Outer Agency is a management and booking agency that develops and represents projects and individual artists in the realms of advanced music and audio-visual performances. Outer Agency commissions new projects for leading venues around the world and collaborates with other agencies, promoters and artists in developing new performances, installations and events.

Shanghai-born producer and visual artist 33EMYBW has been a distinctive presence in China’s experimental music scene for over a decade. Drawing on contemporary dance music, folk traditions and visual culture, she has developed a singular language of intricate rhythm, vivid sound design and speculative world-building.

Her 2018 album Golem, released by SVBKVLT, received widespread acclaim and was named among Bandcamp’s best electronic albums of the year, earning support from artists including Kode9, Desto, Akito and 8ulentina. Her third album, arthropods, continued her explorations of post-humanism and evolution, stretching rhythmic ideas across longer timescales and expanding the conceptual universe of her work.

33EMYBW has presented her live work internationally at festivals and venues including Unsound, Nyege Nyege, CTM, SXSW, Haus der Kulturen der Welt, Soft Centre, Recombinant Festival and Manchester’s Warehouse Project, alongside appearances in London, Milan and Zurich.

She is also a core member of Shanghai experimental rock and electronic band Duck Fight Goose (YADAE). Her interest in traditional forms has included work with recordings of Dong Choir music from Guizhou province, leading to the release of DONG2 on Beijing label Merrie Records. Across her solo and collaborative work, she continues to connect club music, visual art and speculative sound.

Aho Ssan is the artist name of Paris-based Niamké Désiré. After studying graphic design and cinema, he began composing electronic music and creating his own digital instruments. Shortly thereafter, he won the Fondation de France television prize for his soundtrack to Ingha Mago’s film in 2015, and has since worked on several projects with IRCAM and GRM in France.

His debut LP, Simulacrum (Subtext Recordings, 2020), draws on Jean Baudrillard’s concept to explore society’s presentation of inclusivity and equality against his own experience of growing up Black in France. He has since released Rhizomes on Nicolas Jaar’s Other People label, the collaborative album Limen with KMRU, and Ego Death with Resina.

His latest solo album, The Sun Turned Black, was released in May 2026 on Subtext Recordings and Ici d’Ailleurs.

His work has been presented at major institutions across Europe and the United States, including Lincoln Center (New York), Maison de la Radio (Paris), CTM Festival (Berlin), MACBA (Barcelona), Muziekgebouw (Amsterdam), and Krakow Philharmonic. His music has been acclaimed by NPR, Pitchfork, Resident Advisor, Libération, The Wire, and The Quietus.

Beatrice Dillon is an artist and composer working across recording, performance, and installation. Her practice often combines synthesis with acoustic instrumentation, for projects varying in scale: from intimate, experimental compositions to large-scale, multi-speaker commissions. Originally trained in visual art, pattern, restraint, and space are central elements in her work, as is a continual exploration of rhythm. She’s released solo and collaborative recordings with leading independent electronic labels, and her Workaround (PAN, 2020) was named The Wire’s Album of the Year.

Recent projects include: Impossible Ideal Angle (Haus der Kunst Munich, 2022), Afoam (Serralves Museum of Contemporary Art Porto, 2022), album producer for Bendik Giske (2023). Her first orchestral work, Sift: Piano, Vibraphone, Other… premiered with London Symphony Orchestra (2024) and Seven Reorganisations written for Explore Ensemble is the inaugural release on her label, HI (2024). She was composer for Helen Marten, Art Basel Paris (2025). Dillon has performed extensively internationally, including: Ina GRM Paris, MODE Tokyo, Barbican Centre, Pirelli HangarBicocca Milan, ZKM Karlsruhe, and MUTEK Montréal.

Basho commissioned for the Ina GRM acousmonium sound-diffusion system was released on Portraits GRM (2025). Reach, a new commission for leading instrumentalists GBSR Duo, premiered at Kings Place London (May 2026). Dillon’s latest work, Where Never, premieres with Explore Ensemble (December 2026), and is co-commissioned by Barbican Centre, Rewire Festival, Ultima Oslo.

bela (they/them) is a South Korean musician and performance artist based between Berlin and Prague. bela narrativises sound, feedback, movement, and image—feedbacking guttural vocals through a speaker, extending the material and cavity of resonance. On a conceptual level, their work often tunes their closeness to identity, sexuality, lineage, and the mystical plane of existence. In this regard, their music and performance are asking to renew or expand the sense of locating around sounds and bodies within the social and celestial sphere.

bela was awarded honorable mention at ZKM’s GigaHertz Prize PopExperimental awards in 2023 for their work on the album Noise and Cries. They participated in the SHAPE+ Platform in 23′-24′, and are a laureate of La Becque residency in 2026. Their solo and collaborative live performances have been featured at Berlin Atonal; Nowadays, NYC; Schauspielhaus Zürich; Cafe OTO, London; CTM Festival, Berlin; and Unsound Kraków.

Bianca Scout is a musician with a background in contemporary and classical dance, whose performances combine movement direction and storytelling, within a distorted landscape of displacement, yearning and the undead.

Scout’s mysterious mix of pop and grunge feels fractured but whole. In her hands, Medieval church music and vocal harmony blend into a brooding drew punctuated by fits of dusty breaks and smothered percussion. She steers you into the abyss, yet is the compass that guides your way back out.

Tom Heyes, aka Blackhaine, is a British contemporary artist whose work moves between music, choreography, performance and immersive audiovisual installation.

Rooted in the north of England, his practice brings together voice, movement and scenography in physically demanding forms that move through rap, noise, ambient music, poetry and avant-garde dance. His live performances reconstruct recorded material and works in progress, creating site-responsive encounters that are often intimate and confrontational, shifting into moments of “negative ecstasy” and psychedelia.

In 2026, the latest iteration of And Now I Know What Love Is was presented at Holland Festival, following its 2025 premiere at Manchester International Festival. In 2024, he presented the site-specific work CONSUMER at EXPOP in Bern and a new audiovisual performance at Sónar Barcelona. In 2023, he premiered Paith at Berlin Atonal, following the 2022 work Miasma at Trauma Bar und Kino.

His work has also been presented at Centre Pompidou, Tate Modern, Venice Biennale, Dark Mofo, Primavera Sound, Unsound and Club To Club.

Across releases and collaborations with Space Afrika and Blood Orange, Blackhaine has developed a singular musical language alongside an expanding body of performance and installation work, with his debut album forthcoming in 2026.

Candela Capitán’s practice unfolds at the intersection of contemporary dance, expanded performance, and visual arts, as a critique of platform capitalism and a reflection on the image in the hyperconnected era. The body is her conceptual core: a territory where feminized corporealities are transformed in constant dialogue with technologies that materialize and modify them.

She works with the notion of gender tech, understood as devices that act upon and through the body, reshaping its experience, visibility, and agency. This relationship creates an interface where boundaries between the physical and the virtual, nature and culture, blur.

From a feminist perspective, she investigates eroticization, confinement, self-exploitation, and internalized surveillance in digital networks and streaming platforms. Her works – whether choreographic, installative, or audiovisual – explore how such devices turn the body into an object of control, desire, and constant production.

She is particularly interested in creating scenic and sculptural devices that restrict movement, forcing the body to negotiate with its limits and the machinery that frames it, to question power relations and project non-normative futures.

Candela has presented her work globally, at renowned venues and events including Fundació Antoni Tàpies, CCC Condeduque, DeSingel, Grec Festival, Documenta 15, Frieze, Barbican Centre, Rising Festival, Unsound Festival and numerous others.

The diverse sonic worlds Carmen Villain has built throughout her career are shaped by an endless curiosity for sound. Working somewhere between dub’s blunt rhythmic pulse, physical bass and the immersive textures of fourth world, Villain approaches composition as an act of memory and transformation, where sounds erode, repeat, and reappear in altered forms. Across acclaimed releases such as Only Love From Now On and Nutrition EP on Smalltown Supersound, Villain has developed a distinct language of spacious, immersive music that is both intimate in details, yet vast in scope. In addition to her solo material, she also composes for contemporary dance and installations, including collaborations with choreographer Eszter Salamon and IRCAM Paris. Her atmospheric and bass heavy live performances have been presented at venues and festivals such as Berlin Atonal, ICA London, Dekmantel, and Mutek. She is currently preparing her new album on which she expands on her spectral dub explorations, set for release this fall.

Since her breakthrough album Patterns of Consciousness (2017), Italian composer Caterina Barbieri has worked with vivid analog synthesis and expanded electro-acoustic formats to explore the physical and metaphysical effects of sound on the listener. Her music, described by Pitchfork as “a mind-altering journey” and “a dreammachine for the ears”, investigates the creative potential of computation and complex generative techniques to explore themes related to memory, time and phenomenology of perception, often interrogating states of trance and emotional intensity. In just a few short years Barbieri has performed at a slew of the world’s most respected music festivals, from Unsound and Atonal to Primavera Sound and Sonar, and has presented her work at prestigious venues including London’s Barbican Centre, Biennale di Venezia, IRCAM and INA GRM, Berliner Festspiele, Haus Der Kunst in Münich, Mexico City’s Museo Anahuacalli, Ruhrtriennale, Philharmonie de Paris and Festival de Cannes, among many others.

In late 2024, Barbieri was appointed Creative Director for the Venice Biennale Musica, which she will curate for the years of 2025/2026. As of late, she premiered a new commissioned work by La Philharmonie de Paris with ONCEIM, as well as a new live show in collaboration with MFO and Ruben Spini.

Chima Isaaro has been doing the work.

Lighting up dance floors across Europe, from underground basements to some of the continent’s most respected clubs and festivals, the Lisbon-based seasoned selector is known for her uplifting, surprising, and always generous sets. Effortlessly melodic and emotionally resonant, her sound moves through house, techno, soul, batida, jazz, and beyond. Off the decks she is the co-creator of Revolutionary Dreamscapes, a nomadic space blending sound, ritual, and community, dedicated to Black healing and restoration. She’s also a film and music producer, and a researcher in musicology and ethnomusicology. Her work focuses mainly on the underground music cultures of the African diaspora, exploring them from a decolonial perspective, with a strong emphasis on celebrating the black roots of electronic music.

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.

Although he’s been around the drum and bass scene for some thirty years, dBridge has so much more to offer. With his live project Black Electric, he expresses himself freely, throwing off the shackles that limit creativity. “Aggressively beautiful”, quoth the British artist, embracing sound in all its glorious range: slow, fast, dark and luminous.

The seed of Ego Death was planted in 2020 during Weavings – a durational remote improvisation conceived and curated by Nicolás Jaar and the Unsound Festival team. This bold experiment brought together 12 musicians from around the world in real time via Zoom, and marked the first collaboration between Resina and Aho Ssan.

Their intuitive musical synergy was immediate, revealing a shared vocabulary despite working with radically different tools and instruments. That moment became the beginning of an evolving creative partnership.

In 2021, Resina contributed to Rhizomes, Aho Ssan’s album inspired by the philosophy of Deleuze and Guattari, and later the duo reunited for a live version of Weavings to wide critical acclaim, before premiering their collaborative project Ego Death at Unsound Kraków in 2022.

Their debut album was released via Berlin-based Subtext Recordings in early Summer of 2025, supported by performances at Rewire Festival, Lunchmeat Festival, Lincoln Centre among others.

Gavsborg (Gavin Blair) is a Jamaican producer, DJ, vocalist and founding member of Equiknoxx/Equiknoxx Music, known for his experimental blend of dancehall, electronic, dub, and ambient sounds. Based between East Kingston & Berlin, he gained early recognition with Busy Signal’s “Step Out” and has since worked with artists like Paul St. Hilaire, Carrier, Andy Martin, Spice and Aidonia. He founded the Cassette Blair label, released the album 1 Hour Service, and performs vocals under the alias unkle G. Gavsborg is known for pushing the boundaries of Jamaican music on a global scale.

Berlin-based composer and musician Aimée Portioli, aka Grand River, takes a painterly, emotionally plugged-in approach to her music and sound art that has seen her develop a distinct signature over the last decade. She’s put out an acclaimed run of releases on a number of prestigious imprints, including Editions Mego, Ghostly International, light-years and Spazio Disponibile, and in fall 2026 will unleash her new album Temporary, a direct and focused set of wordless electro-acoustic pieces hinged on the interplay between Portioli’s guitar work and synthesiser processes. In parallel, she also develops multichannel installations, such as Symphony for Endangered Birds, which debuted at Essen’s Museum Folkwang, and Tuning the Wind, which was issued in 2025 on Umor Rex. Portioli continues to perform at festivals and venues across the world, appearing at Berlin’s Atonal, Paris’s Centre Pompidou, Montreal’s MUTEK and CTM Festival, as well as London’s Barbican Centre.

Bridging two generations of Italy’s experimental music scene, Grand River and Abul Mogard merge their distinct approaches into a slow-moving, emotionally charged expanse. Undulating chords, swelling feedback and layered instrumentation create a continuous sense of motion and tension.

On their first collaborative album for Caterina Barbieri’s light-years, released in 2024, they explore a sonic space where time seems to dissolve into pure atmosphere. “In uno spazio immenso” shifts between sweeping, operatic intensity and moments of fragile restraint, casting light on both subtle rhythmic traces and dense, immersive textures. Combining synthesisers and processed guitar, the project has been presented live at festivals and venues including MUTEK, Centre Pompidou and Berlin Atonal, among others.

Helena Hauff has spent more than a decade establishing herself as one of electronic music’s most distinctive artists. A former resident of Hamburg’s legendary Golden Pudel, she built her reputation through fearless, vinyl-only DJ sets that move effortlessly across electro, techno, acid, breakbeat and beyond, driven by instinctive selection, restless curiosity and an uncompromising approach to the dancefloor.

That same ethos runs through her productions. Working primarily with analogue hardware, Hauff’s releases – including Discreet Desires, Qualm and the recent R4 album as Black Sites with F#X – as well as records for Werkdiscs/Ninja Tune, fabric Originals, Tresor and her own Return to Disorder label, have established a body of work that is raw, instinctive and unmistakably her own.

Alongside her production work, Helena has earned a reputation as one of electronic music’s most respected selectors. From breakthrough appearances at Dekmantel and Sónar to BBC Radio 1’s Essential Mix of the Year, the landmark RA.1000 mix and her recent Yoyaku instore session, she has remained a fixture at the world’s leading clubs and festivals.

IMOGEN is a globally established producer, DJ, and founder of the label and party Wigs. Shifting seamlessly through techno in all its forms, maximalist electro, old-school breaks, and beyond, the UK-based artist exists in a lane entirely her own, with a taste far beyond her years.

Holding residencies at two of electronic music’s most influential institutions, NTS Radio and Tresor. IMOGEN has released on the club’s in-house label alongside productions for fabric, Mute, SCDD, Voitax, Earwiggle, and her own imprint, Wigs. She continues to expand her collaborative world through regular B2Bs with some of the scene’s most respected names, including Helena Hauff, DJ Stingray 313, KiNK, Daniel Avery, and more.

Playing a vital force in forward-thinking electronic music, IMOGEN enters a new chapter in 2026 with the launch of her live show, alongside celebrations marking five years of Wigs.

Jensen Interceptor has delivered his brand of electro and techno to clubs and warehouses worldwide, earning respect from peers including Sven Väth, Gesaffelstein, Boys Noize and Green Velvet. His productions have landed on influential labels such as Boys Noize Records, Cultivated Electronics and Central Processing Unit, with support from Dave Clarke, Helena Hauff, Dubfire and Maceo Plex among others.

As founder of International Chrome, he has built a label championing a genuinely global roster. 2024’s Jensen & Friends LP brought together collaborators spanning Turkey, Venezuela, Brazil and Philadelphia, fusing baile funk, footwork, techno and deconstructed club. A freak accident that same year left him with multiple broken bones in his foot, but the forced pause proved transformative, leading to Interception (International Chrome, 2025), his most experimental work to date, blending signature electro with IDM, footwork and baile funk.

2026 has seen him in prolific form across multiple labels. I Want To Shift Gears For A Minute arrived on Lawrence Lee’s A7A Recordings, and the Synthetic Seduction EP followed on Peder Mannerfelt’s PM+ imprint – two tracks of intensely detailed, nerve-shredding electro representing some of his most wildly tweaked productions yet.

JJJJJerome Ellis (any pronoun) is a Grenadian-Jamaican-American artist, surfer, and person who stutters. Through music, performance, writing, video, and photography, Ellis asks what stuttering can teach us about listening, generosity, and justice. JJJJJerome has the great privilege of being married to poet-ecologist Luísa Black Ellis. They live in a monastery on a creek in traditional Nansemond and Chesepioc territory, aka Norfolk, VA. JJJJJerome dreams of building a sonic bath house!

A math lover, former steel factory worker, and proud resident of Gary, Indiana, Jlin has quickly become one of the most distinctive composers in America and one of the most influential women in electronic music. Her thrilling, emotional, and multidimensional compositions have earned her praise as “one of the most forward-thinking contemporary composers in any genre” (Pitchfork). Jlin was a 2023 Pulitzer Prize nominee for Perspectives (originally commissioned and performed by Third Coast Percussion) and her albums on Planet Mu have been featured in best-of lists across The New York Times, The Wire, Rolling Stone, The Guardian, and Vogue.

She has collaborated with William Basinski, Holly Herndon, Zora Jones, and the late SOPHIE, and remixed works for Björk, Max Richter, Martin Gore among others. Commissions have come from the Kronos Quartet, Third Coast Percussion, and choreographers Wayne McGregor and Kyle Abraham.

Most recently, Wesleyan University commissioned two pieces using sounds of Javanese Gamelan, performed live by the Javanese Gamelan Ensemble and Paula Matthusen’s Toneburst Laptop Orchestra. In May 2025, Jlin composed and premiered the first ever piece of electronic music commissioned by the US Library of Congress and for 2026/2027 she will be Artist in Focus at the renowned Brussels institution Bozar.

