation with the driving force of beat-driven music, drawing from her experiences performing in galleries and clubs across the UK and Europe. The album is shaped by the diverse contexts of these venues, showcasing the versatility of her setups tailored to engage with variable environments. The process leading to this release emerged from the openness of collaboration and the courage of improvisation,
steadily teasing out a language with sincere purpose and intent.
Over the last few years, presented at international festivals and institutions worldwide, such as Mutek, Sonar, Primavera, Unsound, Semibreve and Dark Mofo Festival.

Born in Paris in 1995 of Iranian parents, Cinna Peyghamy studied engineering, musicology and musical IT in Paris, Montreal and Saint-Étienne. In parallel with his musical activity under the name Cikkun, he has developed a practice as a sound artist. His work focuses on the nature of the instrument and the way it interacts with the player via a three-step approach: first the construction of a new instrumental device (birth), then the assimilation and development of a musical vocabulary (learning), and finally the performance (the rite of passage into adulthood). By repeating this process, Cinna Peyghamy makes his artistic practice into an initiatory ritual that is constantly renewed. Since 2019 he has focused on the hybridisation of acoustic and electronic instruments, combining Persian percussion (Iranian Tombak) with a modular synthesizer.

Rosso Polare is Cesare Lopopolo and Anna Vezzosi, a contemporary improv duo from Milan, Italy, drawing from their complementary environments (the Italian countryside vs the city) to create a highly personal musical language merging field recordings, folklore and audio manipulation.
Having both studied visual arts, their approach is equally rooted in a deep theoretical background, as well as an intuitive élan, while focused on researching counter- narratives regarding the depiction of the animal world. They strive to normalize the levels between human-produced music and natural biophony by making the listener aware of their indigenousness to nature.
In 2020, they released their debut Lettere Animali via the Moscow-based label and collective Klammklang, followed by Cani Lenti via Cafe Oto’s in-house label Takuroku and later reissued by ADN Records. They played at festivals and venues across Europe, including Cafe Oto, Météo - Mulhouse Music Festival, Klang - Roma, Spazio Contemporanea - Brescia, BääFest - Milano as well as online events such as The Quarantine Tapes by Chicago’s Experimental Sound Studio.

This work articulates the ambiguity within our bodies paralleled with the present world. An exploration of the beguiling ecstasy effect of loud sound and music. Brightness, rave culture, and youth-oriented culture blend to create music, art and social ideas. Shadow, liminal spaces, global resistance movements, conflicts, skirmishes, the darkness of rave, the blanks of flashing memories. The incessant loud sounds and the irrational noises create a euphoric audio experience. The throbbing, and strobing light effects give us the literal bright, dark, brightness, and darkness - the idea of it being so fleeting that it falls between our fingers. The feeling of extreme escapism.

Mikołaj Rytowski is an instrumentalist and performer, with roots and formal education in percussion. His practice diverges from the conventional understanding of percussion as a musical instrument, engaging instead with sound and creativity through more organic and innovative means. He extensively explores the possibilities of percussion and electronic instruments, delving into new combinations and sonic discoveries.

Angela Wai Nok Hui, percussionist, sound designer and multidisciplinary artist based in London and Hong Kong. Fascinated with sounds that are not meant to be, devoted to expanding the boundaries of music performances; she has a passion for experimenting with different art forms through the recreation and reimagining of sound and music. Her debut solo work 'Let Me Tell You Something' engages with political references and themes of identity. The album has been described as “...the uncanniest debuts we’ve heard in years” (Boomkat).

