Aho Ssan is the artist name of Paris based Niamké Désiré. After studying graphic design and cinema, he began to compose electronic music and create his own digital instruments. Shortly thereafter he went on to win the Foundation France television prize for his soundtrack to the film of Ingha Mago in 2015 and has worked on several projects related to IRCAM/GRM in France. His debut LP «Simulacrum» was released on the 7th of February 2020 via Subtext Recordings. Based on the concept of Jean Baudrillard, it navigates through society’s presentation of inclusivity and equality against his own experience of growing up black in France. Aho Ssan debuted “Simulacrum” at Berlin Atonal 2019.

BOLT RUIN brings immersive electronic music that fuses the energy of black metal with cinematic sonic palettes. An apocalyptic sound described by Loud and Quiet Magazine as “a concept-heavy form of electronica that shares much of its DNA with Tim Hecker, even with the sonic totality of Blanck Mass”. Pushing his destructive sound design further into digital realms, even pulling in distorted memories of warehouse raves, his second mini album ‘Ehkta’ drops on Infinite Machine. Live, BOLT RUIN brings a thunderous live A/V set, amplifying the music’s intensity with synchronized strobe lights.

The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow- motion all at once since 2017’s breakthrough double-album Patterns Of Consciousness. Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. In July 2022, Barbieri now delivered her most profound work yet (a debut album on her new label light-years) —a journey through inner-space as vast as a universe and as intimate as a heartbeat. The Spirit Exit opens and we fall in.

dBridge, aka Darren White, has been traversing the drum and bass scene since the early ’90s, perhaps most memorably spearheading the group Bad Company alongside Dj Maldini, Fresh and Vegas. But Darren’s musical interest is far more unconventional and far-reaching than we might expect. Since founding Exit Records in 2003, Darren has demonstrated a clear desire to move away from typical club style drum and bass sounds to more ambient and experimental soundscapes, turning away from the contemporary technology that dominates production today and returning to old school techniques, equipment and production styles.

The 2020 ‘Weavings’ show (a durational improvisation featuring 12 instrumentalists from around the world performing via Zoom) conceived and curated by Nicolás Jaar and the Unsound festival team marked the first musical meeting between Resina and Aho Ssan. The complete synergy and subconscious understanding on both sides resulted in an immediate decision to develop and explore the infinite common musical interests - despite the different tools and instruments used. In 2021, a second round of improvisation occurred on another 'Weavings' session, and from then on it was clear that a deeper collaboration was in order. A year later, Ego Death has its first manifestation at Unsound Festival 2022.

Jensen Interceptor has provided his versatile brand of techno to clubs and warehouses around the world. Gaining respect from his peers, supporting the likes of Sven Väth, Gesaffelstein, The Hacker, Boys Noize & Green Velvet; Jensen has consistently kept up with the elite at top speed. With his selection ranging from Detroit Electro & Miami Bass to rolling Italo, thunderous 90's Breaks and driving EBM, his audience is promised a sonic journey like no other. Going further than simply an entertainer, his remixes and productions have been released on some of the most influential labels in electronic music like Boys Noize Records, Cultivated Electronics, Bromance and Central Processing Unit. These releases have been supported and played out by DJs such as Dave Clarke, Helena Hauff, Dubfire, Maceo Plex, Trevor Jackson and Radio Slave.

Jlin’s thrilling, emotional, and multidimensional compositions have earned her praise as “one of the most forward-thinking contemporary composers in any genre”(Pitchfork). She was a 2023 Pulitzer Prize nominee for Perspective – a piece originally commissioned and performed by Third Coast Percussion – and her mini-album Perspective, featuring the original electronic versions of the suite, was released to critical acclaim on Planet Mu in September of the same year. Her much-lauded albums Dark Energy (2015) and Black Origami (2017) have been featured in “Best of” lists in The New York Times, The Wire, LA Times, Rolling Stone, The Guardian, and Vogue.

Joseph Kamaru, aka KMRU, is a sound artist and experimental ambient musician, raised in Nairobi, Kenya, and currently based in Berlin where he is a student at Universität der Künste Berlin for sound Studies and Sonic Arts Master's Program. His works deal with discourses of field recording, improvisation, noise, ambient, machine learning, radio art and expansive hypnotic drones. He has earned international acclaim from his in far-flung locales as well as his ambient recordings, including the 2020 album Peel released on Editions Mego. He has presented his works in Nyege Nyege Festival, Mutek Montreal, Unsound, GAMMA, CTM and many more.