For Joseph Kamaru (KMRU), a Nairobi-born, Berlin-based sound artist, sound is a sensorial medium through which social, material, and conceptual interpretations are manifested in his works. KMRU carries with him a repository of listening experiences from Nairobi and beyond, expanding his sonic practices and bringing an awareness of surroundings through creative compositions, installations and performances. His practice is most attentive to the impulses that prompt us to pause, inviting presence towards the mundane and honoring relation over spectacle.

He has earned international acclaim for his performances and releases, showcasing at the Barbican, Berlin Atonal, Dark Mofo, and Présences électronique, releasing on Subtext, Touch, and his own imprint OFNOT, and exhibiting at Ars Electronica, Venice Architecture Biennale, and Sharjah Architecture Biennale, amongst others.

2026 saw the release of Kin on Editions Mego — his second on the label following 2020’s acclaimed Peel. As Nature, a multisensory audiovisual collaboration with artist Nick Verstand and scent artist Mareike Bode, commissioned by Rewire, Barbican, and Lunchmeat Festival, had its world premiere at Rewire 2026, KMRU’s field recordings moving from near-silence into dense, seismic texture, before transferring to the Barbican. KMRU remains one of the most prolific and innovative artists in his field.

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.

Lamin Fofana is an artist and musician currently located in New York. His music contrasts the reality of our world with what’s beyond, and explores questions of movement, migration, alienation and belonging. Fofana’s overlapping interests in history and the present, and his practice of transmuting text into the affective medium of sound, manifests in multisensory live performances and installations featuring original music compositions, field recordings and archival material. His releases include the albums Corps Perdu (Shelter Press), Works In Metal (Honest Jon’s), It’s Only a Matter of Acceleration Now (The Trilogy Tapes), Unsettling Scores (Peak Oil), and The Open Boat (Black Studies). Exhibitions include Notes on Planetary Living (2024), fluent, Santander, Spain, JMW Turner with Lamin Fofana: Dark Waters (2022), Tate Liverpool, England, Preis der Nationalgalerie (2021), Hamburger Bahnhof, Berlin, Germany, Life and Death by Water (2021), the Liverpool Biennial, England, BLUES (2020), Mishkin Gallery at Baruch College, City University of New York, WITNESS (2017) at 57th Venice Biennale, Italy. In 2021, Fofana was awarded a Foundation for Contemporary Arts Grants to Artists and was nominated for the National Gallery Prize in Germany. Fofana hosts a monthly radio show on NTS Radio.

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. Described by Crack Magazine as ‘gloriously modern production that transcended the emergent electro zeitgeist’, the release was widely hailed as one of the best in electronic music that year. Both Crack Magazine and Resident Advisor included its main track ‘Touch Absence’ in their ‘Tracks of the Decade’ lists in 2019.

2024 saw the arrival of Metallur on AD93 — five tracks emerging from a generative paradox of laser precision and fluid dynamism, fusing percussive, metallic force with warping sound design. Lanark Artefax has also developed a practice in sculptural objects and visual work, alongside an audiovisual live show premiered at MIRA Festival in Barcelona.

Most recently, Lanark Artefax featured on TRON Ares: Divergence, the surprise 2026 remix companion to Nine Inch Nails’ Grammy-winning TRON: Ares soundtrack, contributing a remix of ‘Empathetic Response’ alongside Arca, Boys Noize, Mark Pritchard, and Danny L Harle.

Laurel Halo is an American composer, producer and musician, born in Detroit and based in Los Angeles. Her music is renowned for its nuance, character and focused vision, where ambient, musique concrète, low-end rhythms and improvisatory piano come together in a cohesive tapestry. She has released a number of albums and collaborated across the realms of club music, concert music, film and fashion.

She is the founder of her own imprint Awe, home to her critically acclaimed 2023 album Atlas. In March 2026 she released Midnight Zone, original soundtrack music composed for the film by visual artist Julian Charrière, following a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone — a remote abyssal plain in the Pacific targeted for deep-sea mining. Composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano, combined with stacks of violin and viola da gamba, the music is patient, submerged, and alive. She has also performed the live score at Rewire Festival and the ICA London.

Her installation work includes Sour Loop at Haus der Kunst, Munich (2025), and The Word For Desire at the Julia Stoschek Foundation, Berlin (2024). She hosts a monthly show, Awe, on NTS Radio.

Birmingham-born artist, composer and producer. His work carries conceptual rigour and raw edge – built entirely on his own terms, with little interest in where genre or discipline begins or ends. Releasing on PAN and Hyperdub and running his own UIQ imprint, he has spent over a decade pulling hardcore continuum, techno, noise, metal, avant-pop and academic composition into the same space. His 2012 album Diversions 1994-1996 arrived before deconstructed club music had a vocabulary, and is considered one of its defining records. He’s been a quiet reference point ever since.

His practice extends into performance, installation and writing, with recent work moving through AI, simulation and machine-generated voice. His latest album Models works with simulated voices singing in an almost wordless language – AI-generated and synthetic, reverberating across decades of pop history. With Candela Capitán he staged Models as a live work that moves between installation and performance art – disquieting and precise in equal measure.

His work has been presented at Tate Modern, MoMA PS1, Barbican, Unsound Festival, Atonal, the National Museum of Modern and Contemporary Art in Seoul, and Maison de la Radio in Paris. He has also presented commissioned works for the London Contemporary Orchestra, Berlin Atonal and Camden Art Centre.

As a DJ, he was doing this before it was a thing – burning through jungle, techno, grime and noise with a speed, physicality and instinct that still sounds like nobody else.

NTS residency Motor System ongoing.

Loraine James grew up on Enfield’s Alma Estate in North London, surrounded by a vivid mix of cultures and her mum’s eclectic taste, from heavy metal to calypso. Teaching herself electronic production with a MIDI keyboard and laptop, she channelled those influences into a distinctive sound that drew the attention of Hyperdub, who released her breakthrough album For You & I in 2019. A run of critically acclaimed records followed; Reflection, Gentle Confrontation, and ambient alias Whatever The Weather, cementing her reputation as one of the UK’s most vital and unpredictable electronic artists.

Her latest album, Detached From The Rest Of You, marks a bold new chapter. Stripped to the bone, it draws inspiration from Aoki Takamasa, Ryoji Ikeda and the ‘clicks and cuts’ era of early 2000s electronic music: sparse keyboard chords, clicks and glitches, and deliberate space used as a compositional tool. Loraine half-jokingly calls it her “IDM popstar album”; her voice sits higher in the mix than ever before, inhabiting precise, direct song forms. It is an artist growing in confidence, vulnerable, curious, and constantly shifting.

Born in 1985 in Tegucigalpa, Honduras, Philippe Hallais, known as Low Jack, is a Paris-based French composer. With albums released on labels including PAN and Modern Love, he also co-directed Éditions Gravats from 2014 to 2021. His practice spans musical composition, theatrical performance, filmmaking and the staging of live shows.

Blending dancehall, sound art, Latin rhythms, industrial textures and electroacoustic experimentation, Low Jack creates dubby, futuristic mutations of Caribbean sound. For more than a decade, he has continually redrawn the boundaries of electronic subcultures, developing a language that has quietly shaped the global underground.

His performances and collaborations include work with Ghédalia Tazartès, Lala &ce, Mediengruppe Bitnik!, Lina Lapelytè and Cécilia Bengolea. In 2021, he wrote and directed the musical Baiser Mortel, later released by Sony Music and PAN. In 2024, he co-directed the film Mangrovia with Italian visual artists Invernomuto.

In November 2025, he released Lacrimosa on Belgian label STROOM. As Boomkat wrote: “Low Jack folds choral music and spiritual jazz into a sort of weightless dark ambient inspired by Alice Coltrane’s Eternity and arranged like a sort of avant-garde opera sprayed with spoken word, pop vignettes and bass shrapnel.” It marks another striking turn in his evolving practice.

There is a logic that runs through everything Marco Fusinato creates: noise as music, intensity as a mode of attention, duration as a form of pressure. Working across installation, photographic reproduction, performance, and recording, his work occupies the intersection of contemporary art and the experimental music underground with a conviction few artists can match.

As a musician he pursues that live – electric guitar and mass amplification deployed to generate frequencies that are intricate, wide-ranging, and physically inhabiting. His performances resist the conventions of both the concert hall and the club, operating in the charged territory between the two.

The scale of his institutional presence speaks for itself. Selected to represent Australia at the 2022 Venice Biennale, Fusinato presented DESASTRES — a 200-consecutive-day durational performance as installation, since performed at Berlin Atonal, Rewire, Unsound, and Now or Never.

His first European monographic exhibition, The Only True Anarchy Is That of Power, recently opened at PAC Milano. And his newest work pushes further still: IN THE CORPSE OF THE PRESENT, a durational theatre piece at Berlin’s Gorki Theater, places Kleist’s Prince von Homburg under the pressure of noise, image, and intensity.

Fusinato’s work is defined by an absolute commitment to intensity as a mode of attention.

Described by the South Bank Centre as “one of the most compelling and influential electronic artists in the world,” Fell’s works centre on explorations of unusual timing systems and rhythmic structures. With interests in contemporary philosophy, experimental film and algorithmic process Fell’s oeuvre spans recording, performance, installation, critical writing and curatorial projects.

Emerging from Sheffield’s electronic music underground in the 1990s, his early works with SND responded to house and techno, recasting these as reduced and systematised geometric structures — an approach that fundamentally reshaped the landscape of electronic music. Subsequent solo projects extended this thinking in new directions: Multistability developed algorithmic concerns into microtemporal structures, while works for acoustic performers demonstrated the reach of his ideas outside electronics. Writing in Scherzo Magazine, Ismael G. Cabral described INTRA as “one of the most outstanding works written for percussion ensemble of the last decades.”

In recent years Fell brought his distinctive approach into dialogue with diverse performers, including Will Guthrie, Okkyung Lee, Limpe Fuchs, Pat Thomas, and Mohammad Reza Mortazavi, and a growing emphasis on distributed and group-based works.

Recorded works have been released with Mille Plateaux, Black Truffle, Pan and Editions Mego, among others, and more recently on The National Centre for Mark Fell Studies.

Martyn’s impact on electronic music is anchored in his ability to bridge disparate worlds. In the mid-2000s, he became one of the first artists from outside the UK to significantly influence the tight-knit London dubstep scene, collaborating with The Spaceape, dBridge and Marcus Intalex. He released his pioneering debut Great Lengths in 2009 and Ghost People through Flying Lotus’ Brainfeeder in 2011, solidifying his reputation for blending UK bass with Detroit-influenced jazz. Today, that journey continues through his monthly “Darkest Light” show on NTS Radio and turning his label, 3024, into a community pillar through his mentorship programme. 2026 will see Martyn’s first LP release in seven years, Music For Existing. The album features an array of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, Mark Cisneros, jazz talents Mischa Porte and Cees Bruinsma, and poet Musa Okwonga.

Wild horse.

Designer and Performer of live Music + Art fusion projects. Most recently WHAT DO YOU WANT? with Anna Phoebe at MIF25. A public Billboard, a radical Live Performance and a short film.

Historically, at events such as: TATE Modern Blavatnik Building opening; TATE Britain Re-Hang opening; All Points East, 4 years curating her own stage; Blue Dot, supporting Björk; BBC Proms, with Nils Frahm, A Winged Victory For The Sullen & Company Wayne McGregor; Sónar Festival, 6 years curating her own stages.

Disruptor on radio, currently BBC 6 Music Sundays 6-8pm.

Founder of SCAFFOLDING SESSIONS free mentoring programme. Currently working across Hull, Middlesbrough, Manchester, Preston. Formerly in Berlin with refugee groups, and over lockdown on Zoom.

Factory girl, private detective, custom-clothing maker, activist, writer, stunt woman. Can ride any motorcycle you park in front of her.

Mohammad Adam is an artist from Leicester, UK. He founded record label/collective Mohammad Five in the spring of 2001, original members including DJ PK, MISA, Skitz MC, Jasmin, Haroon, Zahra and Ibrahim.

Mohammad has self released 3 albums and 2 mixtapes since 2023 via Mohammad Five. His last project “.” received high praise; “You Ain’t ready for this BANGER 100” – MIYMS101 (Youtube)

Few figures in electronic music have built foundations others still stand on. Co-founder of Basic Channel/Maurizio/Rhythm and Sound with Mark Ernestus, founder of Dubplates & Mastering, originator of a dub-rooted sonic logic that has shaped four decades of club and electronic music culture – his fingerprints are on the genres at their deepest level. What has kept him central is an instinct for collaboration as restless as it is rigorous. With Juan Atkins, Carl Craig, Vladislav Delay, Laurel Halo, Tony Allen among many others – across techno, jazz, improvisation, the classical canon – von Oswald has consistently sought out creative friction, producing work that resists easy categorisation and refuses to calcify into legacy. The range is striking: from the Moritz von Oswald Trio’s improvisational dialogue between jazz and electronics, to a Deutsche Grammophon commission reinterpreting Ravel and Mussorgsky with Carl Craig, to Borderland’s ongoing techno experiments with Juan Atkins, to Silencio – his recent solo exploration of voice as electronic material.

As a DJ his sets carry the same qualities: deeply informed, formally precise, and capable of moving a room in truly singular ways.

The curiosity that drove his earliest work drives him still – turned outward, always, toward what electronic music might yet become.

Working at the harsher limits of electronic music, Angolan producer Nazar has developed “rough kuduro”: a destabilising, psychedelic mutation of Angola’s dance rhythms, charged with distortion, pressure and unease. Raised between Central Africa and Europe and now based in Amsterdam, he draws on personal memory, political history and inherited trauma to create music that is both intensely physical and psychologically charged.

His 2020 debut album, Guerrilla, was shaped by the Angolan civil war and his father’s role as a UNITA rebel general. Built from memoir, oral history, media fragments and recordings made during journeys across Angola, it transformed family history into a vivid, militarised sound world. Released as the pandemic began, the album was followed by Nazar’s near disappearance after tuberculosis, reactivated by Covid, left him seriously ill for a year.

Demilitarize turns that external conflict inward. Brighter, stranger and more spacious than its predecessor, it moves through woozy kuduro rhythms, submerged vocals, iridescent synths and immense percussion. Nazar’s voice sits at its centre, singing, muttering and circling through illness, recovery, intimacy and fear. The result is gripping and cinematic: fragile music in body armour, moving between dream state, internal turmoil and hard-won release, without ever losing its rhythmic force.

Nick León’s dystopian club music samples the sounds of Florida’s diverse ecosystems, but his style has varied fearlessly along the way. After making his start in the South Florida SoundCloud rap scene at a young age, Nick gravitated early towards the Latin sounds coming out of Puerto Rico and Colombia for his own work. He has since claimed production credits from genre-defying artists including Rosalía, Tokischa and Oklou, and his 2024 TraTraTrax collaboration with Erika De Casier, “Bikini”, was named track of the year by Pitchfork, The Guardian, Crack and Resident Advisor.

In June 2025, Nick released his highly anticipated debut album A Tropical Entropy on TraTraTrax, an expansion of his “Arquitectronica” sonic universe into an exploration of decay, disillusionment and psychedelia, featuring collaborations with Ela Minus, Casey MQ and Erika de Casier. Inspired by Joan Didion’s Miami and widely praised by Resident Advisor as “far and away the strongest of León’s releases,” the album stares down the apocalypse with bangers in tow. A remix album followed in October 2025, featuring reworks from CCL, Roza Terenzi, Minor Science and Loraine James.

Niecy Blues is a composer, songwriter, vocalist, thespian, multimedia artist, and instrumentalist based in South Carolina, originally growing up on the prairie fields of Oklahoma. Exploring themes such as grief, self-acceptance, lineage, ritual, and emotional vulnerability in her work, Blues continues a heritage of Black women using both sound and writing to engage in the ceremony of self-determination and documentation. Blues describes their songwriting process like an undertow: “I feel a strange pull, and let it carry me, following swirling leaves… whole days roll by, forgetting about the body.” Their full-length debut album, Exit Simulation, released by Kranky, captures this sense of deep-rooted divination, cycling between simmering ballads, ghosted R&B, downtempo gospel, and looped vocal improvisations—often within the same track.

Exit Simulation has received glowing reviews from Pitchfork, Boomkat, Resident Advisor, Crack Magazine highlighted her breakout performance at Rewire, during her first solo European tour.

She has since performed at We Out Here, All Points East, Berlin Atonal, WOS Festival, Cafe OTO, Le Guess Who, ZDB and The Biennale of Sydney.

Niecy is currently exploring new sounds for her sophomore album and scoring projects, in addition to finalizing a short film with collaborator Ryan C. Clarke.

Okkyung Lee is a cellist, composer, and improviser who moves freely between artistic disciplines and contingencies. Since 2000, she has worked across disparate contexts as a solo artist and collaborator with creators from a wide range of fields. A native of South Korea, Lee draws on noise, improvisation, jazz, Western classical music, and the traditional and popular music of her homeland to forge a singular artistic language.

While perhaps best known for her improvisational work and visceral extended techniques on the cello, Lee also creates compositions and site-specific works that respond to architecture, objects, and audiences, producing immersive experiences that challenge the hierarchies of traditional concert settings. Her recent releases include Signals, performed by Explore Ensemble, and Just Like Any Other Day: Background Music for Your Mundane Activities on Shelter Press, alongside 나를 (Na-Reul), Teum (The Silvery Slit), and Yeo-Neun.

