Artists

The collaboration between the harpist and artist INA ALOISIA EBENBERGER and composer, musician and artist AMAR PRIGANICA carries into transcendental spheres. Both are interested in music’s sacred and boundary-dissolving potential — its ability to seize the body and perception before the mind begins to categorise. Harp and zither, historically associated with angelic music and revelation, are transformed through electronic processing to such an extent that they lose their idiomatic identity and become part of a larger sonic continuum. Organ, electric guitar and deep sub-bass frequencies play a central role, with physically perceptible sound and overwhelming intensity becoming the material itself.

Waris Rasheed is a Nigerian-born multi-disciplinary artiste, popularly known as AZZI ON THE BEAT. He discovered his talents at a very tender age and has cut his artistic teeth in every dimension of the performance arts. He strongly believes that the arts should be a wheel of change provocateur and this has consistently driven his passion for creating arts that impacts the society rather than just for the aesthetics. Waris is well rooted in African indigenous Dances and a music producer believes so much in Contempo-arising his moves in addressing issues from his Afrocentric perspective. Over a decade as a dancer, music producer,and total Artiste, he creates arts and tells stories through His Yoruba movement aesthetics, he employs a broad spectrum of Yoruba native intelligence through philosophical and cultural connotations, as guide tools to his arts. Waris has worked on projects in Nigeria and the other part of the world with Seun Awobajo, Segun Adefila ,Christoph Winkler,Qudus Onikeku , Sahar Rahimi ,Lois Alexander ,Flora egnonu, Matondo Marie,Femi Adebajo, Rasheed ridwan,Kadima production, Derek.

BROOKLYN J. PAKATHI uses art as a mean to unfold. Their cross-dimensional practice plays with the
aesthetic language of the internet whilst in dialogue with questions of navigating the intermediary
space of transference between body and virtual anxieties of being – their work speaks to an
energy consciousness reconciling the external reflections of our internal vulnerabilities. Exploring
advanced, physical and ancestral memory as sites of struggle, they dive into logical imaginaries to
make sense of the omnipresent matrix of coloniality and the conventions of misalignments that
influence the harmonies of our body-mind-spirits.

C. COMBERTI is the DJ alias of artist and music enthusiast Demian Kern. Starting out as a radio host, always digging for unconventional yet danceable rhythms, C. Comberti’s initial love for sound was sparked by experimenting with Kosmos kits and soldering electronics. His sets are marked by rogue dance music and cheeky humor – sassy, yet soulful. The spectrum ranges from bouncy house tunes to classy after-hour techno, complemented by elements of electro, dub, and some wild edits. He was the co-founder of the Berlin-based label Tresen, where he also previously released some of his own productions

CHRISTIAN HÖLLER is editor and co-publisher of springerin – Hefte für Gegenwartskunst. Since 1994, he has published extensively on art and cultural theory. From 2002 to 2007, he was a visiting professor at the École supérieure des beaux-arts in Geneva. He curated the film programmes Pop Unlimited? (2000) and No Wave New York 1976–84 at the International Short Film Festival Oberhausen in 2010 (the latter was also presented at the Austrian Film Museum in Vienna and, in 2011, at Hebbel am Ufer in Berlin). He was co-curator of the exhibition Hauntings – Ghost Box Media at Medienturm Graz and its accompanying music programme Sonic Spectres as part of steirischer herbst 2011. In 2014, he curated the film series Scan Scroll Surf – Digitale Filmästhetiken heute at mumok, Vienna. He is the author of the interview volume Time Action Vision: Conversations in Cultural Studies, Theory, and Activism (2010), and editor of the anthologies Pop Unlimited? (2001) and Techno-Visionen (2005), the catalogue book Hans Weigand (2005), the anthology L’Internationale: Post-War Avant-Gardes Between 1957 and 1986 (2012), and the collection publication Kontakt. The Art Collection of Erste Group and ERSTE Foundation (2017).