LABOUR is the ambitious project led by Farahnaz Hatam and Colin Hacklander with a reputation for large-scale works and collaborative pieces in large concert spaces and museums such as Kraftwerk Berlin, Martin Gropius Bau, Kunsthalle Zürich and at the Sharjah Biennial. Since 2020 they are residents on NTS with a monthly show hosting friends and guests from Senegal such as Mbene Diatta Seck, Birame Ndiaye Rose, Souleyman Faye and more.

Lanark Artefax is a Scottish electronic musician whose work blurs the boundary between experimental sound design and hybrid musical forms. The artist made his debut with an EP on Lee Gamble’s UIQ label, followed shortly by another on London’s AD93 the following year. Described by Crack Magazine as ‘gloriously modern production [...] that transcended the emergent electro zeitgeist’, the 4-track EP served as the artist’s breakthrough release and was widely hailed as one of the best releases in electronic music of that year. Both Crack Magazine and Resident Advisor included its main track ‘Touch Absence’ in their ‘Tracks of the Decade’ lists in 2019. Lanark Artefax has also recently begun to create sculptural objects and other visual work, and in 2023/2024 will be presenting a new audio-visual live show.

Laurel Halo is a composer, producer, live musician and DJ. Drawing from a range of stylistic influence, including Detroit techno, musique concrète, film score and jazz, her music employs a careful blend of pressure, decay and nuanced emotion to explore notions of transmission and impermanence. Since 2012 she has released a number of albums ranging in genre-fluidity, complexity and scope, including Quarantine (2012, Hyperdub), In Situ (2015, Honest Jon's), and Raw Silk Uncut Wood (2018, Latency). She has performed in venues, festivals, clubs and institutions across the world, including the Southbank Centre, Sydney Opera House, Sónar, and Montreux Jazz Festival, among others. She has collaborated with artists and designers including Moritz von Oswald, Metahaven, Kevin Beasley, Julia Holter, John Cale, and the London Contemporary Orchestra.

Lila Tirando a Violeta is a music producer from Uruguay who is recognized for her experimental and versatile style. Her N.A.A.F.I debut 'Limerencia' was highly praised in 2020 making several end of the year lists. In 2022 she released 'Desire Path' which was also highlighted by Pitchfork, DJ MAG, Bandcamp and The New York Times. Lila has performed live at renowned festivals such as Primavera Sound & Mutek. She’s recently signed with London’s notable label Hyperdub and has done custom mixes for KEXP & NTS radios as well as collaborating with artists such as Loraine James & Nicola Cruz.

Marco Fusinato is a contemporary artist and noise-musician whose work takes the form of installation, photographic reproduction, performance, and recording. As a musician he explores the idea of noise as music, using the electric guitar and mass amplification to improvise intricate, wide-ranging, and physically affecting frequencies. He performs regularly in galleries, museums, festivals, and the experimental music underground, primarily as a solo artist and has released many recordings. Fusinato was selected to represent Australia at the Venice Biennale in 2022 in which he presented DESASTRES, a 200-consecutive-day performance as installation, His work and performances have been presented all over the world including the Venice Biennale, MoMA New York, Sao Paolo Biennale, Sydney Biennale, Glasgow International & Berlin Atonal.

Dutch-born Martijn Deijkers, aka Martyn, has always stood in a scene of his own. As an explorer of several sonic palettes since the mid-90s, Martyn's aesthetic traces back to his roots in UK-originated hybrids of bass music with an added flavour of Detroit-influenced jazz. But these days, Martyn is more than just a DJ and producer. His work spans multiple projects, from mentoring emerging artists to platforming new producers through his 3024 label.

Moritz von Oswald: techno legend, electronic pioneer. One half of both Basic Channel and Maurizio, von Oswald is one of the most influential producers of electronic music in the last three decades. Firmly entrenched in the modern history of forward-thinking music, he is available to book either playing solo or for special projects and commissions, such as Moritz von Oswald Trio and Borderland (with Juan Atkins). In 2021, his Moritz von Oswald Trio (now counting with Laurel Halo and drummer Heinrich Köbberling) released the album "Dissent" on Modern Recordings.