Lee has collaborated with artists including Christian Marclay, Arca, Rashad Becker, Mark Fell, Marina Rosenfeld, Vijay Iyer, Arthur Jafa, and Swans, and has presented work at venues and festivals including Time Spans Festival, MoMA, the Venice Biennale, Rewire, Unsound, MOFO MONA, Wiener Festwochen, Borealis Festival, and Donaueschinger Musiktage. She recently completed her DAAD Artists-in-Berlin Program residency, during which she developed Aurora (Mesophase), premiered at MaerzMusik 2026 in Berlin.

Olan Monk is a musician, performer and writer from Conamara, Ireland.

Their practice involves experimental and popular songwriting, performing as a solo act and in collaboration with other musicians, including recordings and performances with Actress, Ashley Paul, Elvin Brandhi, James K, Maria Somerville, Michael Speers, Moin, Princ€ss and Shampain. They co-founded C.A.N.V.A.S. with Lugh O’Neill as an events series and record label, established in 2018 to give collective agency to an increasingly dispersed community of artists.

Past releases include Love/Dead (2020) and Auto Life (2021) on C.A.N.V.A.S. and Dubplate 08 (2022) on AD 93. They contributed the single ‘Surf’ to Scenic Route’s The Road Less Travelled Vol. 2 compilation (2024) and feature on the single ‘Guess It’s Wrecked’ from Moin’s third album You Never End (2024), released on AD 93.

Past performances include appearances at Rewire, The Hague; Aiséirí in Leisureland, Galway; National Concert Hall, Dublin; the Sonic Arts Research Centre, Belfast; cafe OTO, London; Barbican Hall, London; Institute for Contemporary Art, London; PAF Olomouc; EOS crossings, Frankfurt and throughout Ireland, England and continental Europe.

In 2026, they are touring as a solo performer, in a duo with the percussionist Michael Speers and in an expanded band format with musicians who have contributed to the making of their album Songs for Nothing, released on AD 93.

Yasmina Dexter’s selections elude her love for hypnotic play with multi-textured takes on electronic music; her monthly show ‘Renegade Soundwaves’ for NTS radio which she runs since 2016, are low pitch/high IQ sonic rituals, with generous weight of abstractions, 3d field recordings, elastic beats, brutalist basslines and techno with a capital NO.

Spanning from east London’s late 90’s rave scene, Pandora’s Jukebox made it all the way to Tate Modern Turbine hall with NTS, was in Raf Simons army of djs alongside Veronica Vasicka for Calvin Klein’s after party, caught the eye of the Berghain Saule experiment, Panorama bar and escalating to Berghain main dancefloor 13th bday party, becoming an institution among the most seminal underground clubs in Europe and North America. Dexter holds residency at Cicciolina Paris, GAF and she’s a long standing Art Basel’s noisemaker, solidifying her flirt with fashion and art. The body of artists she shared stages with is a further proof of her uninhibited and disparate approach to music, spanning from Arca, Ryoji Ikeda, Sunn O))), Einstürzende Neubauten, HTRK, Total Freedom, PAN and DJ Hell.

Dexter curates and makes original sound production to accompany her own and clients films; like Dazed Digital, Vogue Italia and Nowness.

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.

His reputation as a mix engineer and producer extends well beyond his own output. Studio credits span Skepta & Fred again..’s ‘Back 2 Back’, mastering Fred again.., Skrillex & Four Tet’s ‘Baby Again’, and mixing for Jessy Lanza, Rosie Lowe, Daniel Avery, Mount Kimbie, Loreen, Shanti Celeste, Jacques Greene and Wet Leg, among many others. As a recording artist, 2024 saw the arrival of Which Way Is Up, a four-track EP on Hessle Audio with sound system pressure at its core, praised as cementing “Pearson Sound’s position as one of UK electronic music’s all time greats.” 2025 brought the single ‘Zoomies’ on Timedance, continuing his prolific presence across labels at the forefront of UK electronic music.

Rainy Miller is the solo project of Preston-based artist, producer and label head Jack Bowes. Focused on spotlighting the vibrant emerging scene of the North West of England, Rainy founded his label FIXED ABODE in 2020 as a platform to showcase the wealth of local talent, with highly-tipped releases by the likes of Blackhaine, Space Afrika, Iceboy Violet and Richie Culver.

As an artist, Rainy creates deeply personal music that marries fragile, delicate moments with visceral, aggressive energy. Following up his debut project ‘Desquamation’, Rainy released his critically acclaimed full-length collab LP via his own FIXED ABODE imprint – ‘A Grisaille Wedding’ – featuring collaborations from the likes of Mica Levi & Coby Sey. Further cementing his skills as a producer and composer, Rainy released the spell-binding, genre-exploring album ‘Joseph, What Have You Done?’ (2025), topping end of the year charts from the likes of Crack Magazine, The Quietus, Mixmag, the latter who also named him one of the Top Producers of 2025.

rashad becker is a syrian-german composer and musician residing in berlin.

rashad has been an active part behind and within a wide variety of musical cultures for more than three decades; from the studio to the club, to academia, fine arts, film and theater, from the tiniest back-rooms to glorious temples – adding up to involvement in thousands of productions.

rashad’s own musical creations have become a revered and idiosyncratic part of the modern catalogue of synthetic music. this work sits outside the symbolic charge of genre, unfolding an alternate narrative within its own tragic-comical realm. praised for his unique approach to sound-sculpting, becker’s music lives on the cusp of the plausible and the uncanny – teasing familiar readings but twisting them towards the surreal and improbable.

it is here single sounds are employed as agents of meaning, affect and interaction in the bigger bowl of music. the core driver is exploring sound as a transfer-model between exposure and experience – and music as a bonding agent of social movements.

recent live performances unfold as deeply physical, densely populated, spatially and sentimentally disorienting audioramas of absurd realism.

British artist Rian Treanor’s music is complex yet highly kinetic, reflecting equal interest in club culture and experimental sound design. He has released records on Planet Mu, Nyege Nyege Tapes, The Death of Rave and Warp sub-label Arcola. Over the last decade, Treanor has developed a multifaceted practice encompassing collaborations, workshops, live performances, and sound installations.

His recent work includes the 2025 LP Body Lapse with vocalist Cara Tolmie, a GRM commission Crashing Into Bleaklow with Mark Fell, residencies with Ocen James and Catu Diosis through Nyege Nyege, and DJ sets at Björk’s Full Moon series in Smekkleysa, Iceland.

Since 2020, Rian has led the Electronic Music Club in Rotherham, delivering accessible, experimental music workshops with local communities, collaborating with artists such as RP Boo, Beatrice Dillon, Gavsborg, Elvin Brandhi, and Lord Spikeheart, culminating in the collective cassette release 10 x 10 = Great Hits.

RP Boo – a.k.a. Kavain Space is a man who is revered and respected amongst the dance music cognoscenti. He’s cited as one of the originators of Footwork, the fast, repetitive, rhythmically syncopated music & dance style that’s a grandchild of Chicago house and which has been brought to the wider world via releases from Planet Mu and others, alongside internet archaeology from fans, experts and enthusiasts.

As rRoxymore, Hermione Frank has been exploring the outer edges of the dance floor and producing music that goes beyond traditional genre boundaries for more than a decade. In that time she has covered plenty of ground from caustic and abrasive techno to long-form and immersive grooves, always with a focus on contrasting tempo, texture and tone. On previous albums Face to Phase on Don’t Be Afraid in 2019, and Perpetual Now on Smalltown Supersound in 2022, she intertwined the electronic and the acoustic with elements of psychedelia and jazz.

Her third full-length, Juggling Dualities, released on !K7 in July 2025, combines Detroit techno, kosmische and dub; the sound of writer’s block firmly shaken off. Writing the album came after many months of being unable to create during a complicated personal time, and represents a journey of reconnection. “I think it’s my most honest work to date,” Frank said. The album received acclaim from Pitchfork, Bandcamp and Resident Advisor. She also contributed to a Wisdom Teeth compilation exploring minimal-, micro- and tech-house.

In 2026 she has continued releasing new remixes for Acid Pauli and Agoria, keeping up a prolific output across labels and styles.

Smerz is the Norwegian duo of Henriette Motzfeldt and Catharina Stoltenberg, based in Oslo and Copenhagen. They operate at the intersection of genres, drawing inspiration from compositional techniques in classical music, the experimentation of computer music and the immediacy of pop music. Using collages to capture moments of everyday life and dreams, Smerz tell stories of apathy, loneliness, love and friendship.

Big city life, released May 2025 on Escho, received universal acclaim: Pitchfork awarded it Best New Music, placed it 11th in their 50 Best Albums of 2025, and named it the best pop album of the year. A remix album, Big City Life Edits, followed in November 2025, featuring Clairo, Erika de Casier, Fousheé and MIKE among others. In May 2026 they released the Easy EP on Escho, a more open-ended, journal-like companion to the album.

Live, the duo have performed at Tate Modern, Berghain, Volksbühne and Club to Club. The success of Big city life has seen their profile grow dramatically: they supported Lorde on her Ultrasound World Tour at arenas across the US, joined Robyn on select dates of her Sexistential arena tour, sold out two nights at Heaven in London, and will make their Barbican Hall debut in October 2026.

Born in the heights of the Colombian Andes mountains, TraTraTrax has been introducing and amplifying the mighty fire erupting from the streets and clubs of Sur América. Ranging from dembow to tribal, bass to techno, and high doses of sound design, the platform has signed regional heavyweights like Nicola Cruz and Dengue Dengue Dengue while pushing exciting new Latin talents from the Global South including Verraco, Nick León and Bitter Babe.

Aiming to connect the dots between the Latin American club scene and the wider global community, TraTraTrax has teamed up with some of the most forward-thinking sound designers on the circuit and built showcases at electronic music institutions including Fabric London, Berghain and Panorama Bar, Kaiku in Helsinki, Nowadays in New York, and Kala Festival among many others. In 2026, TraTraTrax are confirmed stagehosts at Draaimolen Festival, cementing their place as one of the most essential collectives in contemporary global club culture.

Veronica Vasicka is a New York City-based DJ, musician, and founder of the cult-favorite record label Minimal Wave, established in 2005. Celebrated for her distinctive, avant-garde sound—where Cold Wave, Post-Punk, vintage synth, and techno converge—she brings a singular edge to the global fashion and music scenes. Her genre-spanning DJ sets, rooted in the raw mechanics of techno and the atmospheric tension of early electronic music, have become fixtures at cutting-edge festivals, clubs, and curated events across Europe and beyond, from intimate underground spaces to major international stages.

Through Minimal Wave and its sister label Cititrax, she has released over 125 influential records, championing rare and raw electronic music—from obscure synth artifacts to the industrial pulse of proto-techno—with an artful, archival sensibility that has earned the label a devoted following among collectors and selectors worldwide. A tastemaker in both sound and style, Veronica has been a vital connector between the American underground and the European club circuit, where her sets are known for their depth, narrative arc, and uncompromising selection. She has hosted radio shows since 2003 and currently curates a monthly show on NTS, spotlighting underground movements in techno and beyond that continue to shape the cultural zeitgeist.

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, a key platform for global south sound explorers. With the future classic Escándaloo EP on VOAM in Summer 2023, RA and Crack Magazine lauded the record as one of the best of the year. In 2024, his debut on Bristol’s Timedance with ‘Breathe… Godspeed’ was unanimously acclaimed, awarded Pitchfork Best New Music and described by Philip Sherburne as “an essential record for the vanguard of dance music.”

In 2025, Verraco signed with XL Recordings for Basic Maneuvers, colliding South American dembow with UK soundsystem bass and techno precision, including a standout collaboration with MC Yallah. In 2026 he curated Curation Three for The Third Room. Alongside his solo work, Hyperverbena (his joint project with Lechuga Zafiro) is a celebration of Sudaca culture fusing IDM, breakbeat, cumbia and drum and bass, closing Primavera Sound 2026 and with further dates at Roskilde, Berghain and Draaimolen ahead.

Outer Agency is a management and booking agency that develops and represents projects and individual artists in the realms of advanced music and audio-visual performances. Outer Agency commissions new projects for leading venues around the world and collaborates with other agencies, promoters and artists in developing new performances, installations and events.

Shanghai-born producer and visual artist 33EMYBW has been a distinctive presence in China’s experimental music scene for over a decade. Drawing on contemporary dance music, folk traditions and visual culture, she has developed a singular language of intricate rhythm, vivid sound design and speculative world-building.

Her 2018 album Golem, released by SVBKVLT, received widespread acclaim and was named among Bandcamp’s best electronic albums of the year, earning support from artists including Kode9, Desto, Akito and 8ulentina. Her third album, arthropods, continued her explorations of post-humanism and evolution, stretching rhythmic ideas across longer timescales and expanding the conceptual universe of her work.

33EMYBW has presented her live work internationally at festivals and venues including Unsound, Nyege Nyege, CTM, SXSW, Haus der Kulturen der Welt, Soft Centre, Recombinant Festival and Manchester’s Warehouse Project, alongside appearances in London, Milan and Zurich.

She is also a core member of Shanghai experimental rock and electronic band Duck Fight Goose (YADAE). Her interest in traditional forms has included work with recordings of Dong Choir music from Guizhou province, leading to the release of DONG2 on Beijing label Merrie Records. Across her solo and collaborative work, she continues to connect club music, visual art and speculative sound.

Aho Ssan is the artist name of Paris-based Niamké Désiré. After studying graphic design and cinema, he began composing electronic music and creating his own digital instruments. Shortly thereafter, he won the Fondation de France television prize for his soundtrack to Ingha Mago’s film in 2015, and has since worked on several projects with IRCAM and GRM in France.

His debut LP, Simulacrum (Subtext Recordings, 2020), draws on Jean Baudrillard’s concept to explore society’s presentation of inclusivity and equality against his own experience of growing up Black in France. He has since released Rhizomes on Nicolas Jaar’s Other People label, the collaborative album Limen with KMRU, and Ego Death with Resina.

His latest solo album, The Sun Turned Black, was released in May 2026 on Subtext Recordings and Ici d’Ailleurs.

His work has been presented at major institutions across Europe and the United States, including Lincoln Center (New York), Maison de la Radio (Paris), CTM Festival (Berlin), MACBA (Barcelona), Muziekgebouw (Amsterdam), and Krakow Philharmonic. His music has been acclaimed by NPR, Pitchfork, Resident Advisor, Libération, The Wire, and The Quietus.

Beatrice Dillon is an artist and composer working across recording, performance, and installation. Her practice often combines synthesis with acoustic instrumentation, for projects varying in scale: from intimate, experimental compositions to large-scale, multi-speaker commissions. Originally trained in visual art, pattern, restraint, and space are central elements in her work, as is a continual exploration of rhythm. She’s released solo and collaborative recordings with leading independent electronic labels, and her Workaround (PAN, 2020) was named The Wire’s Album of the Year.

Recent projects include: Impossible Ideal Angle (Haus der Kunst Munich, 2022), Afoam (Serralves Museum of Contemporary Art Porto, 2022), album producer for Bendik Giske (2023). Her first orchestral work, Sift: Piano, Vibraphone, Other… premiered with London Symphony Orchestra (2024) and Seven Reorganisations written for Explore Ensemble is the inaugural release on her label, HI (2024). She was composer for Helen Marten, Art Basel Paris (2025). Dillon has performed extensively internationally, including: Ina GRM Paris, MODE Tokyo, Barbican Centre, Pirelli HangarBicocca Milan, ZKM Karlsruhe, and MUTEK Montréal.

Basho commissioned for the Ina GRM acousmonium sound-diffusion system was released on Portraits GRM (2025). Reach, a new commission for leading instrumentalists GBSR Duo, premiered at Kings Place London (May 2026). Dillon’s latest work, Where Never, premieres with Explore Ensemble (December 2026), and is co-commissioned by Barbican Centre, Rewire Festival, Ultima Oslo.

bela (they/them) is a South Korean musician and performance artist based between Berlin and Prague. bela narrativises sound, feedback, movement, and image—feedbacking guttural vocals through a speaker, extending the material and cavity of resonance. On a conceptual level, their work often tunes their closeness to identity, sexuality, lineage, and the mystical plane of existence. In this regard, their music and performance are asking to renew or expand the sense of locating around sounds and bodies within the social and celestial sphere.

bela was awarded honorable mention at ZKM’s GigaHertz Prize PopExperimental awards in 2023 for their work on the album Noise and Cries. They participated in the SHAPE+ Platform in 23′-24′, and are a laureate of La Becque residency in 2026. Their solo and collaborative live performances have been featured at Berlin Atonal; Nowadays, NYC; Schauspielhaus Zürich; Cafe OTO, London; CTM Festival, Berlin; and Unsound Kraków.

Bianca Scout is a musician with a background in contemporary and classical dance, whose performances combine movement direction and storytelling, within a distorted landscape of displacement, yearning and the undead.

Scout’s mysterious mix of pop and grunge feels fractured but whole. In her hands, Medieval church music and vocal harmony blend into a brooding drew punctuated by fits of dusty breaks and smothered percussion. She steers you into the abyss, yet is the compass that guides your way back out.

Tom Heyes, aka Blackhaine, is a British contemporary artist whose work moves between music, choreography, performance and immersive audiovisual installation.

Rooted in the north of England, his practice brings together voice, movement and scenography in physically demanding forms that move through rap, noise, ambient music, poetry and avant-garde dance. His live performances reconstruct recorded material and works in progress, creating site-responsive encounters that are often intimate and confrontational, shifting into moments of “negative ecstasy” and psychedelia.

In 2026, the latest iteration of And Now I Know What Love Is was presented at Holland Festival, following its 2025 premiere at Manchester International Festival. In 2024, he presented the site-specific work CONSUMER at EXPOP in Bern and a new audiovisual performance at Sónar Barcelona. In 2023, he premiered Paith at Berlin Atonal, following the 2022 work Miasma at Trauma Bar und Kino.

