Berlin-based, UK-raised Ausschuss is a 20-year-old producer working with dark, industrial-influenced sounds through abrasive textures and sound design. His often foreboding and overtly tense productions such as ‘Mantle’ and ‘Regolith’ fluctuate between dystopian, mechanical movements as well as more unnerving human elements from breathy utterances to almost melodic chopped up vocals.

Having already been enlisted for mixes by the likes of London-based boutique Primitive to Disc Magazine, and Astral Plane alongside having his own Radar Radio show and playing independent Festivals such as Creepy Teepee.

Years weather the foundations of the past, as a laithe turns a stone. With meandering repetition we are brought closer to knowledge. So too the aberrant melodies of Circular Ruins as they wander atop a returning rhythm. Each cycle brings an echo from a future utopia or the ruins of civilisation.

Circular Ruins is an exploration into time, space and texture using archaic analog equipment. Meditative drones, pulsing rhythms and abrasive textures transport the listener into a timeless haze.

“In the dreamer’s dream, the dreamed one awoke.”

KETEV is a project by sound artist and composer Yair Elazar Glotman, in which he explores the potential of contextual and structural transfers and sound processes. Personal archive recordings and tape loops that shift in and out of phase form the basis for his mantra-like patterns, which float above a deep sound scenery. His compositions layer abstract textures, shifting rhythmic patterns, and dogmatic forms. In KETEV’s compositional language, techno structures and abstract ambient music coexist, and create new territories for the sonic experience.

In addition to his KETEV work, Glotman is a sound artist developing installations and releasing electroacoustic compositions under his own name. He has released as part of various projects, including 2015’s solo contrabass album Etudes, and Nimbes together with James Ginzburg, both on Subtext, and expands his practice across media, context and forms.. His work flexibly changes frames between experimental music and sound art, club music and concert experience, and moves between the digital and analog possibilities of repetition and variation.

Kimatica are a London based creative studio funded in 2012. Working at the intersection of the human body, performance and interactive technology, we create unique digital experiences that dissolve the boundaries between fantasy and reality.

Unplanned unsequenced electronic (dance) music.

88/89 professional music production equipment controlled by an ATARI ST (which is considered 88/89 professional music production equipment) via MIDI (which is the 88/89 standard by which professional music production equipment talks among itselves) by misusing one algorithmic composition program (not, by a longshot, a professional music production tool of any epoch) contained in 208kb of data on a 3.5″ floppy disk.

Melody Curation based on ever changing parameters and 24 year old algorithms. Live-mixed unrendered spontaneous improvised electronic music via 1MB RAM. Yamaha.

S Olbricht is a producer and co-owner of Hungarian electronic music label, Farbwechsel Records. He walks on the obscure side of the electronic music landscape, exploring the blurred territories between murky techno and melancholic house combined with ambient sound and abstract rhythms.

He studied electronic music and media arts at the University of Pécs, where he could continue his never-ending love story with analogue synths, and in the meantime he also founded Farbwechsel Records with like-minded fellow artists.

He released his first album, ‘The Last Act Of Dorothy Stratten’ in 2012 at Farbwechsel, which quickly became popular thanks to the praising articles by international magazines, such as Fact, The Quietus, XLR8R and the Red Bull Music Academy.

Since then he’s been on the road, performing all around Europe and issued two more albums ‘Deutsch Amerikanische Tragödie (Opal Tapes, 2013) and ‘For Perfect Beings’ (Lobster Theremin, 2016). His mixes and tracks are played on NTS, BBC and titled ‘Mix of the Day’ by Electronic Beats and Resident Advisor.

Silver Waves are the exhilarating currents emanating from Bath, UK-based musician Dylan Mallett when he gets busy with his soundboard. Disparate elements including cymbals, voices, violins and bowed guitars pass through an analogue threshing machine that churns together roiling acousmatic noise, bludgeoning splinter-rhythms and fractious melodies, leaving senses nourished and obliterated in equal part.

Having been making music in various forms over the past five years, Mallett first unscrewed the jar on the tenebrous brew of noise he’d been fermenting in his attic with a pair of EPs on Howling Owl sister label, bulb. 2016 will witness the release of ‘EP3’ on Portal Editions/Howling Owl, and is Silver Waves’ high-water mark to date on which Dylan unconsciously evokes the gauzy junglist dysmorphia of another Westcountry deviant,Third Eye Foundation, albeit with an even more bruised and feedback-damaged take on amen break abandon that pounds like early Wolf Eyes while also betraying the kind of ear for detail that an HD soundsystem will no doubt reward.

The arrival of EP3 finds Dylan making bolder strides in the live realm, too, building on recent shows with uncompromising channellers such as Pharmakon, Powell, Astral Social Club and with selective European live dates from Spring 2016 onwards. The tide is rising.