At the intersection of distinct music styles, David Kennedy, a.k.a. Pearson Sound, connects the blueprint of UK soundsystems to the cutting edge of contemporary dancefloor music. Widely acclaimed as a producer, DJ and mix engineer—as well as one of the three founders of the Hessle Audio imprint—he is synonymous with a wide-angle view of the bass spectrum. Pearson Sound productions, DJ sets and remixes are all brought to life in high fidelity with dark rhythmic grooves, complex percussive arrangements and exacting melodic details.

rRoxymore’s music is an intriguing, one-off blend of contrasting textures – organic and synthetic, icy and warm – a fresh step in dance music. The French musician and producer has a long history making music in various ways, with various people, before settling in Berlin and concentrating on the solo project that collects it all. Live, rRoxymore creates rhythms and sounds with energetic rawness merging with an energising sense of psychedelia.

Smerz are the Norwegian duo of Henriette Motzfeldt and Catharina Stoltenberg. Known for the “carefully shaped, deconstructed pop” (Boomkat) of their debut EP’s Okey (2017) and Have Fun (2018), Smerz seamlessly weave together techniques and sounds pulled from chamber and classical music, hip hop, R&B, and hard electronics, with the end product always resulting in something altogether uncanny. Taking their audio-visual experience across the globe, Smerz have curated performances at the Tate Modern, MOCA Geffen, MIRA Festival with Weirdcore.TV, the Norwegian National Company of Contemporary Dance and Club To Club. With Believer, their 2021 debut full-length album on XL Recordings, they formalize the boundless sonic world that started to emerge within each of their debut EP’s and in their running NTS monthly residency.

Pushing robotic body music to its kinetic and cathartic limits as both DJ and producer, Solid Blake's precision is remarkable. With productions described by Mixmag as "percussion palpitating below wild synth bursts," this is an artist rightfully earning her praises developing a reputation for impacting crowds with her gritty cross-pollinated strains of electronic club music.

Born in the heights of the Colombian Andes mountains, TraTraTrax has been introducing and amplifying the mighty fire that is erupting from the streets and clubs of Sur América. Ranging from dembow to tribal, from bass to techno, and high doses of sound design, the platform has already signed regional heavyweights like Nicola Cruz or Dengue Dengue Dengue but they are also pushing exciting new Latinx talents from the Global South like Verraco, Nick Léon and Bitter Babe. Aiming to connect the dots between the Latin American club scene and the wider global community, TraTraTrax has been teaming up with some of the most forward-thinking sound designers of the circuit and also building showcases in electronic music institutions like Tresor Berlin and Fabric London.

In the daring sonic fiction of JP López, the Medellín artist collides in his productions and DJ sets techno, latin-influenced tribal, hyper-electronica, carefully crafted IDM and cutting-edge dembow-bass technology with both intensity and precision. Verraco is also one of the heads behind the groundbreaking TraTraTrax, label that has become a key platform for Latinx sound explorers in recent years.
With the future classic Escándaloo EP on VOAM out in Summer 2023, RA and Crack Magazine lauded the record as one of the best of the year. In 2024, the Colombian artist's debut on Bristol's stalwart Timedance with 'Breathe... Godspeed' was unanimously acclaimed by the press, with the EP being awarded Pitchfork Best New Music, described by renowned journalist Philip Sherburne as "an essential record for the vanguard of dance music".

Ziúr's live performances are renowned for their limitless energy. She's performed across the world in some of the most prestigious venues, such as New York City's Whitney Museum, Paris's Lafayette Anticipations, Beijing's Zhao Dai, London's Somerset House and Berlin's Volksbühne, as well as on the global festival circuit appearing at Unsound, Rewire, CTM, Atonal, LEV, MUTEK, Borealis, Lost, Soft Center and Hyperreality. Her sets are as unpredictable as her productions; often seen alongside video artist Sander Houtkruijer and choreographer Kiani Del Valle, she interjects the music with humanistic asides, regularly inviting her litany of musical collaborators to share the stage. And as a DJ, Ziúr manipulates the CDJ as she would with an instrument: not just to play tracks, but to chop, loop and distort them until they bend to her will.