˚•̩̩͙✩•̩̩͙˚＊·̩̩̥͙
ׂׂૢ་༘࿐ -ˏ͛1n sOlitude, my h3art rema1ns frozen, am1dst the hardstyle beats that pulse and fl0w °°••....••°°
̥Wandering the silent streets, the boulevard's echoes blend with ambient undertowsˏ⸉ˋ‿̩͙‿‿̩͙
⑅Chilled to the bone, I embrace the shadows, where melodies of sorrow and solace intertwine ❀。• ₊°。 ❀°。
‧̫‧Time's relentless march echoes, dragging me deeper into the trance of dreams divine ⁂̩̩͙͙ ⁑̩͙̩͙ ⁎̩͙
⊹I am the arrOw, swift and true, propelled by the rhythm's electrifying beat ┊ ┊ ⋆˚ 
‧̥̥No doubts linger, no hesitations ensnare, as the bass drops and the melodies repeat •,¸,.·' '·.,¸,•
ˏ͛-Come, join me in this melancholic bliss, where hardstyle and ambient music meet. » ׂׂૢ་༘࿐
˚•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙
103110 .

Brooklyn Bridge is a dj project by artist Elin Gonzalez. In her sets she explores interplays of irony and subversions of mainstream culture. Mostly she prefers to organise and play at autonomous events next to highways under the trees.

In my work I'm portraying corrupted, idyllic and wretched facades. Looking for metaphors, garlands, shelleyan orphans and mapping places you knew before they disappeared. Whether it is in playing dusty music in clubs under the name silice or producing artworks, my work seeks for empathy and darker sceneries. I'm co-organising Endless Bazaar, a project channeling contemporary music in Lucerne. My music taste is influenced by variations of traditional dream pop, folk, drone and grunge carried through independent experimental scenes.

the passion for music and the urge to understand its core has always accompanied me. i attempt to create an isolated room that allows you to embrace lostness and reminds you of your favorite dream.

Die Musik des Solo-Projekts Augenwasser wurde bereits als Soundtrack zu einsamen, schlaflosen Nächten oder als Playlist von verkaterten quasi nicht-existenten Sonntagen beschrieben - die fünfköpfige Augenwasser Band interpretiert eine Auswahl dieser Songs nun seit einem Jahr live radikal neu.
Die Gruppe ist mit Musiker*innen beider Seiten des Röstigrabens besetzt und deren Amalgam an musikalischen Einflüssen reicht von Punk über Krautrock zu Synth-Pop.

Im April 2024 erscheint die EP ‚Versions‘ der Augenwasser Band auf dem neuen Bieler Label ChrüsiMüsi Records. Etwas mehr als nur ein Schnappschuss der Live-Energie der Band, ein metaphorisches Vehikel - fahrend, psychedelisch, verspielt und trotz herkömmlicher Rock-Gesten dem Abgrund üblicher Klischees dieser Gefilde trotzend eigen.

Sainkho Namtchylak grew up in the Republic of Tuva—an autonomous indigenous region north of Mongolia, colonized and annexed by Russia during the 19th and 20th centuries. Sainkho began her career in the 1970s, becoming the first female overtone singing artist and started combining the traditional Tuvan khöömii chants with influences from the Western avant-garde tradition in the late 1980s. In the early 1990s, she moved to Austria and began collaborating with artists from the fields of improvisation and post-traditional music. Nowadays, she travels extensively and works in Southeast Asia, including Macao, Hong Kong, Taiwan, Tibet, and Mongolia, conducting overtone singing workshops and continuing to collaborate with experimental musicians from the West. She recorded and released more than 60 audio albums with labels such as Morphine, Ponderosa, and Klanggalerie, among others.

Pedro Oliveira is a Brazilian, Berlin-based researcher and sound artist whose work is committed to an anticolonial study of listening and its intersections with violence at the European border. Pedro will present his work DESMONTE, a performance for pre-recorded voice and live electronics, exploring vocal timbre at the limits of the body. This work is part of a long-term study on the so-called "automated dialect recognition," a proprietary software in use by the German Office for Migration and Refugees (Bundesamt für Migration und Flüchtlinge) since 2017 on cases of undocumented asylum seekers. The piece works through techniques similar to those used by this software, with the voice of Death Metal singer Fernanda Lira (Crypta) as its main sound source.