T.Raumschmiere is the founder of the legendary Shitkatapult label. Marco Haas has been around in the scene for decades. His punk-like attitude fuels his ambition to constantly reinvent himself and makes his performances most memorable. This year T.Raumschmiere storms the stage with 21 Downbeat, an electronic band comprised of people with disabilities.21 DownBeat is defined through intoxication and frenzy. Away from established limitations and concepts, they create their very own sound based on poems by Heinz Kahlau and Else Laske-Schüler combined with their own words. Maybe you can call the musicians Satyroi, cheerful but untamable demons following Dyonisus into a world without limitations and concepts.



Psychosexual rhythmic noise, blackest ever beats, tortured banshee wails and skullcaving drone. Sonic, visual and physical over-stimulation. Using unsettling noise, distressed screams, hand made electronics and found objects pushed through pedals, AJA’s industrial beats and distorted drone, combined with a psycho-visceral, intense performance challenges the audience by breaking down barriers and pushing limits sonically and visually. AJA has so far had her music played at Berlin Alternative Fashion Week for designer LU LA LOOP, played live on NTS Radio and after making the sound score for artist Joey Holder for the piece “Ophiux” she was nominated for the Oram Award funded by PRS foundation. You can hear her latest release “Pageant Crack” released on Opal Tapes and also featuring on Perc’s new album “Bitter Music” on the track “Spit”.


Spanish-born, Berlin-based Alienata is a self-described sound obsessive whose sets span obscure electro, ACID, dub, IDM, dark disco, jackbeat, cosmic jazz, industrial atmospheres, break beats and crazy sounds in general. A former philosophy student with a particular interest in mysticism, Alienata began DJing in 2004. In conjunction with Valencia’s Overflow Collective, she not only served as a resident DJ but also participated in theatre and music technology workshops and oversaw its label operations. Her earliest contact with Germany’s music scene came through Leipzig’s Homoelektrik collective, and upon moving to Berlin in 2011, she quickly found an adoptive family in the Killekill label and associated Krake Festival. When behind the decks, Alienata is closely attuned to both internal and external influences, and is unconcerned with providing listeners with an outstanding and energetic experience. While primarily focusing on DJing, Alienata has released a few records with her project Kat Channel with Snuffo of the jacking house Snuff Crew. Currently she has launched a new record label called Discos Atónicos where she can materialize all its varied influences. Alienata is preparing her solo productions. One split EP with Beta Evers will be released in the coming months.



Olaf bender’s creative work began with the casual finding of 16mm film equipment during school time. from that moment on, he started experimenting with the medium
“film” as well as the raw material “film”. Technical limitations forced special methods: he scratched directly on the footage to create geometrical figures; the results were archaic motion patterns. as a consequence of his experiments, he came into contact with the east german underground band AG Geige of which he became a permanent member in 1988. by working with this group, he also got into musical aspects. The home computer made it possible for autodidacts like him to work multimedially without musical training. After the fall of the berlin wall in 1989, bender worked in music distribution. The experiences he gained there led him to the idea of publishing his own music by himself. Together with frank bretschneider and carsten nicolai, he founded the record label raster-noton in 1996. one of the label’s earliest productions was the project signal, which olaf bender has been continuing together with bretschneider and nicolai until today. Since the label’s founding, bender has also produced music solo under the pseudonym byetone, but it was not until 2008 that he released his first record on raster-noton. The lead single »plastic star« also defined his signature sound, presenting a minimalist rhythm-based music with a rock attitude that can do without too much processing and decoration; an archaic, rebellious music full of energy. the year 2008 also saw the release of his first full-length record, the highly acclaimed »death of a typographer«, whose follow-up »symeta«, released in 2011, even entered several “record of the year” lists. In the wake of his own records, byetone has also produced remixes for artists like Modeselektor and VCMG as well as sound works for fashion designers like Rick Owens, Nina Ricci or NikeLab. Besides being part of raster-noton’s supergroup signal, he is also part of the duo diamond version (together with carsten nicolai) that released a series of EPs and a full-length record on Mute Records in 2013.



2018 will see Finlow’s most productive year so far with 10 releases cut and ready to go in the first few months alone, including a very special 16 track 4 piece vinyl retrospective entitled ‘A Selection of Works’ pt1 & pt2 on the UK label For Those That Know. Following this will see a new ‘Silicon Scally Live at Scand’ LP on Electrix and EP’s on CPU, Orson, Craigie Knowes, A C Records, Crobot Muzik and the RomboidAssassinEPonEric Estornel’s Lone Romantic label. A new live show, which includes tracks from all of the new releases is complete and is set to shake the dance floors with his dark sci-fi electro.