Before I start making music I see everything as indistinguishable tangle of junk.

Drank coffee cup, shredded nat geo, pencil, battery, wooden percussion,  incomplete sentence,  4/4 rhythm, accelerated radio glitch, lighter, impossible plan, piece of plastic from chocolate, old cheesy loop, another empty cup, memory of a picture of a dinosaur, scissors, shadows of a daily routine, temperature of the room,  paper, carpet, that thing that persisted from a video game, arrhythmic loop, reflection from a window, pineapple,  memory of something linked to something else,  phone number, that thing that I forgot, cup of tea, coins, loop,  half-forgotten dream, dictaphone recording, Monday, spoon,  pin, some film from childhood, CD, book, paper with an unreadable text, feather, slowed-down Casio, knife, for what I needed the pin? and another loop. 

Maybe I should clear it all, but instead, I’m waiting for the next evolution shift that would bring new species of bacteria and fungi which will decompose all of that mess regardless of its origin and prepare it for a brand new ecosystem consisting of mysterious organisms, which will overcome the limits of what’s natural, human, digital, technical, animal, physical or mental.

In more trite words, my music is based on harmonious/disharmonious or rhythmical/arrhythmical layering of loops,  repeated transformations of previous material. Vague memories of what once was called IDM, rave or chill out music. Trying to merging boundaries between that what’s naive-amateurish, abstract-experimental, concrete-organic, digital or dusty. Conjunction of reckless coincidence and confused intuition.

All of this with a purpose to let you grow a second pair of eyes from your ears.

Tlaotlon is the alias of Jeremy Coubrough, an artist originally from New Zealand but now based in Berlin. With over a dozen releases and appearances over the last several years (on labels such as Baba Vanga, 1080p Collection, Dream Disc, Wasabi Tapes, Mmodemm, Weird Ear and his own World Memory) Tlaotlon pursues rhythmic and melodic assemblages that bypass the binaristic order of much electronic music.

“Tlaotlon reimagines the very idea of “dance” music” (Truants).

“Channelling this strobing beat-clash into one seething, blinding whole” (The Quietus).

“A fifth-dimensional Google Maps street view of where chaos and harmony meet” (Tiny Mix Tapes).

“Going so far with the energy, layering and imagination that the music becomes a different animal” (Adam Harper, for Dummy Magazine essay ‘Messy” Techno and the Resurgence of Musical Abstraction’).

An audiovisual collaboration of two sisters – Antonina Nowacka (voice/processing) and Bogumila Piotrowska (live visuals). Works of duo appear as oneiric visions built up with a use of abstract, operatic vocalization, flowing in the jungle of psychedelic visuals, created in a real time from scratch with video feedback and old audiovisual equipment.

Unique trip into the land of forgotten, avoided and yet inexperienced. WIDT was appreciated by the prestigious british magazine The Quietus for its audiovisual release which came out in 2015 on VHS tape (via polish label Pointless Geometry). They performed – among others – on the avant-garde festival KRAAK in Brussels and in the legendary Cafe OTO in London.

The new material has came out in May 2016 in a form of CD/DVD release via polish label Zoharum – new experimental art. WIDT’s performances are fully improvised.

Ziúr is a Berlin-based DJ/producer, dedicated to combining different sonic textures and brainy beats into a functional dancefloor framework – clearly intended for loud soundsystems (and preferably accompanied by a fog machine) but without any strict loyalty toward a certain BPM or subgenre.

In summer 2015, Ziúr self-released her first mixtape online. Titled /xuːx/, the seamlessly mixed sequence included seven instrumentals and two collaborations with guest vocalists: one with Brooklyn’s Samantha Urbani & Dev Hynes (Blood Orange) and one with San Francisco rapper MicahTron. Meanwhile, aside from DJing (most frequently as resident of the BOO HOO party) Ziúr brought her live set into concert settings (supporting Lower Dens, Micachu + The Shapes and Evvol) and festivals (Yo!Sissy, 3hd). At the end of 2015, right after releasing of the tweaky “Lips” single and music video, Ziúr joined Peaches as support on a string of European tour dates.

In 2016, Ziúr played gigs with Danny L Harle and DJ PayPal, but has taken even bigger strides in the studio, completing remixes for Peaches (called “perhaps the record’s most exciting moment” by Fader) as well as Air Max ’97 and Shalt. Ziur’s proper debut EP Taiga drops July 1 on Infinite Machine and has already been praised by MixMag: “Her mutations blenderise hunks of techno, trance and noise… her productions sound like little else out there.” A vinyl EP is scheduled for fall via Objects Ltd.