His work has also been presented at Centre Pompidou, Tate Modern, Venice Biennale, Dark Mofo, Primavera Sound, Unsound and Club To Club.

Across releases and collaborations with Space Afrika and Blood Orange, Blackhaine has developed a singular musical language alongside an expanding body of performance and installation work, with his debut album forthcoming in 2026.

Candela Capitán’s practice unfolds at the intersection of contemporary dance, expanded performance, and visual arts, as a critique of platform capitalism and a reflection on the image in the hyperconnected era. The body is her conceptual core: a territory where feminized corporealities are transformed in constant dialogue with technologies that materialize and modify them.

She works with the notion of gender tech, understood as devices that act upon and through the body, reshaping its experience, visibility, and agency. This relationship creates an interface where boundaries between the physical and the virtual, nature and culture, blur.

From a feminist perspective, she investigates eroticization, confinement, self-exploitation, and internalized surveillance in digital networks and streaming platforms. Her works – whether choreographic, installative, or audiovisual – explore how such devices turn the body into an object of control, desire, and constant production.

She is particularly interested in creating scenic and sculptural devices that restrict movement, forcing the body to negotiate with its limits and the machinery that frames it, to question power relations and project non-normative futures.

Candela has presented her work globally, at renowned venues and events including Fundació Antoni Tàpies, CCC Condeduque, DeSingel, Grec Festival, Documenta 15, Frieze, Barbican Centre, Rising Festival, Unsound Festival and numerous others.

The diverse sonic worlds Carmen Villain has built throughout her career are shaped by an endless curiosity for sound. Working somewhere between dub’s blunt rhythmic pulse, physical bass and the immersive textures of fourth world, Villain approaches composition as an act of memory and transformation, where sounds erode, repeat, and reappear in altered forms. Across acclaimed releases such as Only Love From Now On and Nutrition EP on Smalltown Supersound, Villain has developed a distinct language of spacious, immersive music that is both intimate in details, yet vast in scope. In addition to her solo material, she also composes for contemporary dance and installations, including collaborations with choreographer Eszter Salamon and IRCAM Paris. Her atmospheric and bass heavy live performances have been presented at venues and festivals such as Berlin Atonal, ICA London, Dekmantel, and Mutek. She is currently preparing her new album on which she expands on her spectral dub explorations, set for release this fall.

Since her breakthrough album Patterns of Consciousness (2017), Italian composer Caterina Barbieri has worked with vivid analog synthesis and expanded electro-acoustic formats to explore the physical and metaphysical effects of sound on the listener. Her music, described by Pitchfork as “a mind-altering journey” and “a dreammachine for the ears”, investigates the creative potential of computation and complex generative techniques to explore themes related to memory, time and phenomenology of perception, often interrogating states of trance and emotional intensity. In just a few short years Barbieri has performed at a slew of the world’s most respected music festivals, from Unsound and Atonal to Primavera Sound and Sonar, and has presented her work at prestigious venues including London’s Barbican Centre, Biennale di Venezia, IRCAM and INA GRM, Berliner Festspiele, Haus Der Kunst in Münich, Mexico City’s Museo Anahuacalli, Ruhrtriennale, Philharmonie de Paris and Festival de Cannes, among many others.

In late 2024, Barbieri was appointed Creative Director for the Venice Biennale Musica, which she will curate for the years of 2025/2026. As of late, she premiered a new commissioned work by La Philharmonie de Paris with ONCEIM, as well as a new live show in collaboration with MFO and Ruben Spini.

Chima Isaaro has been doing the work.

Lighting up dance floors across Europe, from underground basements to some of the continent’s most respected clubs and festivals, the Lisbon-based seasoned selector is known for her uplifting, surprising, and always generous sets. Effortlessly melodic and emotionally resonant, her sound moves through house, techno, soul, batida, jazz, and beyond. Off the decks she is the co-creator of Revolutionary Dreamscapes, a nomadic space blending sound, ritual, and community, dedicated to Black healing and restoration. She’s also a film and music producer, and a researcher in musicology and ethnomusicology. Her work focuses mainly on the underground music cultures of the African diaspora, exploring them from a decolonial perspective, with a strong emphasis on celebrating the black roots of electronic music.

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.

Although he’s been around the drum and bass scene for some thirty years, dBridge has so much more to offer. With his live project Black Electric, he expresses himself freely, throwing off the shackles that limit creativity. “Aggressively beautiful”, quoth the British artist, embracing sound in all its glorious range: slow, fast, dark and luminous.

The seed of Ego Death was planted in 2020 during Weavings – a durational remote improvisation conceived and curated by Nicolás Jaar and the Unsound Festival team. This bold experiment brought together 12 musicians from around the world in real time via Zoom, and marked the first collaboration between Resina and Aho Ssan.

Their intuitive musical synergy was immediate, revealing a shared vocabulary despite working with radically different tools and instruments. That moment became the beginning of an evolving creative partnership.

In 2021, Resina contributed to Rhizomes, Aho Ssan’s album inspired by the philosophy of Deleuze and Guattari, and later the duo reunited for a live version of Weavings to wide critical acclaim, before premiering their collaborative project Ego Death at Unsound Kraków in 2022.

Their debut album was released via Berlin-based Subtext Recordings in early Summer of 2025, supported by performances at Rewire Festival, Lunchmeat Festival, Lincoln Centre among others.

Gavsborg (Gavin Blair) is a Jamaican producer, DJ, vocalist and founding member of Equiknoxx/Equiknoxx Music, known for his experimental blend of dancehall, electronic, dub, and ambient sounds. Based between East Kingston & Berlin, he gained early recognition with Busy Signal’s “Step Out” and has since worked with artists like Paul St. Hilaire, Carrier, Andy Martin, Spice and Aidonia. He founded the Cassette Blair label, released the album 1 Hour Service, and performs vocals under the alias unkle G. Gavsborg is known for pushing the boundaries of Jamaican music on a global scale.

Berlin-based composer and musician Aimée Portioli, aka Grand River, takes a painterly, emotionally plugged-in approach to her music and sound art that has seen her develop a distinct signature over the last decade. She’s put out an acclaimed run of releases on a number of prestigious imprints, including Editions Mego, Ghostly International, light-years and Spazio Disponibile, and in fall 2026 will unleash her new album Temporary, a direct and focused set of wordless electro-acoustic pieces hinged on the interplay between Portioli’s guitar work and synthesiser processes. In parallel, she also develops multichannel installations, such as Symphony for Endangered Birds, which debuted at Essen’s Museum Folkwang, and Tuning the Wind, which was issued in 2025 on Umor Rex. Portioli continues to perform at festivals and venues across the world, appearing at Berlin’s Atonal, Paris’s Centre Pompidou, Montreal’s MUTEK and CTM Festival, as well as London’s Barbican Centre.

Bridging two generations of Italy’s experimental music scene, Grand River and Abul Mogard merge their distinct approaches into a slow-moving, emotionally charged expanse. Undulating chords, swelling feedback and layered instrumentation create a continuous sense of motion and tension.

On their first collaborative album for Caterina Barbieri’s light-years, released in 2024, they explore a sonic space where time seems to dissolve into pure atmosphere. “In uno spazio immenso” shifts between sweeping, operatic intensity and moments of fragile restraint, casting light on both subtle rhythmic traces and dense, immersive textures. Combining synthesisers and processed guitar, the project has been presented live at festivals and venues including MUTEK, Centre Pompidou and Berlin Atonal, among others.

Helena Hauff has spent more than a decade establishing herself as one of electronic music’s most distinctive artists. A former resident of Hamburg’s legendary Golden Pudel, she built her reputation through fearless, vinyl-only DJ sets that move effortlessly across electro, techno, acid, breakbeat and beyond, driven by instinctive selection, restless curiosity and an uncompromising approach to the dancefloor.

That same ethos runs through her productions. Working primarily with analogue hardware, Hauff’s releases – including Discreet Desires, Qualm and the recent R4 album as Black Sites with F#X – as well as records for Werkdiscs/Ninja Tune, fabric Originals, Tresor and her own Return to Disorder label, have established a body of work that is raw, instinctive and unmistakably her own.

Alongside her production work, Helena has earned a reputation as one of electronic music’s most respected selectors. From breakthrough appearances at Dekmantel and Sónar to BBC Radio 1’s Essential Mix of the Year, the landmark RA.1000 mix and her recent Yoyaku instore session, she has remained a fixture at the world’s leading clubs and festivals.

IMOGEN is a globally established producer, DJ, and founder of the label and party Wigs. Shifting seamlessly through techno in all its forms, maximalist electro, old-school breaks, and beyond, the UK-based artist exists in a lane entirely her own, with a taste far beyond her years.

Holding residencies at two of electronic music’s most influential institutions, NTS Radio and Tresor. IMOGEN has released on the club’s in-house label alongside productions for fabric, Mute, SCDD, Voitax, Earwiggle, and her own imprint, Wigs. She continues to expand her collaborative world through regular B2Bs with some of the scene’s most respected names, including Helena Hauff, DJ Stingray 313, KiNK, Daniel Avery, and more.

Playing a vital force in forward-thinking electronic music, IMOGEN enters a new chapter in 2026 with the launch of her live show, alongside celebrations marking five years of Wigs.

Jensen Interceptor has delivered his brand of electro and techno to clubs and warehouses worldwide, earning respect from peers including Sven Väth, Gesaffelstein, Boys Noize and Green Velvet. His productions have landed on influential labels such as Boys Noize Records, Cultivated Electronics and Central Processing Unit, with support from Dave Clarke, Helena Hauff, Dubfire and Maceo Plex among others.

As founder of International Chrome, he has built a label championing a genuinely global roster. 2024’s Jensen & Friends LP brought together collaborators spanning Turkey, Venezuela, Brazil and Philadelphia, fusing baile funk, footwork, techno and deconstructed club. A freak accident that same year left him with multiple broken bones in his foot, but the forced pause proved transformative, leading to Interception (International Chrome, 2025), his most experimental work to date, blending signature electro with IDM, footwork and baile funk.

2026 has seen him in prolific form across multiple labels. I Want To Shift Gears For A Minute arrived on Lawrence Lee’s A7A Recordings, and the Synthetic Seduction EP followed on Peder Mannerfelt’s PM+ imprint – two tracks of intensely detailed, nerve-shredding electro representing some of his most wildly tweaked productions yet.

JJJJJerome Ellis (any pronoun) is a Grenadian-Jamaican-American artist, surfer, and person who stutters. Through music, performance, writing, video, and photography, Ellis asks what stuttering can teach us about listening, generosity, and justice. JJJJJerome has the great privilege of being married to poet-ecologist Luísa Black Ellis. They live in a monastery on a creek in traditional Nansemond and Chesepioc territory, aka Norfolk, VA. JJJJJerome dreams of building a sonic bath house!

A math lover, former steel factory worker, and proud resident of Gary, Indiana, Jlin has quickly become one of the most distinctive composers in America and one of the most influential women in electronic music. Her thrilling, emotional, and multidimensional compositions have earned her praise as “one of the most forward-thinking contemporary composers in any genre” (Pitchfork). Jlin was a 2023 Pulitzer Prize nominee for Perspectives (originally commissioned and performed by Third Coast Percussion) and her albums on Planet Mu have been featured in best-of lists across The New York Times, The Wire, Rolling Stone, The Guardian, and Vogue.

She has collaborated with William Basinski, Holly Herndon, Zora Jones, and the late SOPHIE, and remixed works for Björk, Max Richter, Martin Gore among others. Commissions have come from the Kronos Quartet, Third Coast Percussion, and choreographers Wayne McGregor and Kyle Abraham.

Most recently, Wesleyan University commissioned two pieces using sounds of Javanese Gamelan, performed live by the Javanese Gamelan Ensemble and Paula Matthusen’s Toneburst Laptop Orchestra. In May 2025, Jlin composed and premiered the first ever piece of electronic music commissioned by the US Library of Congress and for 2026/2027 she will be Artist in Focus at the renowned Brussels institution Bozar.

For Joseph Kamaru (KMRU), a Nairobi-born, Berlin-based sound artist, sound is a sensorial medium through which social, material, and conceptual interpretations are manifested in his works. KMRU carries with him a repository of listening experiences from Nairobi and beyond, expanding his sonic practices and bringing an awareness of surroundings through creative compositions, installations and performances. His practice is most attentive to the impulses that prompt us to pause, inviting presence towards the mundane and honoring relation over spectacle.

He has earned international acclaim for his performances and releases, showcasing at the Barbican, Berlin Atonal, Dark Mofo, and Présences électronique, releasing on Subtext, Touch, and his own imprint OFNOT, and exhibiting at Ars Electronica, Venice Architecture Biennale, and Sharjah Architecture Biennale, amongst others.

2026 saw the release of Kin on Editions Mego — his second on the label following 2020’s acclaimed Peel. As Nature, a multisensory audiovisual collaboration with artist Nick Verstand and scent artist Mareike Bode, commissioned by Rewire, Barbican, and Lunchmeat Festival, had its world premiere at Rewire 2026, KMRU’s field recordings moving from near-silence into dense, seismic texture, before transferring to the Barbican. KMRU remains one of the most prolific and innovative artists in his field.

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.

Lamin Fofana is an artist and musician currently located in New York. His music contrasts the reality of our world with what’s beyond, and explores questions of movement, migration, alienation and belonging. Fofana’s overlapping interests in history and the present, and his practice of transmuting text into the affective medium of sound, manifests in multisensory live performances and installations featuring original music compositions, field recordings and archival material. His releases include the albums Corps Perdu (Shelter Press), Works In Metal (Honest Jon’s), It’s Only a Matter of Acceleration Now (The Trilogy Tapes), Unsettling Scores (Peak Oil), and The Open Boat (Black Studies). Exhibitions include Notes on Planetary Living (2024), fluent, Santander, Spain, JMW Turner with Lamin Fofana: Dark Waters (2022), Tate Liverpool, England, Preis der Nationalgalerie (2021), Hamburger Bahnhof, Berlin, Germany, Life and Death by Water (2021), the Liverpool Biennial, England, BLUES (2020), Mishkin Gallery at Baruch College, City University of New York, WITNESS (2017) at 57th Venice Biennale, Italy. In 2021, Fofana was awarded a Foundation for Contemporary Arts Grants to Artists and was nominated for the National Gallery Prize in Germany. Fofana hosts a monthly radio show on NTS Radio.

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. Described by Crack Magazine as ‘gloriously modern production that transcended the emergent electro zeitgeist’, the release was widely hailed as one of the best in electronic music that year. Both Crack Magazine and Resident Advisor included its main track ‘Touch Absence’ in their ‘Tracks of the Decade’ lists in 2019.

2024 saw the arrival of Metallur on AD93 — five tracks emerging from a generative paradox of laser precision and fluid dynamism, fusing percussive, metallic force with warping sound design. Lanark Artefax has also developed a practice in sculptural objects and visual work, alongside an audiovisual live show premiered at MIRA Festival in Barcelona.

Most recently, Lanark Artefax featured on TRON Ares: Divergence, the surprise 2026 remix companion to Nine Inch Nails’ Grammy-winning TRON: Ares soundtrack, contributing a remix of ‘Empathetic Response’ alongside Arca, Boys Noize, Mark Pritchard, and Danny L Harle.

Laurel Halo is an American composer, producer and musician, born in Detroit and based in Los Angeles. Her music is renowned for its nuance, character and focused vision, where ambient, musique concrète, low-end rhythms and improvisatory piano come together in a cohesive tapestry. She has released a number of albums and collaborated across the realms of club music, concert music, film and fashion.

She is the founder of her own imprint Awe, home to her critically acclaimed 2023 album Atlas. In March 2026 she released Midnight Zone, original soundtrack music composed for the film by visual artist Julian Charrière, following a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone — a remote abyssal plain in the Pacific targeted for deep-sea mining. Composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano, combined with stacks of violin and viola da gamba, the music is patient, submerged, and alive. She has also performed the live score at Rewire Festival and the ICA London.

Her installation work includes Sour Loop at Haus der Kunst, Munich (2025), and The Word For Desire at the Julia Stoschek Foundation, Berlin (2024). She hosts a monthly show, Awe, on NTS Radio.

Birmingham-born artist, composer and producer. His work carries conceptual rigour and raw edge – built entirely on his own terms, with little interest in where genre or discipline begins or ends. Releasing on PAN and Hyperdub and running his own UIQ imprint, he has spent over a decade pulling hardcore continuum, techno, noise, metal, avant-pop and academic composition into the same space. His 2012 album Diversions 1994-1996 arrived before deconstructed club music had a vocabulary, and is considered one of its defining records. He’s been a quiet reference point ever since.

His practice extends into performance, installation and writing, with recent work moving through AI, simulation and machine-generated voice. His latest album Models works with simulated voices singing in an almost wordless language – AI-generated and synthetic, reverberating across decades of pop history. With Candela Capitán he staged Models as a live work that moves between installation and performance art – disquieting and precise in equal measure.

His work has been presented at Tate Modern, MoMA PS1, Barbican, Unsound Festival, Atonal, the National Museum of Modern and Contemporary Art in Seoul, and Maison de la Radio in Paris. He has also presented commissioned works for the London Contemporary Orchestra, Berlin Atonal and Camden Art Centre.

As a DJ, he was doing this before it was a thing – burning through jungle, techno, grime and noise with a speed, physicality and instinct that still sounds like nobody else.

NTS residency Motor System ongoing.

Loraine James grew up on Enfield’s Alma Estate in North London, surrounded by a vivid mix of cultures and her mum’s eclectic taste, from heavy metal to calypso. Teaching herself electronic production with a MIDI keyboard and laptop, she channelled those influences into a distinctive sound that drew the attention of Hyperdub, who released her breakthrough album For You & I in 2019. A run of critically acclaimed records followed; Reflection, Gentle Confrontation, and ambient alias Whatever The Weather, cementing her reputation as one of the UK’s most vital and unpredictable electronic artists.