Dataline is well-known for his demos with Elektron Music Machines along with many other brands of gear. Based in Berlin and working on the upcoming ‘Elektron Berlin Studio’ – his musical journey is all about messing around with electronic music machines to create immersive, trippy and emotional grooves. As his performances rely heavily on improvisational approaches, you can never expect the same track to be played twice. Using Elektron sequencers and a modular system for real Cme FX manipulations, it’s all about capturing the moment of fluidity in electronic music performance. Make no mistake, this is not that standard hypnotic grooves for the body – it is the ego disintegrating beauty for the mind.


 Violent fast electronic thrash. Coal is a duo newly formed in Berlin, Anthony Arcana and Oliver Kohlenberg both come from a background of metal and punk and have found themselves in the electronic scene. The mix of their music taste and their personalities has made coal’s sound a rare type of chaos, fast rhythms and noisy mess.


Ian McDonnell a.k.a. Eomac, best known as 1/2 of Dublin duo Lakker, has released genre-spanning club music via The Trilogy Tapes, Stroboscopic Artefacts, Bedouin Records, and most recently his own imprint, Eotrax, garnering support from the likes of…Continue Reading

Thom Yorke, Surgeon, Nina Kraviz, and Aphex Twin. His latest ‘Bedouin Trax’ LP draws from obscure Middle Eastern music, digging deep into a dark mysticism for the dancefloor. ‘Bedouin Trax’ part II is already in the works, as well as the new solo album ‘Reconnect’ which continues his exploration of the furthest reaches of physical, visceral music for body and soul.


Felix Krone is a music composer, publisher and researcher born 1980 in Berlin, Germany. Having an academic background in law studies and having worked on the foundations of a copyright/participation rights model, Felix Krone is a conceptual thinker. Felix Krone’s creative process is Continue Reading

lead by programming rhythm textures and algorithms that include probability variables. An important aspect plays the identification of space in repetitive sound environments. He utilizes synthesis from analog machines as well as the computer and often combines it with sounds taken from field recordings to add ambivalent context. In 2013 he released his debut album ‘Flowers of destruction’, a work that concentrates on an idea of slowing down time in certain moments to avoid a loss. 
Assuming that losses can be associated with forceful explosions, they also have a momentum of strange beauty to them. The idea of slowing time down leads to the interesting premise, that explosions grow like flowers. The end of Michelangelo Antonionis film ‘Zabriski Point’ (1970) has been an influence for that image. After the dead of his father Felix revisited the topic with his 2017 released album ‘Die Kunst zu verschwinden’.
His work as a Live performer started in 2016. Felix Krone is working on two directions. While the one is based on a constantly growing selection of his own loops of electronic music sequences, that is maybe accessible for dance floors the other is focusing on improvisational and algorhythmic live synthesis thatis adapted for every location in a unique way.Felix’ DJ career goes back to 1997. His selections in many places ofthe world have always been unique. Understanding that grooves are a language of the body, he can turn his DJ-Sets into art (if the audience is upfor challenging moments).
Although you can certainly recognize an immense intertext of inspirations that spans from music and movies to art and architecture, Krone’s’ production output is hard to pinpoint to any specific musical genre. When listening to his music, it’s hard not to appreciate the way he filters his inspirational input into unique moody and dubby music. Under the impression of music genres Dub, Jungle, Musique Concrete, IDM, African Poly-rhythmics,House and Techno,
Krone founded record labels Hidden Hawaii (1998/2008), QNS (2009), Solaris (2011), SUB (2012), Gilga (2013), Nullpunkt (2013) and Nautil (2014). He alsofounded Krone Music Publishing (2018)


The sonic world of Halv Drøm delve deep into this burning question. Weaving science and spirituality into well-established engines of industrial, EBM and post-punk, Saxon Jorgensen’s work seeks to break out of the confines of “dark” music (by this point an overused descriptor, particularly in these crumbling times) to shape something far more imperious and personal. Whereas techno is so often used as a sledgehammer, Jorgensen wields it like an ice-sculptor with a chainsaw.




