Jung An Tagen invites us to reflect on the diffuse but persistent term “experimental” not as deviation from aesthetic orthodoxy, but as the design and implementation of compositional systems that offer unpredictable results; “electronic” as an annulment of the previous instrumental tradition, and as a simultaneous reversion towards aesthetic openness; as the fragmentation of a theoretical or mythical musical syntax by obsessive repetition, sequential motivic mutations, aleatoric arrays, pareidolic illusions and moiré effects; “electronic” as the ultimate split, dehumanisation, mechanic strangeness.

Backed up by 2 decades of discographic activity under diverse pseudonyms and multiple collaborations on labels such as Editions Mego and Diagonal, Stefan Juster performs tirelessly at Festivals like Unsound or Sonic Acts, researching the boundaries of techno and dissociative computer music. Testing strategies of physical disorientation and forceful sonic phenomena, encouraging minds and bodies to calculate and intuit their own place in spacetime. It’s addictive music. Music in constant explosion.

In 2020 Jung founded the netlabel label ETAT.xyz. Setting aside any hint of expressionist gestures, one is left with form and abstract sound, emotional alienation: “dissociative, psychoacoustic, computer music”. Since 2019 Jung An Tagen is collaborating with the filmmaker Rainer Kohlberger on audio-visual performances that conquer the observer’s perceptual apparatus and transports the audience into the presence of an immediate immensity, where boundaries of self and world become obscured. Jung’s body of work as a filmmaker stands squarely in the tradition of abstract conceptual experimental film. Through the application of newest technologies, he succeeds in updating this tradition in a manner aesthetically suited to the 21st century.

“Barely adhering to established syntaxes of rhythm, melody, and timbre, Jung An Tagen seems to want to rewrite the rule book when it comes to electronic music. He’s off to a hell of a start.” The Wire

Eric Frye is an American composer and artist. He is known for his solo performance and installation work – an exploration of the dissociative and psychoactive functions of sound and image. Recently, he premiered audio-visual performances in LA, Vancouver, Tokyo, and New York City at ISSUE Project Room, alongside two central figures of experimental music, Curtis Roads and Beatriz Ferreyra (Ina GRM). Intertwining surreal narratives with a multidisciplinary approach to sound, Frye assembles a shapeshifting auditory scene that explores the malfunction of perception and how it relates to identity, self-hood, and blurring the senses.

Frye organizes events in Minneapolis in order to bring international artists and musicians to the Midwest. The experimental event series includes performances, installations, conversations, readings, and screenings. A recent showcase featured a multi-channel installation by Austrian sound artist Florian Hecker as well as lectures and performances by important figures in the field of sound art including Roc Jiménez de Cisneros (EVOL), Curtis Roads, Guerino Mazzola, Reza Negarestani, and James Hoff (Primary Information). In review, a local arts publication called the series “an erudite survey of the fusion of technology, composition and performance exploring the intersections of time, knowledge, self-hood and sonic space.”

Frye’s recent solo recordings include Glass Top Redux (2022) and Diffusion Soliloquies (2020). In 2022 he produced video and sound collaborations with fellow artists Lucy Liyou and Jung An Tagen. His work has been shown at Hangar Art Centre, Barcelona; Audio Visual Arts, New York City; Rochester Art Center, Minnesota; Variform Gallery, Oregon: and more. He has performed extensively in the US, UK, Europe, and Asia. Frye is a 2022 Jerome Foundation Fellow.

“Frye’s Seattle set was one of the most mind-bending I’ve seen since Ryoji Ikeda.” – Dave Segal, The Stranger Seattle

“Frye presents a suite of uncompromising, fractured electronics at once recalling the spattered tangle of Keith Fullerton Whitman’s recent generations, the chess-like stratagem of Rene Hell, and the incisive freakiness of Florian Hecker.” – Boomkat

Mariana is a restless internet digger on an infinite quest for out-of-this-world tracks capable of transporting us to mystical places. Blending rhythmic and progressive, stomp inducing beats, her DJ sets serve as a creative space for experimentation across various sub-genres of electronic music, including downtempo, IDM, electro, and progressive trance.