Her latest album, Detached From The Rest Of You, marks a bold new chapter. Stripped to the bone, it draws inspiration from Aoki Takamasa, Ryoji Ikeda and the ‘clicks and cuts’ era of early 2000s electronic music: sparse keyboard chords, clicks and glitches, and deliberate space used as a compositional tool. Loraine half-jokingly calls it her “IDM popstar album”; her voice sits higher in the mix than ever before, inhabiting precise, direct song forms. It is an artist growing in confidence, vulnerable, curious, and constantly shifting.

Born in 1985 in Tegucigalpa, Honduras, Philippe Hallais, known as Low Jack, is a Paris-based French composer. With albums released on labels including PAN and Modern Love, he also co-directed Éditions Gravats from 2014 to 2021. His practice spans musical composition, theatrical performance, filmmaking and the staging of live shows.

Blending dancehall, sound art, Latin rhythms, industrial textures and electroacoustic experimentation, Low Jack creates dubby, futuristic mutations of Caribbean sound. For more than a decade, he has continually redrawn the boundaries of electronic subcultures, developing a language that has quietly shaped the global underground.

His performances and collaborations include work with Ghédalia Tazartès, Lala &ce, Mediengruppe Bitnik!, Lina Lapelytè and Cécilia Bengolea. In 2021, he wrote and directed the musical Baiser Mortel, later released by Sony Music and PAN. In 2024, he co-directed the film Mangrovia with Italian visual artists Invernomuto.

In November 2025, he released Lacrimosa on Belgian label STROOM. As Boomkat wrote: “Low Jack folds choral music and spiritual jazz into a sort of weightless dark ambient inspired by Alice Coltrane’s Eternity and arranged like a sort of avant-garde opera sprayed with spoken word, pop vignettes and bass shrapnel.” It marks another striking turn in his evolving practice.

There is a logic that runs through everything Marco Fusinato creates: noise as music, intensity as a mode of attention, duration as a form of pressure. Working across installation, photographic reproduction, performance, and recording, his work occupies the intersection of contemporary art and the experimental music underground with a conviction few artists can match.

As a musician he pursues that live – electric guitar and mass amplification deployed to generate frequencies that are intricate, wide-ranging, and physically inhabiting. His performances resist the conventions of both the concert hall and the club, operating in the charged territory between the two.

The scale of his institutional presence speaks for itself. Selected to represent Australia at the 2022 Venice Biennale, Fusinato presented DESASTRES — a 200-consecutive-day durational performance as installation, since performed at Berlin Atonal, Rewire, Unsound, and Now or Never.

His first European monographic exhibition, The Only True Anarchy Is That of Power, recently opened at PAC Milano. And his newest work pushes further still: IN THE CORPSE OF THE PRESENT, a durational theatre piece at Berlin’s Gorki Theater, places Kleist’s Prince von Homburg under the pressure of noise, image, and intensity.

Fusinato’s work is defined by an absolute commitment to intensity as a mode of attention.

Described by the South Bank Centre as “one of the most compelling and influential electronic artists in the world,” Fell’s works centre on explorations of unusual timing systems and rhythmic structures. With interests in contemporary philosophy, experimental film and algorithmic process Fell’s oeuvre spans recording, performance, installation, critical writing and curatorial projects.

Emerging from Sheffield’s electronic music underground in the 1990s, his early works with SND responded to house and techno, recasting these as reduced and systematised geometric structures — an approach that fundamentally reshaped the landscape of electronic music. Subsequent solo projects extended this thinking in new directions: Multistability developed algorithmic concerns into microtemporal structures, while works for acoustic performers demonstrated the reach of his ideas outside electronics. Writing in Scherzo Magazine, Ismael G. Cabral described INTRA as “one of the most outstanding works written for percussion ensemble of the last decades.”

In recent years Fell brought his distinctive approach into dialogue with diverse performers, including Will Guthrie, Okkyung Lee, Limpe Fuchs, Pat Thomas, and Mohammad Reza Mortazavi, and a growing emphasis on distributed and group-based works.

Recorded works have been released with Mille Plateaux, Black Truffle, Pan and Editions Mego, among others, and more recently on The National Centre for Mark Fell Studies.

Martyn’s impact on electronic music is anchored in his ability to bridge disparate worlds. In the mid-2000s, he became one of the first artists from outside the UK to significantly influence the tight-knit London dubstep scene, collaborating with The Spaceape, dBridge and Marcus Intalex. He released his pioneering debut Great Lengths in 2009 and Ghost People through Flying Lotus’ Brainfeeder in 2011, solidifying his reputation for blending UK bass with Detroit-influenced jazz. Today, that journey continues through his monthly “Darkest Light” show on NTS Radio and turning his label, 3024, into a community pillar through his mentorship programme. 2026 will see Martyn’s first LP release in seven years, Music For Existing. The album features an array of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, Mark Cisneros, jazz talents Mischa Porte and Cees Bruinsma, and poet Musa Okwonga.

Wild horse.

Designer and Performer of live Music + Art fusion projects. Most recently WHAT DO YOU WANT? with Anna Phoebe at MIF25. A public Billboard, a radical Live Performance and a short film.

Historically, at events such as: TATE Modern Blavatnik Building opening; TATE Britain Re-Hang opening; All Points East, 4 years curating her own stage; Blue Dot, supporting Björk; BBC Proms, with Nils Frahm, A Winged Victory For The Sullen & Company Wayne McGregor; Sónar Festival, 6 years curating her own stages.

Disruptor on radio, currently BBC 6 Music Sundays 6-8pm.

Founder of SCAFFOLDING SESSIONS free mentoring programme. Currently working across Hull, Middlesbrough, Manchester, Preston. Formerly in Berlin with refugee groups, and over lockdown on Zoom.

Factory girl, private detective, custom-clothing maker, activist, writer, stunt woman. Can ride any motorcycle you park in front of her.

Mohammad Adam is an artist from Leicester, UK. He founded record label/collective Mohammad Five in the spring of 2001, original members including DJ PK, MISA, Skitz MC, Jasmin, Haroon, Zahra and Ibrahim.

Mohammad has self released 3 albums and 2 mixtapes since 2023 via Mohammad Five. His last project “.” received high praise; “You Ain’t ready for this BANGER 100” – MIYMS101 (Youtube)

Few figures in electronic music have built foundations others still stand on. Co-founder of Basic Channel/Maurizio/Rhythm and Sound with Mark Ernestus, founder of Dubplates & Mastering, originator of a dub-rooted sonic logic that has shaped four decades of club and electronic music culture – his fingerprints are on the genres at their deepest level. What has kept him central is an instinct for collaboration as restless as it is rigorous. With Juan Atkins, Carl Craig, Vladislav Delay, Laurel Halo, Tony Allen among many others – across techno, jazz, improvisation, the classical canon – von Oswald has consistently sought out creative friction, producing work that resists easy categorisation and refuses to calcify into legacy. The range is striking: from the Moritz von Oswald Trio’s improvisational dialogue between jazz and electronics, to a Deutsche Grammophon commission reinterpreting Ravel and Mussorgsky with Carl Craig, to Borderland’s ongoing techno experiments with Juan Atkins, to Silencio – his recent solo exploration of voice as electronic material.

As a DJ his sets carry the same qualities: deeply informed, formally precise, and capable of moving a room in truly singular ways.

The curiosity that drove his earliest work drives him still – turned outward, always, toward what electronic music might yet become.

Working at the harsher limits of electronic music, Angolan producer Nazar has developed “rough kuduro”: a destabilising, psychedelic mutation of Angola’s dance rhythms, charged with distortion, pressure and unease. Raised between Central Africa and Europe and now based in Amsterdam, he draws on personal memory, political history and inherited trauma to create music that is both intensely physical and psychologically charged.

His 2020 debut album, Guerrilla, was shaped by the Angolan civil war and his father’s role as a UNITA rebel general. Built from memoir, oral history, media fragments and recordings made during journeys across Angola, it transformed family history into a vivid, militarised sound world. Released as the pandemic began, the album was followed by Nazar’s near disappearance after tuberculosis, reactivated by Covid, left him seriously ill for a year.

Demilitarize turns that external conflict inward. Brighter, stranger and more spacious than its predecessor, it moves through woozy kuduro rhythms, submerged vocals, iridescent synths and immense percussion. Nazar’s voice sits at its centre, singing, muttering and circling through illness, recovery, intimacy and fear. The result is gripping and cinematic: fragile music in body armour, moving between dream state, internal turmoil and hard-won release, without ever losing its rhythmic force.

Nick León’s dystopian club music samples the sounds of Florida’s diverse ecosystems, but his style has varied fearlessly along the way. After making his start in the South Florida SoundCloud rap scene at a young age, Nick gravitated early towards the Latin sounds coming out of Puerto Rico and Colombia for his own work. He has since claimed production credits from genre-defying artists including Rosalía, Tokischa and Oklou, and his 2024 TraTraTrax collaboration with Erika De Casier, “Bikini”, was named track of the year by Pitchfork, The Guardian, Crack and Resident Advisor.

In June 2025, Nick released his highly anticipated debut album A Tropical Entropy on TraTraTrax, an expansion of his “Arquitectronica” sonic universe into an exploration of decay, disillusionment and psychedelia, featuring collaborations with Ela Minus, Casey MQ and Erika de Casier. Inspired by Joan Didion’s Miami and widely praised by Resident Advisor as “far and away the strongest of León’s releases,” the album stares down the apocalypse with bangers in tow. A remix album followed in October 2025, featuring reworks from CCL, Roza Terenzi, Minor Science and Loraine James.

Niecy Blues is a composer, songwriter, vocalist, thespian, multimedia artist, and instrumentalist based in South Carolina, originally growing up on the prairie fields of Oklahoma. Exploring themes such as grief, self-acceptance, lineage, ritual, and emotional vulnerability in her work, Blues continues a heritage of Black women using both sound and writing to engage in the ceremony of self-determination and documentation. Blues describes their songwriting process like an undertow: “I feel a strange pull, and let it carry me, following swirling leaves… whole days roll by, forgetting about the body.” Their full-length debut album, Exit Simulation, released by Kranky, captures this sense of deep-rooted divination, cycling between simmering ballads, ghosted R&B, downtempo gospel, and looped vocal improvisations—often within the same track.

Exit Simulation has received glowing reviews from Pitchfork, Boomkat, Resident Advisor, Crack Magazine highlighted her breakout performance at Rewire, during her first solo European tour.

She has since performed at We Out Here, All Points East, Berlin Atonal, WOS Festival, Cafe OTO, Le Guess Who, ZDB and The Biennale of Sydney.

Niecy is currently exploring new sounds for her sophomore album and scoring projects, in addition to finalizing a short film with collaborator Ryan C. Clarke.

Okkyung Lee is a cellist, composer, and improviser who moves freely between artistic disciplines and contingencies. Since 2000, she has worked across disparate contexts as a solo artist and collaborator with creators from a wide range of fields. A native of South Korea, Lee draws on noise, improvisation, jazz, Western classical music, and the traditional and popular music of her homeland to forge a singular artistic language.

While perhaps best known for her improvisational work and visceral extended techniques on the cello, Lee also creates compositions and site-specific works that respond to architecture, objects, and audiences, producing immersive experiences that challenge the hierarchies of traditional concert settings. Her recent releases include Signals, performed by Explore Ensemble, and Just Like Any Other Day: Background Music for Your Mundane Activities on Shelter Press, alongside 나를 (Na-Reul), Teum (The Silvery Slit), and Yeo-Neun.

Lee has collaborated with artists including Christian Marclay, Arca, Rashad Becker, Mark Fell, Marina Rosenfeld, Vijay Iyer, Arthur Jafa, and Swans, and has presented work at venues and festivals including Time Spans Festival, MoMA, the Venice Biennale, Rewire, Unsound, MOFO MONA, Wiener Festwochen, Borealis Festival, and Donaueschinger Musiktage. She recently completed her DAAD Artists-in-Berlin Program residency, during which she developed Aurora (Mesophase), premiered at MaerzMusik 2026 in Berlin.

Olan Monk is a musician, performer and writer from Conamara, Ireland.

Their practice involves experimental and popular songwriting, performing as a solo act and in collaboration with other musicians, including recordings and performances with Actress, Ashley Paul, Elvin Brandhi, James K, Maria Somerville, Michael Speers, Moin, Princ€ss and Shampain. They co-founded C.A.N.V.A.S. with Lugh O’Neill as an events series and record label, established in 2018 to give collective agency to an increasingly dispersed community of artists.

Past releases include Love/Dead (2020) and Auto Life (2021) on C.A.N.V.A.S. and Dubplate 08 (2022) on AD 93. They contributed the single ‘Surf’ to Scenic Route’s The Road Less Travelled Vol. 2 compilation (2024) and feature on the single ‘Guess It’s Wrecked’ from Moin’s third album You Never End (2024), released on AD 93.

Past performances include appearances at Rewire, The Hague; Aiséirí in Leisureland, Galway; National Concert Hall, Dublin; the Sonic Arts Research Centre, Belfast; cafe OTO, London; Barbican Hall, London; Institute for Contemporary Art, London; PAF Olomouc; EOS crossings, Frankfurt and throughout Ireland, England and continental Europe.

In 2026, they are touring as a solo performer, in a duo with the percussionist Michael Speers and in an expanded band format with musicians who have contributed to the making of their album Songs for Nothing, released on AD 93.

Yasmina Dexter’s selections elude her love for hypnotic play with multi-textured takes on electronic music; her monthly show ‘Renegade Soundwaves’ for NTS radio which she runs since 2016, are low pitch/high IQ sonic rituals, with generous weight of abstractions, 3d field recordings, elastic beats, brutalist basslines and techno with a capital NO.

Spanning from east London’s late 90’s rave scene, Pandora’s Jukebox made it all the way to Tate Modern Turbine hall with NTS, was in Raf Simons army of djs alongside Veronica Vasicka for Calvin Klein’s after party, caught the eye of the Berghain Saule experiment, Panorama bar and escalating to Berghain main dancefloor 13th bday party, becoming an institution among the most seminal underground clubs in Europe and North America. Dexter holds residency at Cicciolina Paris, GAF and she’s a long standing Art Basel’s noisemaker, solidifying her flirt with fashion and art. The body of artists she shared stages with is a further proof of her uninhibited and disparate approach to music, spanning from Arca, Ryoji Ikeda, Sunn O))), Einstürzende Neubauten, HTRK, Total Freedom, PAN and DJ Hell.

Dexter curates and makes original sound production to accompany her own and clients films; like Dazed Digital, Vogue Italia and Nowness.

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.

His reputation as a mix engineer and producer extends well beyond his own output. Studio credits span Skepta & Fred again..’s ‘Back 2 Back’, mastering Fred again.., Skrillex & Four Tet’s ‘Baby Again’, and mixing for Jessy Lanza, Rosie Lowe, Daniel Avery, Mount Kimbie, Loreen, Shanti Celeste, Jacques Greene and Wet Leg, among many others. As a recording artist, 2024 saw the arrival of Which Way Is Up, a four-track EP on Hessle Audio with sound system pressure at its core, praised as cementing “Pearson Sound’s position as one of UK electronic music’s all time greats.” 2025 brought the single ‘Zoomies’ on Timedance, continuing his prolific presence across labels at the forefront of UK electronic music.

Rainy Miller is the solo project of Preston-based artist, producer and label head Jack Bowes. Focused on spotlighting the vibrant emerging scene of the North West of England, Rainy founded his label FIXED ABODE in 2020 as a platform to showcase the wealth of local talent, with highly-tipped releases by the likes of Blackhaine, Space Afrika, Iceboy Violet and Richie Culver.

As an artist, Rainy creates deeply personal music that marries fragile, delicate moments with visceral, aggressive energy. Following up his debut project ‘Desquamation’, Rainy released his critically acclaimed full-length collab LP via his own FIXED ABODE imprint – ‘A Grisaille Wedding’ – featuring collaborations from the likes of Mica Levi & Coby Sey. Further cementing his skills as a producer and composer, Rainy released the spell-binding, genre-exploring album ‘Joseph, What Have You Done?’ (2025), topping end of the year charts from the likes of Crack Magazine, The Quietus, Mixmag, the latter who also named him one of the Top Producers of 2025.

rashad becker is a syrian-german composer and musician residing in berlin.

rashad has been an active part behind and within a wide variety of musical cultures for more than three decades; from the studio to the club, to academia, fine arts, film and theater, from the tiniest back-rooms to glorious temples – adding up to involvement in thousands of productions.

rashad’s own musical creations have become a revered and idiosyncratic part of the modern catalogue of synthetic music. this work sits outside the symbolic charge of genre, unfolding an alternate narrative within its own tragic-comical realm. praised for his unique approach to sound-sculpting, becker’s music lives on the cusp of the plausible and the uncanny – teasing familiar readings but twisting them towards the surreal and improbable.

it is here single sounds are employed as agents of meaning, affect and interaction in the bigger bowl of music. the core driver is exploring sound as a transfer-model between exposure and experience – and music as a bonding agent of social movements.

recent live performances unfold as deeply physical, densely populated, spatially and sentimentally disorienting audioramas of absurd realism.

British artist Rian Treanor’s music is complex yet highly kinetic, reflecting equal interest in club culture and experimental sound design. He has released records on Planet Mu, Nyege Nyege Tapes, The Death of Rave and Warp sub-label Arcola. Over the last decade, Treanor has developed a multifaceted practice encompassing collaborations, workshops, live performances, and sound installations.