JK Flesh Biography, written by Holly Dicker

Justin K. Broadrick’s output is an intimidating one. He began, aged 15, with the recording of his first—and last—record with Napalm Death. From there he formed pioneering industrial metal group Godflesh. He also met Kevin Martin, AKA The Bug, andContinue Reading

began experimenting with everything from dub and techno to hip-hop, breakbeat as Techno Animal.Together they produced four albums, plus a collaboration with Porter Ricks. JK Flesh debuted in 2012 with the album ‘Posthuman’ on 3BY3, but it’s lineage can be traced right back to Kevin “K-Mart”Martin and the pair’s psychedelic industrial techno project, The Sidewinder, which was picked up by Mille Plateaux in 1996. The studio pet-name would later become his alter-ego, as Broadrick explained to Resident Advisor in a 2012 interview: ” JK Flesh is the angry, hateful, disenchanted side of what I do with electronic beat-driven/bass-driven music.”There’s been the stinging ‘Worship Is The Cleansing Of The Imagination’ since, a split with Prurient, and this year’s ‘Suicide Estate’ EP on Hospital Productions. Electric Deluxe had the honour of bringing the next JK Flesh album kicking and screaming into the world – “Rise Above” was released in June 2016, and displayed a move towards a new form of sludge industrial techno. Legendary techno label Downwards, put out the ‘Nothing Is Free’ 12″ single next, complete with Surgeon remix. Forthcoming releases on Hospital Productions, Downwards and Inner Surface, besides others, are next to come in 2017.”
The Brummie noise legend returns. It was only a few days ago that we were treated to Justin Broadrick’s ‘Nothing Is Free’ EP, a short 12 under the JK Flesh moniker that saw him team up with industrial techno don Surgeon. Now, Broadrick has ′′revealed his latest full-length statement in the shape of sprawling 2LP Rise Above. The album will be released on Speedy J’s Electric Deluxe imprint, and continues Broadrick’s recent excursions into the dark recesses of club music. The doomy, distorted grind of Godflesh and Jesu is certainly still present, but woven into a wheezing 4/4 template that doesn’t sound a million miles from Andy Stott’s patented “knackered house” or a Surgeon record on the wrong speed being played through a broken car stereo. Yep – it’s great.” – FACT mag 



Mary Ocher was born on November 10, 1986 in Moscow, Russia. Fate brought her to Tel Aviv at the tender age of 4 and to Berlin at 20.She has been playing with various media, be it words, sound, color or movement since mastering the craft of songwriting at the age of 11.Other than being a stunning musician, Mary makes film, visual art,Continue Reading

documentaries, music videos, art installations and poetry.She is a member of the international art collective autodiktat. In Germany she’s collaborated with the labels Haute Areal, Buback and most recently, Klangbad. In the US –Related Records and Hairy Spider Legs.Canadian psych-guru King Khan is Mary’s musical mentor. They’ve recorded “EDEN”, her second album together at his Moon Studios.
As well as solo, Mary performs with her two drummers, YOUR GOVERNMENT. The self titled MO+YG was released in 2016 on Hans Joachim Irmler’s (Faust) label Klangbad. Mary’s next release, The West Against The People (produced with Irmler and featuring several fascinating collaborations and special features) is out in 2017. As Mary Ocher continues to bewilder audiences with her powerful performances and incredible out-of-this-world voice, the shows have taken her from everywhere on the continent in Europe to North America, South East Asia and Oceania. She currently resides in Berlin and no plans at all…. only WORLD COMINATION!!!! 


MAX DURANTE is a true pioneer of industrial techno, as well as a real wizard and inventor on the turntables. “His hands are so fast that it is difficult to follow his movements, his scratches are balm for the eyes and for the ears,” as the Neue Zürcher Zeitung reported. He began his professional DJ career 1987 in Rome after he visited London, where he had fallen for the sound of the acid house parties. Returning to England in 1990 he experienced the early raves. Very much inspired by that sound he started experimenting, mixing techno and electro with industrial sounds in his unique way. Max has since toured Europe constantly not only performing at prestigious clubs like UK’s Fabric, but also on countless raves, parties and festivals. As one of the hinges of the 90s rave generation his sound and presence have been fundamental for the early Italian techno scene. To name just one early of countless activities—for the scene—behind the scenes, in 1991 Max along with the D‘Arcangelo twins organized one of the biggest Italian raves, the Plus 8 Rave, presenting the likes of Richie Hawtin, Speedy J, Daniel Bell, and Cybersonic of the eponymous record label to Italian audiences for the first time. Also in these days Durante and the D’Arcangelos created the first Italian experimental techno band “Automatic Sound Unlimited.’’ Not tiring since these early years, he developed his very own show, charismatically performing superb DJ skills and creating rather dark and hypnotic sounds mixing acid, electro, and techno into what marks his own vision. Durante has made records with artists like Anthony Rother, Keith Tucker, Aux 88, and Alexander Robotnick. Recent record releases include “Metastability” released 2015 on the classic American label Sonic Groove and a collaboration with Donato Dozzy on Kynant Records. The former’s featured track “Kreuzberg” was probably one of that year’s most exciting Berlin techno club hit. Rave on!


