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.

Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object-oriented perception in sound through a focus on minimalism. Her widely acclaimed live show revolves around the creative use of complex sequencing techniques and pattern-based operations to explore the artefacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. In 2021 she founded her new label platform named light-years, in her words "a gravitational field for my own creative orbit as well as that of associated artists across the musical spectrum and beyond".

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 shapeshifting sound worlds that Brian Leeds builds are key touchstones of the sometimes shadowy and opalescent scenes that have brought space into sharper focus on the dancefloor. The Kansas-based artist has charted new landscapes exploring the blurred textures between genres – solo as Huerco S. and Pendant, and through his curation of West Mineral Ltd, where those explorations continue alongside collaborators and colleagues including exael, Mister Water Wet, Pontiac Streator, Ulla, and Uon.

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 DJ's such as Dave Clarke, Helena Hauff, Dubfire, Maceo Plex, Trevor Jackson and Radio Slave.

Borderland is the studio and live collaboration between Juan Atkins and Moritz von Oswald. Inspired by the Uckermark, or “Borderland” region of Northern Germany, the project sees Juan Atkins and Moritz von Oswald coming together again for the first time in twenty years, composing sonic landscapes conceived from the frontiers of danceability and pure organic expression. Here’s where music legacies collide and steeped locales fuse into new and boundless forms, where techno is reaped, cross-pollinated and re-sown again – tended and lovingly cultivated by two masters and pioneers in the field.

Kali Malone’s solo work implements unique tuning systems in minimalist form for analog and digital synthesis often combined with acoustic instrumentation - such as pipe organ, strings, choir and wind instruments. Her music externalises a rare form of emotive topography, exposing transcendence through isorhythmic canons and beating interference patterns. Using synthetic and acoustic instrumentation in repetitive and extended durations, Malone’s rich harmonic textures serve to generate a captivating and uncanny depth of focus.

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.

Anastasia Vtorova records gritty experimental techno, lacing minimal rhythms with distortion and unexpected turns. Her music is reflective of the ecstasy of nightlife as well as the loneliness of spending nights in solitude. Originally from St. Petersburg, Russia, she attended university in London and played in various punk and noise groups. Eventually she started making solo electronic music, but maintained a rebellious, convention-defying spirit with her work. She released a few tapes of experimental music starting in 2014, and her debut vinyl EP, For Sweden, was issued by Peder Mannerfelt's eponymous label in late 2015. What followed was Genau House, issued by Where to Now? in 2016, and her third vinyl EP, When Lobster Comes Home, released on Technicolour and featuring the revered track "Camile from Ohm Makes Me Feel Loved.”

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. In 2021, his Moritz von Oswald Trio (now counting with Laurel Halo and drummer Heinrich Köbberling) released the album "Dissent" on Modern Recordings.

Pedro Maia is a Portuguese filmmaker working within the boundaries of analog, digital & live cinema. His work has been presented and exhibited at renowned festivals, institutions and galleries, including The Barbican Center, Porto Serralves Museum, Tokyo Contemporary Art Museum, Armenian Center for Contemporary Experimental Art, MACBA Barcelona, CA2M Centro de Arte Dos de Mayo, Eye Film Museum, among others. Maia has contributed to projects by Patti Smith, Charlotte Gainsbourg and Lucrecia Dalt. Has presented solo performances as well as collaborations with musicians such as Vessel, Shackleton, Visionist, Shapednoise, Jacaszek, Shxcxchcxsh, Tropic of Cancer, Craig Leon, Lee Ranaldo, and Nisennenmondai, with presentations of these in leading festivals like Berlin Atonal, Sonar, Unsound, All Tomorrow’s Party, Mutek, etc.

Russian duo (Kami Ea and Alina Izolenta) who release music on Kraviz's label Trip, shows how a couple tweaks to the template can make a major impact. For one, they play fast—almost 150 BPM. The second factor is their arrangements and sound design. The steady pound of the kick drum constantly interrupted by mini-drops and random blasts of sound. This all amounts to something you could describe as fun, which make dancing to PTU seem pretty different to the standard techno party experience these days.

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.

Second Woman is the collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of Telefon Tel Aviv. Josh and Turk have been friends for over 17 years, having met in New Orleans in the late ’90s through mutual friend and future collaborator, Charlie Cooper. The duo have been working on music together on and off since that time, be it working on their own projects, video game scores, or tracks with other contemporaries. The concept of Second Woman began with the idea of taking tropes from footwork, dub, house, and techno, and twisting these ideas into something kaleidoscopically liberated from the grid, tweaking the perception of time and space within the audio field into something ASMR-inducing and ultimately satisfying to listen to. Their insane second release S/W came out on Editions Mego sublabel Spectrum Spools in 2017.

Shapednoise is Sicilian producer Nino Pedone who casts sheets of noise, industrial and hardcore continuum influences to create highly sculptured and colorful sound design and compositions. He is experimenting with unconventional production practices using field recordings, synthesizers, and extreme digital processing/editing in order to explore the metamorphosis of sounds when combining unusual timbres, structures, and rhythms. With visual artist Pedro Maia he developed Aesthesis, an album and live performance “informed by a set of key elements that intwine all the tracks together, like steps in a long research process. It is intended as a sensory experience where the senses act as an interface, sound as space.”

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.

Beginning a creative journey in her formative years with classical music and dance training, Sophia Saze would later became engulfed by electronic dance music. Tbilisi, Georgia born and internationally bred, Saze found in Brooklyn the perfect home to dive deeper into these sounds by launching her party (and more recently record label) Dusk & Haze. As a producer, her musical versatility draws from a variety of genre influences, ranging from electro to krautrock, ambient to industrial, and acid to garage - showing her complete range and fluidity as a musician. As a DJ, Sophia shapes the journey on the border of house and techno, including electro and more spaced-out broken beat moments, keeping dancefloors intact, always heading forward.

In the daring sonic fiction of JP López, the Medellín artist collides in his productions and DJ sets Latin-influenced tribal techno, hyper-Electronica, carefully crafted IDM and cutting-edge perreo-bass technology with both intensity and precision. Verraco is also one of the heads behind the groundbreaking TraTraTrax and Insurgentes, labels that have become key platforms for Latinx sound explorers in recent years. In 2020 he released his debut album, 'Grial’, which was described as "Colombian electronica of the highest order" and "a cue from the well-known legends of this style, but makes it his own with subtle details and an outsider mentality." He has collaborated with the Berlin institution Tresor and has presented his dynamic performances in Mutek, Sónar, Nuits Sonores, among others.

Ziúr is an experimental producer/musician and a fixture in Berlin's rich musical topography. She produces music that is expansive, rich and diverse in texture, with sounds which are simultaneously machinistic and deeply anthropomorphic, toying with mechanical isolation and the chaotic spectrum of human emotion. Unlike a soundtrack or score, there is no film to which one can turn to narrativize the music ... there is only evocative sounds reaching from each song towards the cybernetic sublime.