His recent work includes the 2025 LP Body Lapse with vocalist Cara Tolmie, a GRM commission Crashing Into Bleaklow with Mark Fell, residencies with Ocen James and Catu Diosis through Nyege Nyege, and DJ sets at Björk’s Full Moon series in Smekkleysa, Iceland.

Since 2020, Rian has led the Electronic Music Club in Rotherham, delivering accessible, experimental music workshops with local communities, collaborating with artists such as RP Boo, Beatrice Dillon, Gavsborg, Elvin Brandhi, and Lord Spikeheart, culminating in the collective cassette release 10 x 10 = Great Hits.

RP Boo – a.k.a. Kavain Space is a man who is revered and respected amongst the dance music cognoscenti. He’s cited as one of the originators of Footwork, the fast, repetitive, rhythmically syncopated music & dance style that’s a grandchild of Chicago house and which has been brought to the wider world via releases from Planet Mu and others, alongside internet archaeology from fans, experts and enthusiasts.

As rRoxymore, Hermione Frank has been exploring the outer edges of the dance floor and producing music that goes beyond traditional genre boundaries for more than a decade. In that time she has covered plenty of ground from caustic and abrasive techno to long-form and immersive grooves, always with a focus on contrasting tempo, texture and tone. On previous albums Face to Phase on Don’t Be Afraid in 2019, and Perpetual Now on Smalltown Supersound in 2022, she intertwined the electronic and the acoustic with elements of psychedelia and jazz.

Her third full-length, Juggling Dualities, released on !K7 in July 2025, combines Detroit techno, kosmische and dub; the sound of writer’s block firmly shaken off. Writing the album came after many months of being unable to create during a complicated personal time, and represents a journey of reconnection. “I think it’s my most honest work to date,” Frank said. The album received acclaim from Pitchfork, Bandcamp and Resident Advisor. She also contributed to a Wisdom Teeth compilation exploring minimal-, micro- and tech-house.

In 2026 she has continued releasing new remixes for Acid Pauli and Agoria, keeping up a prolific output across labels and styles.

Smerz is the Norwegian duo of Henriette Motzfeldt and Catharina Stoltenberg, based in Oslo and Copenhagen. They operate at the intersection of genres, drawing inspiration from compositional techniques in classical music, the experimentation of computer music and the immediacy of pop music. Using collages to capture moments of everyday life and dreams, Smerz tell stories of apathy, loneliness, love and friendship.

Big city life, released May 2025 on Escho, received universal acclaim: Pitchfork awarded it Best New Music, placed it 11th in their 50 Best Albums of 2025, and named it the best pop album of the year. A remix album, Big City Life Edits, followed in November 2025, featuring Clairo, Erika de Casier, Fousheé and MIKE among others. In May 2026 they released the Easy EP on Escho, a more open-ended, journal-like companion to the album.

Live, the duo have performed at Tate Modern, Berghain, Volksbühne and Club to Club. The success of Big city life has seen their profile grow dramatically: they supported Lorde on her Ultrasound World Tour at arenas across the US, joined Robyn on select dates of her Sexistential arena tour, sold out two nights at Heaven in London, and will make their Barbican Hall debut in October 2026.

Born in the heights of the Colombian Andes mountains, TraTraTrax has been introducing and amplifying the mighty fire erupting from the streets and clubs of Sur América. Ranging from dembow to tribal, bass to techno, and high doses of sound design, the platform has signed regional heavyweights like Nicola Cruz and Dengue Dengue Dengue while pushing exciting new Latin talents from the Global South including Verraco, Nick León and Bitter Babe.

Aiming to connect the dots between the Latin American club scene and the wider global community, TraTraTrax has teamed up with some of the most forward-thinking sound designers on the circuit and built showcases at electronic music institutions including Fabric London, Berghain and Panorama Bar, Kaiku in Helsinki, Nowadays in New York, and Kala Festival among many others. In 2026, TraTraTrax are confirmed stagehosts at Draaimolen Festival, cementing their place as one of the most essential collectives in contemporary global club culture.

Veronica Vasicka is a New York City-based DJ, musician, and founder of the cult-favorite record label Minimal Wave, established in 2005. Celebrated for her distinctive, avant-garde sound—where Cold Wave, Post-Punk, vintage synth, and techno converge—she brings a singular edge to the global fashion and music scenes. Her genre-spanning DJ sets, rooted in the raw mechanics of techno and the atmospheric tension of early electronic music, have become fixtures at cutting-edge festivals, clubs, and curated events across Europe and beyond, from intimate underground spaces to major international stages.

Through Minimal Wave and its sister label Cititrax, she has released over 125 influential records, championing rare and raw electronic music—from obscure synth artifacts to the industrial pulse of proto-techno—with an artful, archival sensibility that has earned the label a devoted following among collectors and selectors worldwide. A tastemaker in both sound and style, Veronica has been a vital connector between the American underground and the European club circuit, where her sets are known for their depth, narrative arc, and uncompromising selection. She has hosted radio shows since 2003 and currently curates a monthly show on NTS, spotlighting underground movements in techno and beyond that continue to shape the cultural zeitgeist.

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, a key platform for global south sound explorers. With the future classic Escándaloo EP on VOAM in Summer 2023, RA and Crack Magazine lauded the record as one of the best of the year. In 2024, his debut on Bristol’s Timedance with ‘Breathe… Godspeed’ was unanimously acclaimed, awarded Pitchfork Best New Music and described by Philip Sherburne as “an essential record for the vanguard of dance music.”

In 2025, Verraco signed with XL Recordings for Basic Maneuvers, colliding South American dembow with UK soundsystem bass and techno precision, including a standout collaboration with MC Yallah. In 2026 he curated Curation Three for The Third Room. Alongside his solo work, Hyperverbena (his joint project with Lechuga Zafiro) is a celebration of Sudaca culture fusing IDM, breakbeat, cumbia and drum and bass, closing Primavera Sound 2026 and with further dates at Roskilde, Berghain and Draaimolen ahead.

Outer Agency is a management and booking agency that develops and represents projects and individual artists in the realms of advanced music and audio-visual performances. Outer Agency commissions new projects for leading venues around the world and collaborates with other agencies, promoters and artists in developing new performances, installations and events.

Shanghai-born producer and visual artist 33EMYBW has been a distinctive presence in China’s experimental music scene for over a decade. Drawing on contemporary dance music, folk traditions and visual culture, she has developed a singular language of intricate rhythm, vivid sound design and speculative world-building.

Her 2018 album Golem, released by SVBKVLT, received widespread acclaim and was named among Bandcamp’s best electronic albums of the year, earning support from artists including Kode9, Desto, Akito and 8ulentina. Her third album, arthropods, continued her explorations of post-humanism and evolution, stretching rhythmic ideas across longer timescales and expanding the conceptual universe of her work.

33EMYBW has presented her live work internationally at festivals and venues including Unsound, Nyege Nyege, CTM, SXSW, Haus der Kulturen der Welt, Soft Centre, Recombinant Festival and Manchester’s Warehouse Project, alongside appearances in London, Milan and Zurich.

She is also a core member of Shanghai experimental rock and electronic band Duck Fight Goose (YADAE). Her interest in traditional forms has included work with recordings of Dong Choir music from Guizhou province, leading to the release of DONG2 on Beijing label Merrie Records. Across her solo and collaborative work, she continues to connect club music, visual art and speculative sound.

Aho Ssan is the artist name of Paris-based Niamké Désiré. After studying graphic design and cinema, he began composing electronic music and creating his own digital instruments. Shortly thereafter, he won the Fondation de France television prize for his soundtrack to Ingha Mago’s film in 2015, and has since worked on several projects with IRCAM and GRM in France.

His debut LP, Simulacrum (Subtext Recordings, 2020), draws on Jean Baudrillard’s concept to explore society’s presentation of inclusivity and equality against his own experience of growing up Black in France. He has since released Rhizomes on Nicolas Jaar’s Other People label, the collaborative album Limen with KMRU, and Ego Death with Resina.

His latest solo album, The Sun Turned Black, was released in May 2026 on Subtext Recordings and Ici d’Ailleurs.

His work has been presented at major institutions across Europe and the United States, including Lincoln Center (New York), Maison de la Radio (Paris), CTM Festival (Berlin), MACBA (Barcelona), Muziekgebouw (Amsterdam), and Krakow Philharmonic. His music has been acclaimed by NPR, Pitchfork, Resident Advisor, Libération, The Wire, and The Quietus.

Beatrice Dillon is an artist and composer working across recording, performance, and installation. Her practice often combines synthesis with acoustic instrumentation, for projects varying in scale: from intimate, experimental compositions to large-scale, multi-speaker commissions. Originally trained in visual art, pattern, restraint, and space are central elements in her work, as is a continual exploration of rhythm. She’s released solo and collaborative recordings with leading independent electronic labels, and her Workaround (PAN, 2020) was named The Wire’s Album of the Year.

Recent projects include: Impossible Ideal Angle (Haus der Kunst Munich, 2022), Afoam (Serralves Museum of Contemporary Art Porto, 2022), album producer for Bendik Giske (2023). Her first orchestral work, Sift: Piano, Vibraphone, Other… premiered with London Symphony Orchestra (2024) and Seven Reorganisations written for Explore Ensemble is the inaugural release on her label, HI (2024). She was composer for Helen Marten, Art Basel Paris (2025). Dillon has performed extensively internationally, including: Ina GRM Paris, MODE Tokyo, Barbican Centre, Pirelli HangarBicocca Milan, ZKM Karlsruhe, and MUTEK Montréal.

Basho commissioned for the Ina GRM acousmonium sound-diffusion system was released on Portraits GRM (2025). Reach, a new commission for leading instrumentalists GBSR Duo, premiered at Kings Place London (May 2026). Dillon’s latest work, Where Never, premieres with Explore Ensemble (December 2026), and is co-commissioned by Barbican Centre, Rewire Festival, Ultima Oslo.

bela (they/them) is a South Korean musician and performance artist based between Berlin and Prague. bela narrativises sound, feedback, movement, and image—feedbacking guttural vocals through a speaker, extending the material and cavity of resonance. On a conceptual level, their work often tunes their closeness to identity, sexuality, lineage, and the mystical plane of existence. In this regard, their music and performance are asking to renew or expand the sense of locating around sounds and bodies within the social and celestial sphere.

bela was awarded honorable mention at ZKM’s GigaHertz Prize PopExperimental awards in 2023 for their work on the album Noise and Cries. They participated in the SHAPE+ Platform in 23′-24′, and are a laureate of La Becque residency in 2026. Their solo and collaborative live performances have been featured at Berlin Atonal; Nowadays, NYC; Schauspielhaus Zürich; Cafe OTO, London; CTM Festival, Berlin; and Unsound Kraków.

Bianca Scout is a musician with a background in contemporary and classical dance, whose performances combine movement direction and storytelling, within a distorted landscape of displacement, yearning and the undead.

Scout’s mysterious mix of pop and grunge feels fractured but whole. In her hands, Medieval church music and vocal harmony blend into a brooding drew punctuated by fits of dusty breaks and smothered percussion. She steers you into the abyss, yet is the compass that guides your way back out.

Tom Heyes, aka Blackhaine, is a British contemporary artist whose work moves between music, choreography, performance and immersive audiovisual installation.

Rooted in the north of England, his practice brings together voice, movement and scenography in physically demanding forms that move through rap, noise, ambient music, poetry and avant-garde dance. His live performances reconstruct recorded material and works in progress, creating site-responsive encounters that are often intimate and confrontational, shifting into moments of “negative ecstasy” and psychedelia.

In 2026, the latest iteration of And Now I Know What Love Is was presented at Holland Festival, following its 2025 premiere at Manchester International Festival. In 2024, he presented the site-specific work CONSUMER at EXPOP in Bern and a new audiovisual performance at Sónar Barcelona. In 2023, he premiered Paith at Berlin Atonal, following the 2022 work Miasma at Trauma Bar und Kino.

His work has also been presented at Centre Pompidou, Tate Modern, Venice Biennale, Dark Mofo, Primavera Sound, Unsound and Club To Club.

Across releases and collaborations with Space Afrika and Blood Orange, Blackhaine has developed a singular musical language alongside an expanding body of performance and installation work, with his debut album forthcoming in 2026.

Candela Capitán’s practice unfolds at the intersection of contemporary dance, expanded performance, and visual arts, as a critique of platform capitalism and a reflection on the image in the hyperconnected era. The body is her conceptual core: a territory where feminized corporealities are transformed in constant dialogue with technologies that materialize and modify them.

She works with the notion of gender tech, understood as devices that act upon and through the body, reshaping its experience, visibility, and agency. This relationship creates an interface where boundaries between the physical and the virtual, nature and culture, blur.

From a feminist perspective, she investigates eroticization, confinement, self-exploitation, and internalized surveillance in digital networks and streaming platforms. Her works – whether choreographic, installative, or audiovisual – explore how such devices turn the body into an object of control, desire, and constant production.

She is particularly interested in creating scenic and sculptural devices that restrict movement, forcing the body to negotiate with its limits and the machinery that frames it, to question power relations and project non-normative futures.

Candela has presented her work globally, at renowned venues and events including Fundació Antoni Tàpies, CCC Condeduque, DeSingel, Grec Festival, Documenta 15, Frieze, Barbican Centre, Rising Festival, Unsound Festival and numerous others.

The diverse sonic worlds Carmen Villain has built throughout her career are shaped by an endless curiosity for sound. Working somewhere between dub’s blunt rhythmic pulse, physical bass and the immersive textures of fourth world, Villain approaches composition as an act of memory and transformation, where sounds erode, repeat, and reappear in altered forms. Across acclaimed releases such as Only Love From Now On and Nutrition EP on Smalltown Supersound, Villain has developed a distinct language of spacious, immersive music that is both intimate in details, yet vast in scope. In addition to her solo material, she also composes for contemporary dance and installations, including collaborations with choreographer Eszter Salamon and IRCAM Paris. Her atmospheric and bass heavy live performances have been presented at venues and festivals such as Berlin Atonal, ICA London, Dekmantel, and Mutek. She is currently preparing her new album on which she expands on her spectral dub explorations, set for release this fall.

Since her breakthrough album Patterns of Consciousness (2017), Italian composer Caterina Barbieri has worked with vivid analog synthesis and expanded electro-acoustic formats to explore the physical and metaphysical effects of sound on the listener. Her music, described by Pitchfork as “a mind-altering journey” and “a dreammachine for the ears”, investigates the creative potential of computation and complex generative techniques to explore themes related to memory, time and phenomenology of perception, often interrogating states of trance and emotional intensity. In just a few short years Barbieri has performed at a slew of the world’s most respected music festivals, from Unsound and Atonal to Primavera Sound and Sonar, and has presented her work at prestigious venues including London’s Barbican Centre, Biennale di Venezia, IRCAM and INA GRM, Berliner Festspiele, Haus Der Kunst in Münich, Mexico City’s Museo Anahuacalli, Ruhrtriennale, Philharmonie de Paris and Festival de Cannes, among many others.

In late 2024, Barbieri was appointed Creative Director for the Venice Biennale Musica, which she will curate for the years of 2025/2026. As of late, she premiered a new commissioned work by La Philharmonie de Paris with ONCEIM, as well as a new live show in collaboration with MFO and Ruben Spini.

Chima Isaaro has been doing the work.

Lighting up dance floors across Europe, from underground basements to some of the continent’s most respected clubs and festivals, the Lisbon-based seasoned selector is known for her uplifting, surprising, and always generous sets. Effortlessly melodic and emotionally resonant, her sound moves through house, techno, soul, batida, jazz, and beyond. Off the decks she is the co-creator of Revolutionary Dreamscapes, a nomadic space blending sound, ritual, and community, dedicated to Black healing and restoration. She’s also a film and music producer, and a researcher in musicology and ethnomusicology. Her work focuses mainly on the underground music cultures of the African diaspora, exploring them from a decolonial perspective, with a strong emphasis on celebrating the black roots of electronic music.

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.

Although he’s been around the drum and bass scene for some thirty years, dBridge has so much more to offer. With his live project Black Electric, he expresses himself freely, throwing off the shackles that limit creativity. “Aggressively beautiful”, quoth the British artist, embracing sound in all its glorious range: slow, fast, dark and luminous.

The seed of Ego Death was planted in 2020 during Weavings – a durational remote improvisation conceived and curated by Nicolás Jaar and the Unsound Festival team. This bold experiment brought together 12 musicians from around the world in real time via Zoom, and marked the first collaboration between Resina and Aho Ssan.

Their intuitive musical synergy was immediate, revealing a shared vocabulary despite working with radically different tools and instruments. That moment became the beginning of an evolving creative partnership.

In 2021, Resina contributed to Rhizomes, Aho Ssan’s album inspired by the philosophy of Deleuze and Guattari, and later the duo reunited for a live version of Weavings to wide critical acclaim, before premiering their collaborative project Ego Death at Unsound Kraków in 2022.

Their debut album was released via Berlin-based Subtext Recordings in early Summer of 2025, supported by performances at Rewire Festival, Lunchmeat Festival, Lincoln Centre among others.

Gavsborg (Gavin Blair) is a Jamaican producer, DJ, vocalist and founding member of Equiknoxx/Equiknoxx Music, known for his experimental blend of dancehall, electronic, dub, and ambient sounds. Based between East Kingston & Berlin, he gained early recognition with Busy Signal’s “Step Out” and has since worked with artists like Paul St. Hilaire, Carrier, Andy Martin, Spice and Aidonia. He founded the Cassette Blair label, released the album 1 Hour Service, and performs vocals under the alias unkle G. Gavsborg is known for pushing the boundaries of Jamaican music on a global scale.