MNM portrays the Hiroshima born sound artist Mieko Suzuki and the Singaporean dancer Ming Poon in their sound- and body performances and generates an ongoing media concert that creates always new video and sound clusters. The headstrong canonic composition out of vocal and percussion loops depicts the topic of total (body) control in golden times of casino-capitalism and its meltdown. The protagonists’ performances are directly connected to the form and materiality of a triptych frame and a huge hacked Maneki-Neko derived figure which underlines the sculptural character of MNM . Visitors are invited to co-compose and influence the flow of the so called Humatic Re- Performance by feeding and operating the triple channel installation like a gambling-machine or to control MNM like a musical instrument.




„He’s a preacher, a screecher, an Archie Leacher An artless dodger, a limelight hogger, a dead horse flogger. He‘s the genial game-show host whose mind is toast. The quiz-master with all the wrong answers. The life coach on the National Express. The high-street shaman in the sequinned dress. This is his sweat lodge seminar, his powerpoint aberration, the shotgun in his shell suit, the seamonkey on his back A burnt-out, blurted-out, beercan-touting carry-out cabaret.”

„A one man carnival combining music,stand up and òther ́stuff.. .I aim to astound! …to transport us to a different world and bring us back again a little happier !“

Henry Sargeant trained as an actor and “dark clown” before veering off into music as frontman of the legendary Wevie Stonder ,dubbed by the BBC as “the Monty Python of electronic music ́ They went on to record 5 albums and two Maida Vale sessions. Mr Vast is his solo project and without the band he has heightend the theatrical /comedy elements to new bewilderingly ecstatic levels.

`Jesus, you’re not easy to describe, you know? Okay ,let me think.. You’re like a Muppet version of a Philip K. Dick novel… A Mr Vast gig is similar to that moment when you realise you’ve been secretly filmed by Derren Brown for that last six weeks…One of my mates thought you were well dodgy while the other insisted on paying you double for your CD!?.. How’s that? ́ ́John Higgs.


Accessing a somewhat darker, transcendental state, her live performances as Nene H. evolve around hypnotising electronic music for sophisticated ears. Her mysterious yet powerfully physical sound contents elements of drone, orient, industrial, psychedelic, vocal, dark wave, noise, experimental and techno.


Matthias Mayer and Khan of Finnland deliver a musical narrative with an experimental edge. As part of the installation made of 30 tape recorders taken from the renown Onkyo- Series “Integra”, the two perform a ‘Temple-Cacophony’, which is realized by mixing numerous different cassette recordings at the same time. The cassette itself is the main aspect of Mayer and Khan as they are due to release their new cassette label ‘Temple of Tapes’ with this performance. As a matter of fact, the first release will be the live recording of this performance and therefore will produced in real time.




A self-confessed Noisician, Paula Temple obliterated 2014 with ‘Deathvox’, her second monumental release for the legendary label R&S. Her debut ‘Colonized’ EP made one of biggest statements in 2013 for uncompromising techno, followed by Continue Reading

remixes for avant-electronic acts The Knife, Perera Elsewhere and Planningtorock. Such refreshing high-voltage output has rapidly placed Paula Temple at the forefront of new techno. Previously she released ‘Speck of The Future’ appearing on Jeff Mill’s ‘Exhibitionist’ album and techno vanguard Chris McCormack’s Materials label. In her early days, Paula Temple co-developed the innovative live performance midi controller MXF8, one of the first of its kind, which she took on the ‘Mind and Machine’ tour for three years.
Her HYBRID live/dj sets have become a sensation in such scene bastions as Tresor, Berghain and I Love Techno. Her first full live AV show NONAGON with Jem The Misfit, set in 9 parts, was premiered at ADE 2014 receiving high acclaim. 2015 has already witnessed stellar performances at BLOC, Kozzmozz and London’s Convergence Festival, with a forthcoming mini tour of USA including two dates at Movement Detroit. A double remix for Fink has yet again demonstrated why Paula Temple is much sought after for remix productions. For her record label Noise Manifesto she has just launched a very special and unique collaboration series called Decon/Recon with select showcase events only. Her third release for R&S Records is currently in production at the studio, plus a split release for a Berlin based label to be revealed later this year. 



