The cohesive array of depth charged devices that Anthony Linell has produced is formidable. From his opening statements as Abdulla Rashim on his early label of the same name, right through to his recent work that puts his aliases aside, there is a robust and rigorous intent that compounds the elemental strategies of techno's models to apprehend his singular vision. Presiding over Stockholm's Northern Electronics label with Varg (Jonas Rönnberg), Linell dispenses with mechanisms of attention on all fronts. Marked by an indefatigable self-reliance, the label presents exactly what it means to display, and no more. Carving an idiosyncratic platform for his music is as great of a warning as there could be that Linell's leveraging little toward the benefit of the audience. By his measure, the familiarity and comfort of contemporary techno is stripped back to its rushing heart, the senses left tailgating the strobe in a fit of intuition over decision. The greater this is exposed the colder it gets, and its in these extremes that Linell's caustic rhythmic precision hits. Live, it comes off as a galvanizing strike from the outside; analysing the room as a DJ, it's a case of being pursued through the dark. Just as the brevity of Linell's output in the eyes of techno is exalted as it is brought into focus, the background to this blurs as you start to decipher his other projects. Lundin Oil skirts the fringes of noise and experimental music, and in collaboration with Varg as Ulwhedar, this is perhaps even more pronounced. Purposively ricocheting between the techno world and experimental electronic music, Linell forges a distinct passage that gathers the aesthetically uncompromising motifs and missions from across this spectrum. It's this combination and resolve that's brought Linell to the world's attention, however little that attention has been solicited.
Kia’s speedy rise to notoriety is no surprise. Although young, Kia plays with the confidence and experience expected of a DJ with many more years under their belt. With a keen ear for bass-heavy rhythms, IDM, and the deeper shades of techno and trance, Kia glides through genres and emotions in exciting and often unexpected ways. Her talent for weaving musical narratives has been recognized by local and international labels, having already constructed revered mixes for Nous’klaer, Truants, c- and Patterns of Perception. Whilst the popularity of these mixes clearly proves her ear for telling stories with music, it’s her bubbly presence behind the booth that really makes her stand out. Kia is an open-eared music digger, searching tirelessly for lost obscurities to pair alongside modern finds and hidden gems by local artists. She wields together her intimate knowledge of local music and attuned ear, bringing it all to masterful fruition in her record label, ‘Animalia’, with an ambient sub-label ‘Cirrus’ on the way. Beginning in 2019, Animalia is now home to a highly reputable powerhouse of releases, mixes, and events That pave the way forward for the future of electronic dance music in Australia. Bringing underground and DIY sounds to the forefront, Kia encourages experimentation and nuance in every release. Bookings at Amsterdam Dance Event, De School, Sustain Release, and Monument festival are a part of a growing list of impressive gigs Kia is being booked for. As she relocates to Europe in the early new year, with a number of exciting shows on the horizon and solo productions in the works, Kia is without a doubt one to keep tabs on.
Naturally active person, in 2014, Nathalia founded Experiment Intrinsic – a hidden art dimension organically blended with the visual and musical imagination. A pivotal change, in which she pursued a path of deeper self inquiry and progression of sound, shifted her from the dance-floor oriented music and into ambient soundscapes. Her influences drew increasingly from experimental electronic, as well as traditional and spiritual genres. The following years were dedicated as developing the project into a dynamic and constantly evolving audio-visual platform.
Among the serene Japanese mountainscape during the 2011 incarnation of Labyrinth festival, a project now known as Voices from the Lake was born: the predestined collaboration of Donato Dozzy and Neel. The Italian DJs, producers and long-time friends are nonconformists of ambient & leftfield techno, both masters of their craft before joining forces. Painting vivid, multi-layered soundscapes with slowly unfolding rhythm and texture is the duo's MO, a by-product of which, is producing some of the most inventively entrancing ambient techno in the scene. Their self-titled debut full length album was a prime example of the pair's incredible ear for sound design. A collection of spiritually charged techno, with a subtle pulse of synchronous elliptical patterns rather than the rigid time signatures of techno. Widely acclaimed as album of the year, the release elevated them to the peak of experimental techno music. Their second album was decidedly more leftfield, even more so irreverent of techno tropes. Live at MAXXI is a recording of a live performance from the Museum of Modern Contemporary Art in Rome, retaining the hypnotic ambience of the previous releases, this time withdrawing from an emphasis on beats. In both live and recorded settings, the pair explore experimental underwater sounds influenced by nature, drums, and minimalism. 2022 will see their first album reissued on their own label, Spazio Disponibile. Following that, they will embark on a select number of shows, where the album will be performed in full. All the while, the pair will be back in the studio producing new music for the future, reasserting their position as one of the scene's most refined ambient techno projects.