Berlin-based composer and musician Aimée Portioli, aka Grand River, takes a painterly, emotionally plugged-in approach to her music and sound art that has seen her develop a distinct signature over the last decade. She’s put out an acclaimed run of releases on a number of prestigious imprints, including Editions Mego, Ghostly International, light-years and Spazio Disponibile, and in fall 2026 will unleash her new album Temporary, a direct and focused set of wordless electro-acoustic pieces hinged on the interplay between Portioli’s guitar work and synthesiser processes. In parallel, she also develops multichannel installations, such as Symphony for Endangered Birds, which debuted at Essen’s Museum Folkwang, and Tuning the Wind, which was issued in 2025 on Umor Rex. Portioli continues to perform at festivals and venues across the world, appearing at Berlin’s Atonal, Paris’s Centre Pompidou, Montreal’s MUTEK and CTM Festival, as well as London’s Barbican Centre.

Bridging two generations of Italy’s experimental music scene, Grand River and Abul Mogard merge their distinct approaches into a slow-moving, emotionally charged expanse. Undulating chords, swelling feedback and layered instrumentation create a continuous sense of motion and tension.

On their first collaborative album for Caterina Barbieri’s light-years, released in 2024, they explore a sonic space where time seems to dissolve into pure atmosphere. “In uno spazio immenso” shifts between sweeping, operatic intensity and moments of fragile restraint, casting light on both subtle rhythmic traces and dense, immersive textures. Combining synthesisers and processed guitar, the project has been presented live at festivals and venues including MUTEK, Centre Pompidou and Berlin Atonal, among others.

Helena Hauff has spent more than a decade establishing herself as one of electronic music’s most distinctive artists. A former resident of Hamburg’s legendary Golden Pudel, she built her reputation through fearless, vinyl-only DJ sets that move effortlessly across electro, techno, acid, breakbeat and beyond, driven by instinctive selection, restless curiosity and an uncompromising approach to the dancefloor.

That same ethos runs through her productions. Working primarily with analogue hardware, Hauff’s releases – including Discreet Desires, Qualm and the recent R4 album as Black Sites with F#X – as well as records for Werkdiscs/Ninja Tune, fabric Originals, Tresor and her own Return to Disorder label, have established a body of work that is raw, instinctive and unmistakably her own.

Alongside her production work, Helena has earned a reputation as one of electronic music’s most respected selectors. From breakthrough appearances at Dekmantel and Sónar to BBC Radio 1’s Essential Mix of the Year, the landmark RA.1000 mix and her recent Yoyaku instore session, she has remained a fixture at the world’s leading clubs and festivals.

IMOGEN is a globally established producer, DJ, and founder of the label and party Wigs. Shifting seamlessly through techno in all its forms, maximalist electro, old-school breaks, and beyond, the UK-based artist exists in a lane entirely her own, with a taste far beyond her years.

Holding residencies at two of electronic music’s most influential institutions, NTS Radio and Tresor. IMOGEN has released on the club’s in-house label alongside productions for fabric, Mute, SCDD, Voitax, Earwiggle, and her own imprint, Wigs. She continues to expand her collaborative world through regular B2Bs with some of the scene’s most respected names, including Helena Hauff, DJ Stingray 313, KiNK, Daniel Avery, and more.

Playing a vital force in forward-thinking electronic music, IMOGEN enters a new chapter in 2026 with the launch of her live show, alongside celebrations marking five years of Wigs.

Jensen Interceptor has delivered his brand of electro and techno to clubs and warehouses worldwide, earning respect from peers including Sven Väth, Gesaffelstein, Boys Noize and Green Velvet. His productions have landed on influential labels such as Boys Noize Records, Cultivated Electronics and Central Processing Unit, with support from Dave Clarke, Helena Hauff, Dubfire and Maceo Plex among others.

As founder of International Chrome, he has built a label championing a genuinely global roster. 2024’s Jensen & Friends LP brought together collaborators spanning Turkey, Venezuela, Brazil and Philadelphia, fusing baile funk, footwork, techno and deconstructed club. A freak accident that same year left him with multiple broken bones in his foot, but the forced pause proved transformative, leading to Interception (International Chrome, 2025), his most experimental work to date, blending signature electro with IDM, footwork and baile funk.

2026 has seen him in prolific form across multiple labels. I Want To Shift Gears For A Minute arrived on Lawrence Lee’s A7A Recordings, and the Synthetic Seduction EP followed on Peder Mannerfelt’s PM+ imprint – two tracks of intensely detailed, nerve-shredding electro representing some of his most wildly tweaked productions yet.

JJJJJerome Ellis (any pronoun) is a Grenadian-Jamaican-American artist, surfer, and person who stutters. Through music, performance, writing, video, and photography, Ellis asks what stuttering can teach us about listening, generosity, and justice. JJJJJerome has the great privilege of being married to poet-ecologist Luísa Black Ellis. They live in a monastery on a creek in traditional Nansemond and Chesepioc territory, aka Norfolk, VA. JJJJJerome dreams of building a sonic bath house!

A math lover, former steel factory worker, and proud resident of Gary, Indiana, Jlin has quickly become one of the most distinctive composers in America and one of the most influential women in electronic music. Her thrilling, emotional, and multidimensional compositions have earned her praise as “one of the most forward-thinking contemporary composers in any genre” (Pitchfork). Jlin was a 2023 Pulitzer Prize nominee for Perspectives (originally commissioned and performed by Third Coast Percussion) and her albums on Planet Mu have been featured in best-of lists across The New York Times, The Wire, Rolling Stone, The Guardian, and Vogue.

She has collaborated with William Basinski, Holly Herndon, Zora Jones, and the late SOPHIE, and remixed works for Björk, Max Richter, Martin Gore among others. Commissions have come from the Kronos Quartet, Third Coast Percussion, and choreographers Wayne McGregor and Kyle Abraham.

Most recently, Wesleyan University commissioned two pieces using sounds of Javanese Gamelan, performed live by the Javanese Gamelan Ensemble and Paula Matthusen’s Toneburst Laptop Orchestra. In May 2025, Jlin composed and premiered the first ever piece of electronic music commissioned by the US Library of Congress and for 2026/2027 she will be Artist in Focus at the renowned Brussels institution Bozar.

For Joseph Kamaru (KMRU), a Nairobi-born, Berlin-based sound artist, sound is a sensorial medium through which social, material, and conceptual interpretations are manifested in his works. KMRU carries with him a repository of listening experiences from Nairobi and beyond, expanding his sonic practices and bringing an awareness of surroundings through creative compositions, installations and performances. His practice is most attentive to the impulses that prompt us to pause, inviting presence towards the mundane and honoring relation over spectacle.

He has earned international acclaim for his performances and releases, showcasing at the Barbican, Berlin Atonal, Dark Mofo, and Présences électronique, releasing on Subtext, Touch, and his own imprint OFNOT, and exhibiting at Ars Electronica, Venice Architecture Biennale, and Sharjah Architecture Biennale, amongst others.

2026 saw the release of Kin on Editions Mego — his second on the label following 2020’s acclaimed Peel. As Nature, a multisensory audiovisual collaboration with artist Nick Verstand and scent artist Mareike Bode, commissioned by Rewire, Barbican, and Lunchmeat Festival, had its world premiere at Rewire 2026, KMRU’s field recordings moving from near-silence into dense, seismic texture, before transferring to the Barbican. KMRU remains one of the most prolific and innovative artists in his field.

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.

Lamin Fofana is an artist and musician currently located in New York. His music contrasts the reality of our world with what’s beyond, and explores questions of movement, migration, alienation and belonging. Fofana’s overlapping interests in history and the present, and his practice of transmuting text into the affective medium of sound, manifests in multisensory live performances and installations featuring original music compositions, field recordings and archival material. His releases include the albums Corps Perdu (Shelter Press), Works In Metal (Honest Jon’s), It’s Only a Matter of Acceleration Now (The Trilogy Tapes), Unsettling Scores (Peak Oil), and The Open Boat (Black Studies). Exhibitions include Notes on Planetary Living (2024), fluent, Santander, Spain, JMW Turner with Lamin Fofana: Dark Waters (2022), Tate Liverpool, England, Preis der Nationalgalerie (2021), Hamburger Bahnhof, Berlin, Germany, Life and Death by Water (2021), the Liverpool Biennial, England, BLUES (2020), Mishkin Gallery at Baruch College, City University of New York, WITNESS (2017) at 57th Venice Biennale, Italy. In 2021, Fofana was awarded a Foundation for Contemporary Arts Grants to Artists and was nominated for the National Gallery Prize in Germany. Fofana hosts a monthly radio show on NTS Radio.

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. Described by Crack Magazine as ‘gloriously modern production that transcended the emergent electro zeitgeist’, the release was widely hailed as one of the best in electronic music that year. Both Crack Magazine and Resident Advisor included its main track ‘Touch Absence’ in their ‘Tracks of the Decade’ lists in 2019.

2024 saw the arrival of Metallur on AD93 — five tracks emerging from a generative paradox of laser precision and fluid dynamism, fusing percussive, metallic force with warping sound design. Lanark Artefax has also developed a practice in sculptural objects and visual work, alongside an audiovisual live show premiered at MIRA Festival in Barcelona.

Most recently, Lanark Artefax featured on TRON Ares: Divergence, the surprise 2026 remix companion to Nine Inch Nails’ Grammy-winning TRON: Ares soundtrack, contributing a remix of ‘Empathetic Response’ alongside Arca, Boys Noize, Mark Pritchard, and Danny L Harle.

Laurel Halo is an American composer, producer and musician, born in Detroit and based in Los Angeles. Her music is renowned for its nuance, character and focused vision, where ambient, musique concrète, low-end rhythms and improvisatory piano come together in a cohesive tapestry. She has released a number of albums and collaborated across the realms of club music, concert music, film and fashion.

She is the founder of her own imprint Awe, home to her critically acclaimed 2023 album Atlas. In March 2026 she released Midnight Zone, original soundtrack music composed for the film by visual artist Julian Charrière, following a drifting Fresnel lighthouse lens as it descends through the Clarion-Clipperton Fracture Zone — a remote abyssal plain in the Pacific targeted for deep-sea mining. Composed largely on a Montage 8 synthesizer and Yamaha TransAcoustic piano, combined with stacks of violin and viola da gamba, the music is patient, submerged, and alive. She has also performed the live score at Rewire Festival and the ICA London.

Her installation work includes Sour Loop at Haus der Kunst, Munich (2025), and The Word For Desire at the Julia Stoschek Foundation, Berlin (2024). She hosts a monthly show, Awe, on NTS Radio.

Birmingham-born artist, composer and producer. His work carries conceptual rigour and raw edge – built entirely on his own terms, with little interest in where genre or discipline begins or ends. Releasing on PAN and Hyperdub and running his own UIQ imprint, he has spent over a decade pulling hardcore continuum, techno, noise, metal, avant-pop and academic composition into the same space. His 2012 album Diversions 1994-1996 arrived before deconstructed club music had a vocabulary, and is considered one of its defining records. He’s been a quiet reference point ever since.

His practice extends into performance, installation and writing, with recent work moving through AI, simulation and machine-generated voice. His latest album Models works with simulated voices singing in an almost wordless language – AI-generated and synthetic, reverberating across decades of pop history. With Candela Capitán he staged Models as a live work that moves between installation and performance art – disquieting and precise in equal measure.

His work has been presented at Tate Modern, MoMA PS1, Barbican, Unsound Festival, Atonal, the National Museum of Modern and Contemporary Art in Seoul, and Maison de la Radio in Paris. He has also presented commissioned works for the London Contemporary Orchestra, Berlin Atonal and Camden Art Centre.

As a DJ, he was doing this before it was a thing – burning through jungle, techno, grime and noise with a speed, physicality and instinct that still sounds like nobody else.

NTS residency Motor System ongoing.

Loraine James grew up on Enfield’s Alma Estate in North London, surrounded by a vivid mix of cultures and her mum’s eclectic taste, from heavy metal to calypso. Teaching herself electronic production with a MIDI keyboard and laptop, she channelled those influences into a distinctive sound that drew the attention of Hyperdub, who released her breakthrough album For You & I in 2019. A run of critically acclaimed records followed; Reflection, Gentle Confrontation, and ambient alias Whatever The Weather, cementing her reputation as one of the UK’s most vital and unpredictable electronic artists.

Her latest album, Detached From The Rest Of You, marks a bold new chapter. Stripped to the bone, it draws inspiration from Aoki Takamasa, Ryoji Ikeda and the ‘clicks and cuts’ era of early 2000s electronic music: sparse keyboard chords, clicks and glitches, and deliberate space used as a compositional tool. Loraine half-jokingly calls it her “IDM popstar album”; her voice sits higher in the mix than ever before, inhabiting precise, direct song forms. It is an artist growing in confidence, vulnerable, curious, and constantly shifting.

Born in 1985 in Tegucigalpa, Honduras, Philippe Hallais, known as Low Jack, is a Paris-based French composer. With albums released on labels including PAN and Modern Love, he also co-directed Éditions Gravats from 2014 to 2021. His practice spans musical composition, theatrical performance, filmmaking and the staging of live shows.

Blending dancehall, sound art, Latin rhythms, industrial textures and electroacoustic experimentation, Low Jack creates dubby, futuristic mutations of Caribbean sound. For more than a decade, he has continually redrawn the boundaries of electronic subcultures, developing a language that has quietly shaped the global underground.

His performances and collaborations include work with Ghédalia Tazartès, Lala &ce, Mediengruppe Bitnik!, Lina Lapelytè and Cécilia Bengolea. In 2021, he wrote and directed the musical Baiser Mortel, later released by Sony Music and PAN. In 2024, he co-directed the film Mangrovia with Italian visual artists Invernomuto.

In November 2025, he released Lacrimosa on Belgian label STROOM. As Boomkat wrote: “Low Jack folds choral music and spiritual jazz into a sort of weightless dark ambient inspired by Alice Coltrane’s Eternity and arranged like a sort of avant-garde opera sprayed with spoken word, pop vignettes and bass shrapnel.” It marks another striking turn in his evolving practice.

There is a logic that runs through everything Marco Fusinato creates: noise as music, intensity as a mode of attention, duration as a form of pressure. Working across installation, photographic reproduction, performance, and recording, his work occupies the intersection of contemporary art and the experimental music underground with a conviction few artists can match.

As a musician he pursues that live – electric guitar and mass amplification deployed to generate frequencies that are intricate, wide-ranging, and physically inhabiting. His performances resist the conventions of both the concert hall and the club, operating in the charged territory between the two.

The scale of his institutional presence speaks for itself. Selected to represent Australia at the 2022 Venice Biennale, Fusinato presented DESASTRES — a 200-consecutive-day durational performance as installation, since performed at Berlin Atonal, Rewire, Unsound, and Now or Never.

His first European monographic exhibition, The Only True Anarchy Is That of Power, recently opened at PAC Milano. And his newest work pushes further still: IN THE CORPSE OF THE PRESENT, a durational theatre piece at Berlin’s Gorki Theater, places Kleist’s Prince von Homburg under the pressure of noise, image, and intensity.

Fusinato’s work is defined by an absolute commitment to intensity as a mode of attention.

Described by the South Bank Centre as “one of the most compelling and influential electronic artists in the world,” Fell’s works centre on explorations of unusual timing systems and rhythmic structures. With interests in contemporary philosophy, experimental film and algorithmic process Fell’s oeuvre spans recording, performance, installation, critical writing and curatorial projects.

Emerging from Sheffield’s electronic music underground in the 1990s, his early works with SND responded to house and techno, recasting these as reduced and systematised geometric structures — an approach that fundamentally reshaped the landscape of electronic music. Subsequent solo projects extended this thinking in new directions: Multistability developed algorithmic concerns into microtemporal structures, while works for acoustic performers demonstrated the reach of his ideas outside electronics. Writing in Scherzo Magazine, Ismael G. Cabral described INTRA as “one of the most outstanding works written for percussion ensemble of the last decades.”

In recent years Fell brought his distinctive approach into dialogue with diverse performers, including Will Guthrie, Okkyung Lee, Limpe Fuchs, Pat Thomas, and Mohammad Reza Mortazavi, and a growing emphasis on distributed and group-based works.

Recorded works have been released with Mille Plateaux, Black Truffle, Pan and Editions Mego, among others, and more recently on The National Centre for Mark Fell Studies.

Martyn’s impact on electronic music is anchored in his ability to bridge disparate worlds. In the mid-2000s, he became one of the first artists from outside the UK to significantly influence the tight-knit London dubstep scene, collaborating with The Spaceape, dBridge and Marcus Intalex. He released his pioneering debut Great Lengths in 2009 and Ghost People through Flying Lotus’ Brainfeeder in 2011, solidifying his reputation for blending UK bass with Detroit-influenced jazz. Today, that journey continues through his monthly “Darkest Light” show on NTS Radio and turning his label, 3024, into a community pillar through his mentorship programme. 2026 will see Martyn’s first LP release in seven years, Music For Existing. The album features an array of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, Mark Cisneros, jazz talents Mischa Porte and Cees Bruinsma, and poet Musa Okwonga.

Wild horse.

Designer and Performer of live Music + Art fusion projects. Most recently WHAT DO YOU WANT? with Anna Phoebe at MIF25. A public Billboard, a radical Live Performance and a short film.

Historically, at events such as: TATE Modern Blavatnik Building opening; TATE Britain Re-Hang opening; All Points East, 4 years curating her own stage; Blue Dot, supporting Björk; BBC Proms, with Nils Frahm, A Winged Victory For The Sullen & Company Wayne McGregor; Sónar Festival, 6 years curating her own stages.

Disruptor on radio, currently BBC 6 Music Sundays 6-8pm.

Founder of SCAFFOLDING SESSIONS free mentoring programme. Currently working across Hull, Middlesbrough, Manchester, Preston. Formerly in Berlin with refugee groups, and over lockdown on Zoom.