Mark Smith profiles the Bristol producer breaking into the drum & bass scene, much less mastering its relationship with techno. He could have reached drum & bass’s pinnacle, having released on Samurai, Renegade Hardware, Ingredients and Cylon at a relatively young age—his first record came out when he was 18. He actually broke through in drum & bass around five years ago, but it’s only since last year’s heat-seeker “Balaklava,” that he’s become better known outside of the genre.


From his Berlin home Presha now manages the Samurai Music Group and is the founder and owner of the Samurai Music and Horo labels – widely renowned for their forward thinking approach to curating and releasing music. Dj’ing has been a focus for Geoff’s musical expression for over 20 years. Travelling extensively, he has taken the palette of sound that has formed as the Samurai trademark to audiences across Europe, Japan and Australasia. As Presha his sets focus primarily on the futurist Drum and Bass that is released on his Samurai Music label. A seasoned selector with 2 decades behind the decks, Presha brings a wealth of maturity and experience to his selections with every set, ultimately reflecting the highs and lows of a life lived on the front-lines of music.

QUEST FOR A HARD HOB – silent anime movie with live score

The Quest for a Real Hard Hob is a silent movie accompanied by a live performed soundtrack. Set in Berlin, the story is told through an original animation set right at the last moment of humankind. Before her death, one scientist leaves a new power source in the hands of two androids: Deco4 and Edu3. To create a future with any life in it they must find other survivors before all is lost to a terrifying all-consuming entity.The performance itself is done live with director Andy Millington on drums and cello, and producer Dave Senan on various electronic instruments, with both sharing vocals throughout the show. “Making the visuals and music hand in hand enabled us to build quite a dynamic show that reaches for many different feelings throughout the performance”.




Second Storey returns to Houndstooth with a sublime presentation of bass driven, meticulously crafted tracks that again deftly display a balancing act between the delicate and the riotous. Alec Storey’s new LP was informed not only by his own movements between the Suffolk countryside and London, but by the recurring patterns of displacement taking place in the larger world, the dizzying effects of disorientation and recalibration; these songs are sonically and emotionally complex experiences laden with reflections on exodus and homecoming. While Storey was negotiating his sense of home on a personal level, the U.K. was critically reconsidering its own identity and its rules of hospitality at the same time. And notably, London was in the midst of a purge of the institutions that helped cement its important status as a forerunner of nightlife culture.

Inevitably, such disruption was put to use by the artist. In his words “Towards the end of my time in Suffolk there was the terrible news of Britain leaving the EU and also Fabric was heinously closed down. This on top of me feeling somewhat isolated affected the music i was writing…I wrote 3 very angry tracks in the 3 days after the closing.” It can be heard in the electro backbone and industrial tooth grind of “Ajunlei”, in the Drexciyan stomp of “No Such Location”, and on tracks like “Off Beat World” a monster of a jam that has jazzy angular percussion jerking in every which way.

It is not all fisticuffs though. Significantly, Storey also has a true penchant for creating music deeply rooted in bass and rhythm that immediately asks the body to respond, all the while subtly working away on the listener with an ulterior motive to coax them into contemplation.

“Covehithe” – named for a cliff adorned beach Storey escaped to as a teen in Suffolk is a perfect example of this, with all of its misty falling synths and murkiness. Similarly, using field recordings of spoken word and street drumming sourced from the respective locales named in its title, “Manhattan to Moscow” has a low slung feeling even though it percolates at a handsome 155 bpm. Disruptive yet somehow settling – it is a sublime achievement to evoke such disparate sensations from a listener.

What is on offer on Second Storey’s new album is an array of concise forward thinking dance music not limited by genre and driven by Alec Storey the drummer/producer – someone you can easily come to know through his engaging live shows. Bass, electro, techno, ambient, industrial – the word that best represents this album is spirited. And it is a spirit that adapts survives and soars on these 10 tracks of real substance.



