Elektron
Super Sekvens
Elektron Super Sekvens returns as a recurring point of convergence within the festival — a temporary gathering around machines. Artists arrive with their instruments and ways of working, meeting inside a shared system of synthesisers, drum machines, and modular circuitry. The Elektron Team joins them in the centre of the room. What unfolds is improvised, shaped through listening, response, and small adjustments made in real time.
https://elektron.se
instagram.com/weareelektron
date/stage:
Thu 23/Big Stage
This year’s alchemists:
Aho Ssan
Aho Ssan is the project of Paris-based artist Niamké Désiré, whose work moves between electronic composition, sound design, and audiovisual practice. His debut album Simulacrum, released through Subtext Recordings, draws on Jean Baudrillard’s writing to explore ideas of representation and visibility. The music unfolds through dense layers of synthesis, fractured rhythm, and controlled Distortion.
https://www.instagram.com/aho_ssan
https://ahossan.bandcamp.com/music
Dissonant Witchcraft
Dissonant Witchcraft is the project of Berlin-based composer Jeanne Artemis, whose work draws from contemporary composition, electronic performance, and a wide range of musical traditions. Her practice began with an early fascination for European modernism and underground electronic scenes, gradually forming a language shaped by structural precision and attentive listening.
Working with hardware synthesizers in live performance, Artemis builds immersive environments where sequences evolve slowly and textures accumulate over time. Her music has been presented internationally across Europe and the Americas, including performances at Silent Green, Krema Festival, Unerhörte Musik, and Goethe Institute programmes. Across these contexts, Dissonant Witchcraft maintains a steady focus on form, allowing emotional intensity to emerge through careful construction.
Iggor Cavalera
Iggor Cavalera first became widely known as the drummer and founding member of the Brazilian band Sepultura, where his powerful and inventive playing helped shape the group’s early sound.
Over time his rhythmic language expanded beyond the drum kit, incorporating drum machines, synthesisers, and electronic production into his practice.
Alongside projects such as Mixhell with Laima Leyton and the noise-driven collaboration Petbrick with Wayne Adams, Cavalera has developed a parallel path in experimental electronics. Recent releases including Aural Manifestations and Alucinações Sônicas explore slower, atmospheric territories built from modular synthesis, drones, and subtle rhythmic movement — often presented with restrained visuals in intimate experimental spaces.
https://www.instagram.com/iggor_cavalera
https://iggorcavalera.bandcamp.com
https://www.cavaleraconspiracy.net
Simona Zamboli
Simona Zamboli is an Italian electronic musician, DJ, and sound designer based in Milan. With a background in classical and electric guitar, she later moved into electronic production, studying audio engineering and audiovisual composition. Her work combines technical precision with a direct, physical relationship to hardware instruments.
Performing with drum machines and synthesisers, Zamboli constructs rhythmic environments that move between experimental electronics and techno. Her music has appeared on labels including Mille Plateaux and Detroit Underground, and her performances have been presented at venues and institutions such as Base Milano and Teatro Regio di Parma, as well as on platforms like HÖR Berlin. Alongside her artistic work, she regularly leads workshops on sound design and live electronic performance.
SSTROM
SSTROM is a Swedish electronic artist whose work explores the outer edges of rhythmic electronic music. Across a decade of releases, the project has developed a sound that feels both austere and quietly expressive, where minimal structures hold subtle shifts in tone, tempo, and atmosphere.
As one half of the duo SHXCXCHCXSH, SSTROM contributed to a distinctive strain of experimental techno that reshaped the language of the contemporary club. In solo form, the approach becomes more introspective. Rhythms emerge gradually, synthesiser tones hover in suspended motion, and the music unfolds with patient clarity — inviting the listener to follow its smallest movements as they take shape.