Factory girl, private detective, custom-clothing maker, activist, writer, stunt woman. Can ride any motorcycle you park in front of her.

Mohammad Adam is an artist from Leicester, UK. He founded record label/collective Mohammad Five in the spring of 2001, original members including DJ PK, MISA, Skitz MC, Jasmin, Haroon, Zahra and Ibrahim.

Mohammad has self released 3 albums and 2 mixtapes since 2023 via Mohammad Five. His last project “.” received high praise; “You Ain’t ready for this BANGER 100” – MIYMS101 (Youtube)

Few figures in electronic music have built foundations others still stand on. Co-founder of Basic Channel/Maurizio/Rhythm and Sound with Mark Ernestus, founder of Dubplates & Mastering, originator of a dub-rooted sonic logic that has shaped four decades of club and electronic music culture – his fingerprints are on the genres at their deepest level. What has kept him central is an instinct for collaboration as restless as it is rigorous. With Juan Atkins, Carl Craig, Vladislav Delay, Laurel Halo, Tony Allen among many others – across techno, jazz, improvisation, the classical canon – von Oswald has consistently sought out creative friction, producing work that resists easy categorisation and refuses to calcify into legacy. The range is striking: from the Moritz von Oswald Trio’s improvisational dialogue between jazz and electronics, to a Deutsche Grammophon commission reinterpreting Ravel and Mussorgsky with Carl Craig, to Borderland’s ongoing techno experiments with Juan Atkins, to Silencio – his recent solo exploration of voice as electronic material.

As a DJ his sets carry the same qualities: deeply informed, formally precise, and capable of moving a room in truly singular ways.

The curiosity that drove his earliest work drives him still – turned outward, always, toward what electronic music might yet become.

Working at the harsher limits of electronic music, Angolan producer Nazar has developed “rough kuduro”: a destabilising, psychedelic mutation of Angola’s dance rhythms, charged with distortion, pressure and unease. Raised between Central Africa and Europe and now based in Amsterdam, he draws on personal memory, political history and inherited trauma to create music that is both intensely physical and psychologically charged.

His 2020 debut album, Guerrilla, was shaped by the Angolan civil war and his father’s role as a UNITA rebel general. Built from memoir, oral history, media fragments and recordings made during journeys across Angola, it transformed family history into a vivid, militarised sound world. Released as the pandemic began, the album was followed by Nazar’s near disappearance after tuberculosis, reactivated by Covid, left him seriously ill for a year.

Demilitarize turns that external conflict inward. Brighter, stranger and more spacious than its predecessor, it moves through woozy kuduro rhythms, submerged vocals, iridescent synths and immense percussion. Nazar’s voice sits at its centre, singing, muttering and circling through illness, recovery, intimacy and fear. The result is gripping and cinematic: fragile music in body armour, moving between dream state, internal turmoil and hard-won release, without ever losing its rhythmic force.

Nick León’s dystopian club music samples the sounds of Florida’s diverse ecosystems, but his style has varied fearlessly along the way. After making his start in the South Florida SoundCloud rap scene at a young age, Nick gravitated early towards the Latin sounds coming out of Puerto Rico and Colombia for his own work. He has since claimed production credits from genre-defying artists including Rosalía, Tokischa and Oklou, and his 2024 TraTraTrax collaboration with Erika De Casier, “Bikini”, was named track of the year by Pitchfork, The Guardian, Crack and Resident Advisor.

In June 2025, Nick released his highly anticipated debut album A Tropical Entropy on TraTraTrax, an expansion of his “Arquitectronica” sonic universe into an exploration of decay, disillusionment and psychedelia, featuring collaborations with Ela Minus, Casey MQ and Erika de Casier. Inspired by Joan Didion’s Miami and widely praised by Resident Advisor as “far and away the strongest of León’s releases,” the album stares down the apocalypse with bangers in tow. A remix album followed in October 2025, featuring reworks from CCL, Roza Terenzi, Minor Science and Loraine James.

Niecy Blues is a composer, songwriter, vocalist, thespian, multimedia artist, and instrumentalist based in South Carolina, originally growing up on the prairie fields of Oklahoma. Exploring themes such as grief, self-acceptance, lineage, ritual, and emotional vulnerability in her work, Blues continues a heritage of Black women using both sound and writing to engage in the ceremony of self-determination and documentation. Blues describes their songwriting process like an undertow: “I feel a strange pull, and let it carry me, following swirling leaves… whole days roll by, forgetting about the body.” Their full-length debut album, Exit Simulation, released by Kranky, captures this sense of deep-rooted divination, cycling between simmering ballads, ghosted R&B, downtempo gospel, and looped vocal improvisations—often within the same track.

Exit Simulation has received glowing reviews from Pitchfork, Boomkat, Resident Advisor, Crack Magazine highlighted her breakout performance at Rewire, during her first solo European tour.

She has since performed at We Out Here, All Points East, Berlin Atonal, WOS Festival, Cafe OTO, Le Guess Who, ZDB and The Biennale of Sydney.

Niecy is currently exploring new sounds for her sophomore album and scoring projects, in addition to finalizing a short film with collaborator Ryan C. Clarke.

Okkyung Lee is a cellist, composer, and improviser who moves freely between artistic disciplines and contingencies. Since 2000, she has worked across disparate contexts as a solo artist and collaborator with creators from a wide range of fields. A native of South Korea, Lee draws on noise, improvisation, jazz, Western classical music, and the traditional and popular music of her homeland to forge a singular artistic language.

While perhaps best known for her improvisational work and visceral extended techniques on the cello, Lee also creates compositions and site-specific works that respond to architecture, objects, and audiences, producing immersive experiences that challenge the hierarchies of traditional concert settings. Her recent releases include Signals, performed by Explore Ensemble, and Just Like Any Other Day: Background Music for Your Mundane Activities on Shelter Press, alongside 나를 (Na-Reul), Teum (The Silvery Slit), and Yeo-Neun.

Lee has collaborated with artists including Christian Marclay, Arca, Rashad Becker, Mark Fell, Marina Rosenfeld, Vijay Iyer, Arthur Jafa, and Swans, and has presented work at venues and festivals including Time Spans Festival, MoMA, the Venice Biennale, Rewire, Unsound, MOFO MONA, Wiener Festwochen, Borealis Festival, and Donaueschinger Musiktage. She recently completed her DAAD Artists-in-Berlin Program residency, during which she developed Aurora (Mesophase), premiered at MaerzMusik 2026 in Berlin.

Olan Monk is a musician, performer and writer from Conamara, Ireland.

Their practice involves experimental and popular songwriting, performing as a solo act and in collaboration with other musicians, including recordings and performances with Actress, Ashley Paul, Elvin Brandhi, James K, Maria Somerville, Michael Speers, Moin, Princ€ss and Shampain. They co-founded C.A.N.V.A.S. with Lugh O’Neill as an events series and record label, established in 2018 to give collective agency to an increasingly dispersed community of artists.

Past releases include Love/Dead (2020) and Auto Life (2021) on C.A.N.V.A.S. and Dubplate 08 (2022) on AD 93. They contributed the single ‘Surf’ to Scenic Route’s The Road Less Travelled Vol. 2 compilation (2024) and feature on the single ‘Guess It’s Wrecked’ from Moin’s third album You Never End (2024), released on AD 93.

Past performances include appearances at Rewire, The Hague; Aiséirí in Leisureland, Galway; National Concert Hall, Dublin; the Sonic Arts Research Centre, Belfast; cafe OTO, London; Barbican Hall, London; Institute for Contemporary Art, London; PAF Olomouc; EOS crossings, Frankfurt and throughout Ireland, England and continental Europe.

In 2026, they are touring as a solo performer, in a duo with the percussionist Michael Speers and in an expanded band format with musicians who have contributed to the making of their album Songs for Nothing, released on AD 93.

Yasmina Dexter’s selections elude her love for hypnotic play with multi-textured takes on electronic music; her monthly show ‘Renegade Soundwaves’ for NTS radio which she runs since 2016, are low pitch/high IQ sonic rituals, with generous weight of abstractions, 3d field recordings, elastic beats, brutalist basslines and techno with a capital NO.

Spanning from east London’s late 90’s rave scene, Pandora’s Jukebox made it all the way to Tate Modern Turbine hall with NTS, was in Raf Simons army of djs alongside Veronica Vasicka for Calvin Klein’s after party, caught the eye of the Berghain Saule experiment, Panorama bar and escalating to Berghain main dancefloor 13th bday party, becoming an institution among the most seminal underground clubs in Europe and North America. Dexter holds residency at Cicciolina Paris, GAF and she’s a long standing Art Basel’s noisemaker, solidifying her flirt with fashion and art. The body of artists she shared stages with is a further proof of her uninhibited and disparate approach to music, spanning from Arca, Ryoji Ikeda, Sunn O))), Einstürzende Neubauten, HTRK, Total Freedom, PAN and DJ Hell.

Dexter curates and makes original sound production to accompany her own and clients films; like Dazed Digital, Vogue Italia and Nowness.

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.

His reputation as a mix engineer and producer extends well beyond his own output. Studio credits span Skepta & Fred again..’s ‘Back 2 Back’, mastering Fred again.., Skrillex & Four Tet’s ‘Baby Again’, and mixing for Jessy Lanza, Rosie Lowe, Daniel Avery, Mount Kimbie, Loreen, Shanti Celeste, Jacques Greene and Wet Leg, among many others. As a recording artist, 2024 saw the arrival of Which Way Is Up, a four-track EP on Hessle Audio with sound system pressure at its core, praised as cementing “Pearson Sound’s position as one of UK electronic music’s all time greats.” 2025 brought the single ‘Zoomies’ on Timedance, continuing his prolific presence across labels at the forefront of UK electronic music.

Rainy Miller is the solo project of Preston-based artist, producer and label head Jack Bowes. Focused on spotlighting the vibrant emerging scene of the North West of England, Rainy founded his label FIXED ABODE in 2020 as a platform to showcase the wealth of local talent, with highly-tipped releases by the likes of Blackhaine, Space Afrika, Iceboy Violet and Richie Culver.

As an artist, Rainy creates deeply personal music that marries fragile, delicate moments with visceral, aggressive energy. Following up his debut project ‘Desquamation’, Rainy released his critically acclaimed full-length collab LP via his own FIXED ABODE imprint – ‘A Grisaille Wedding’ – featuring collaborations from the likes of Mica Levi & Coby Sey. Further cementing his skills as a producer and composer, Rainy released the spell-binding, genre-exploring album ‘Joseph, What Have You Done?’ (2025), topping end of the year charts from the likes of Crack Magazine, The Quietus, Mixmag, the latter who also named him one of the Top Producers of 2025.

rashad becker is a syrian-german composer and musician residing in berlin.

rashad has been an active part behind and within a wide variety of musical cultures for more than three decades; from the studio to the club, to academia, fine arts, film and theater, from the tiniest back-rooms to glorious temples – adding up to involvement in thousands of productions.

rashad’s own musical creations have become a revered and idiosyncratic part of the modern catalogue of synthetic music. this work sits outside the symbolic charge of genre, unfolding an alternate narrative within its own tragic-comical realm. praised for his unique approach to sound-sculpting, becker’s music lives on the cusp of the plausible and the uncanny – teasing familiar readings but twisting them towards the surreal and improbable.

it is here single sounds are employed as agents of meaning, affect and interaction in the bigger bowl of music. the core driver is exploring sound as a transfer-model between exposure and experience – and music as a bonding agent of social movements.

recent live performances unfold as deeply physical, densely populated, spatially and sentimentally disorienting audioramas of absurd realism.

British artist Rian Treanor’s music is complex yet highly kinetic, reflecting equal interest in club culture and experimental sound design. He has released records on Planet Mu, Nyege Nyege Tapes, The Death of Rave and Warp sub-label Arcola. Over the last decade, Treanor has developed a multifaceted practice encompassing collaborations, workshops, live performances, and sound installations.

His recent work includes the 2025 LP Body Lapse with vocalist Cara Tolmie, a GRM commission Crashing Into Bleaklow with Mark Fell, residencies with Ocen James and Catu Diosis through Nyege Nyege, and DJ sets at Björk’s Full Moon series in Smekkleysa, Iceland.

Since 2020, Rian has led the Electronic Music Club in Rotherham, delivering accessible, experimental music workshops with local communities, collaborating with artists such as RP Boo, Beatrice Dillon, Gavsborg, Elvin Brandhi, and Lord Spikeheart, culminating in the collective cassette release 10 x 10 = Great Hits.

RP Boo – a.k.a. Kavain Space is a man who is revered and respected amongst the dance music cognoscenti. He’s cited as one of the originators of Footwork, the fast, repetitive, rhythmically syncopated music & dance style that’s a grandchild of Chicago house and which has been brought to the wider world via releases from Planet Mu and others, alongside internet archaeology from fans, experts and enthusiasts.

As rRoxymore, Hermione Frank has been exploring the outer edges of the dance floor and producing music that goes beyond traditional genre boundaries for more than a decade. In that time she has covered plenty of ground from caustic and abrasive techno to long-form and immersive grooves, always with a focus on contrasting tempo, texture and tone. On previous albums Face to Phase on Don’t Be Afraid in 2019, and Perpetual Now on Smalltown Supersound in 2022, she intertwined the electronic and the acoustic with elements of psychedelia and jazz.

Her third full-length, Juggling Dualities, released on !K7 in July 2025, combines Detroit techno, kosmische and dub; the sound of writer’s block firmly shaken off. Writing the album came after many months of being unable to create during a complicated personal time, and represents a journey of reconnection. “I think it’s my most honest work to date,” Frank said. The album received acclaim from Pitchfork, Bandcamp and Resident Advisor. She also contributed to a Wisdom Teeth compilation exploring minimal-, micro- and tech-house.

In 2026 she has continued releasing new remixes for Acid Pauli and Agoria, keeping up a prolific output across labels and styles.

Smerz is the Norwegian duo of Henriette Motzfeldt and Catharina Stoltenberg, based in Oslo and Copenhagen. They operate at the intersection of genres, drawing inspiration from compositional techniques in classical music, the experimentation of computer music and the immediacy of pop music. Using collages to capture moments of everyday life and dreams, Smerz tell stories of apathy, loneliness, love and friendship.

Big city life, released May 2025 on Escho, received universal acclaim: Pitchfork awarded it Best New Music, placed it 11th in their 50 Best Albums of 2025, and named it the best pop album of the year. A remix album, Big City Life Edits, followed in November 2025, featuring Clairo, Erika de Casier, Fousheé and MIKE among others. In May 2026 they released the Easy EP on Escho, a more open-ended, journal-like companion to the album.

Live, the duo have performed at Tate Modern, Berghain, Volksbühne and Club to Club. The success of Big city life has seen their profile grow dramatically: they supported Lorde on her Ultrasound World Tour at arenas across the US, joined Robyn on select dates of her Sexistential arena tour, sold out two nights at Heaven in London, and will make their Barbican Hall debut in October 2026.

Born in the heights of the Colombian Andes mountains, TraTraTrax has been introducing and amplifying the mighty fire erupting from the streets and clubs of Sur América. Ranging from dembow to tribal, bass to techno, and high doses of sound design, the platform has signed regional heavyweights like Nicola Cruz and Dengue Dengue Dengue while pushing exciting new Latin talents from the Global South including Verraco, Nick León and Bitter Babe.

Aiming to connect the dots between the Latin American club scene and the wider global community, TraTraTrax has teamed up with some of the most forward-thinking sound designers on the circuit and built showcases at electronic music institutions including Fabric London, Berghain and Panorama Bar, Kaiku in Helsinki, Nowadays in New York, and Kala Festival among many others. In 2026, TraTraTrax are confirmed stagehosts at Draaimolen Festival, cementing their place as one of the most essential collectives in contemporary global club culture.

Veronica Vasicka is a New York City-based DJ, musician, and founder of the cult-favorite record label Minimal Wave, established in 2005. Celebrated for her distinctive, avant-garde sound—where Cold Wave, Post-Punk, vintage synth, and techno converge—she brings a singular edge to the global fashion and music scenes. Her genre-spanning DJ sets, rooted in the raw mechanics of techno and the atmospheric tension of early electronic music, have become fixtures at cutting-edge festivals, clubs, and curated events across Europe and beyond, from intimate underground spaces to major international stages.

Through Minimal Wave and its sister label Cititrax, she has released over 125 influential records, championing rare and raw electronic music—from obscure synth artifacts to the industrial pulse of proto-techno—with an artful, archival sensibility that has earned the label a devoted following among collectors and selectors worldwide. A tastemaker in both sound and style, Veronica has been a vital connector between the American underground and the European club circuit, where her sets are known for their depth, narrative arc, and uncompromising selection. She has hosted radio shows since 2003 and currently curates a monthly show on NTS, spotlighting underground movements in techno and beyond that continue to shape the cultural zeitgeist.

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, a key platform for global south sound explorers. With the future classic Escándaloo EP on VOAM in Summer 2023, RA and Crack Magazine lauded the record as one of the best of the year. In 2024, his debut on Bristol’s Timedance with ‘Breathe… Godspeed’ was unanimously acclaimed, awarded Pitchfork Best New Music and described by Philip Sherburne as “an essential record for the vanguard of dance music.”

In 2025, Verraco signed with XL Recordings for Basic Maneuvers, colliding South American dembow with UK soundsystem bass and techno precision, including a standout collaboration with MC Yallah. In 2026 he curated Curation Three for The Third Room. Alongside his solo work, Hyperverbena (his joint project with Lechuga Zafiro) is a celebration of Sudaca culture fusing IDM, breakbeat, cumbia and drum and bass, closing Primavera Sound 2026 and with further dates at Roskilde, Berghain and Draaimolen ahead.