Moritz Simon Geist presents his new robot-techno performance featuring tracks of his upcoming album! Well known for the giant Drum Robot “MR-808” the pioneer of Robotic Electronic Music explores the in-between of robotic noisery, the inner sound of mechanics and bass music filling the gap of media-art derived music experiments and straight-up live techno. The Installations “Tripods One” and “Tripods Two” are futuristic robotic sound sculpture turned music robot. They sketch a possible future of human-machine interaction with robots and electronic music. The kinetic sculptures are played live as a music instrument. Small mechanics and physical tone-generators insides the sculpture produce the noises used in the musical context. The sculpture envisions a futuristic sound device which plays contemporary electronic music through music robots.


“Soundtracking dramatic scenes of a modern society” is the only information that was found on the World Wide Web about Spoiled Drama. Berlin based, his debut release on the Greek label Nous, or his latest for the berliner label Fleisch were solid stones to draw his way as producer. Listening to his releases, you might get an appetizer of what his DJ sets are about. From proto-Techno to melancholic Coldwave, Chicago House, Acid or anthemic body music. Eclectic selections for dance floor purposes.


Stanislav Tolkachev is a techno pioneer from Ukraine. His productions are influenced both by the classic sound of Detroit and the sleek minimalistic tendencies born in Berlin. He is focused on experimentation with textures and psychedelic sounds, taking inspiration from many diverse sources. Tolkachev’s music has been released on many labels, including M_Rec, Semantica, MORD and Geophone.


Two of Scotlands’ techno heavyweights join forces under the Sugar Experiment Station monicker to join the dots between fierce funk, melting steel, Detroit, Chicago, Sheffield and whatever is in the water in Edinburgh. SES are back innovating and pushing forward, as disillusioned as ever.





Following his 25th anniversary in 2016, 2018 sees the unbreakable Techno force Thomas P. Heckmann (who brought you such milestones as Amphetamine, Liquid, Tanzmaschine, Sync In, Phosphene and the ever influential projects like Drax, Knarz, Welt In Scherben, AGE, Exit 100, Spectral Emotions, Heckmann and countless more and his genre leading labels Trope Recordings, AFU Limited, AFU Music, Wavescape, Sub~Wave, AFULAB aso.) continue with a blast and finally working on his new album ! As a master of electronic instruments and an endless musical background he’s always good for new contemporary surprises and is respected by many generations of music makers and followers and is always gaining new fans in the younger generation with every gig he’s performing. He’s invented many now taken for granted styles like Sägezahn, EBM-Techno, Electro-Techno, Industrial-Techno and all kinds of Acid styles in the past quarter of a century and is ready for the next 25 years of madness.


Audio maverick, technical genius and boundary pushing performer, Tim Shaw is not one for sitting still. From his early days of rocking small clubs and releasing on Planet Mu, to big stages around the world and an album on Warp Records, Tim likes to experiment, to try new things.For the last couple of years Tim has been working closely withContinue Reading

software heavyweights Native Instruments to design his own ‘audio instruments’ which have proved very popular. Tim is more relaxed about music these days it seems, his recent shows have moved into deep improvised techno territory, still with all the fun and surprising moments, but somehow more refined. He comes across as a chap completely at ease with where he’s at and where he’s heading.


Improvised experimental sharkwave electronica knisterhood. Using and abusing electronic circuits, instruments or other sources of sonic pleasures:”TRANSISTORS OF MERCY ain’t afraid of no errors, for the very reason that their name already buries one: Actually it should be “Transistors Of No Mercy” to live up to how uncompromisingly the transistor boys are. TOMs’ unprecedented live performances don’t shine at perfection but from inspiration -inspiration from improvisation.Not everyone can do so but a music collective by people building their analogue instruments on their own can… DIY is TRANSISTORS OF MERCYs’ religion, ambient drone and dub scapes are the psalms.” (Basteroid, Areal Records, Berlin 2011).



Years of Denial is a fetishtic ritual of contorted flesh and altered states, a feverish/ infectious paradox of primitivism and modernity. Years of Denial is the ghost in the machine.

Their live Electro performances fuse SP 1200 beats and pulsating arpeggios with heavy electronics and engaging vocals. Barkosina’s voice ricochets against percussive snares as she intones ghetto poetry and dark romanticism. The duet operate on the dance floor without anesthetic creating an excursive electrifying shady atmosphere.

Both influenced by Isolationism, they also perform improvised cinematic Ambient sets with the use of modular synths and processed vocals. They draw upon the darker and profound stimulus of experimental music, creating an immersive and dramatic imaginative space.


+ many more