CIAO CIAO is a DJ, Mash-up romantic and genre-defying music selector and curator from Vienna who blends certified dollar bin finds with sought-after records from all decades of electronic music. Balearic breezes of house, sweat-dripping rave, nostalgic dreams of the old school and the underground.. Dedicated and true in style and attitude. Having worked at night-clubs and broadcasting stations, he started pushing music into channels and online radio-shows many moons ago. He has been broadcasting „Heavy Traffic” on @radio80000 for many years, inviting many national and international guests he met along the way and hosting underground parties in Vienna where you might have broken a sweat.

CLAIRE M SINGER is a Scottish composer and performer working across acoustic and electronic music, as well as film and installation. Her four critically acclaimed releases on Touch feature Singer playing both organ and cello, with her 2025 album “Gleann Ciùin” also featuring the London Contemporary Orchestra. The Guardian describes her music as “building from mournful softness to celestial maximalism,” while MOJO refers to her as a “pipe organ drone maestra” who evokes “the folk music of the spheres.”  Performances include Glasgow Cathedral, Tate Modern London, Westerkerk in Amsterdam (where she opened for the band Low), and the Barbican in London (opening for Stars of the Lid). Her solo organ piece, “The Molendinar,” was featured in The New York Times’ “5 Minutes That Will Make You Love the Organ.”

Awards include the Oram Award in 2017 for her innovation in sound and music and the Festival Castell de Peralada Award for best film score in 2019 (“Tell It To The Bees”). In 2020 her work “Gleann Ciùin” was nominated for an Ivor Novello Award. Recent projects include music for choreographer Robert Binet’s new ballet ‘Dances For The Future’ for the Vienna State Ballet Academy, which premiered at NEST in October 2025. 

In a collaboration initiated by Unsafe+Sounds and the concert series “Organ in Focus” of Austrian public radio oe1, Fennesz meets the Scottish film composer, organist and cellist CLAIRE M SINGER. Both Singer and Fennesz release on the influential label Touch. Both draw inspiration from nature and landscape, and are able to create an extraordinary atmospheric density and emotional depth. Singer coaxes rich harmonic textures and complex overtone structures from the organ, continuously generating new melodic patterns and subtle rhythmic pulses. Her minimalism is at once sensitive and sublime.

Claire M Singer & Christian Fennesz will perform both, solo and live as a duo at ORF RadioKulturhaus.

With releases on the renowned label Upset The Rhythm and a recent cover feature in The Wire magazine, EARTH BALL rank among the most exciting bands of the Candian underground scene. The quintet moves between ecstatic psych-rock, impulsive avant-jazz and brutal noise, developing a sound that is as immediate and improvised as it is precise. Each concert builds a powerful sonic backdrop from eruptive sax, ritualistic singing, trance-inducing drumming and distorted guitars. The result is transformative: a collective psychedelic trip that releases its listeners back into reality changed.

With FEEO, one of the most exciting new voices from London’s music scene comes to Vienna. Abyssal and vehement, yet vulnerable and sensitive; fragile as much as powerful; sparse, but full of depth – like romantic poems, feeo’s songs unfold between opposites. Accompanied by Caius Williams on bass, Theodora Laird presents an Avant-R&B rich in references. The emotional quality of her voice recalls the romanticism of Joni Mitchell, the dynamic melodic lines Alanis Morissette, the doomy qualities Anna von Hausswolff, and the sensuality Kate Bush. feeo’s debut album was released last year on AD93 and was praised by Pitchfork as “one of the most breathtakingly beautiful albums”.

Copyright Photo: Ciara Reddy

His releases have shaped styles; his sound is unmistakable. Christian FENNESZ is considered one of the great names in experimental music and an international figurehead of the Austrian scene. Using guitar and computer, the Vienna-based musician and composer developed an unmistakable sonic language in the early 2000s, in which melodic gestures, reverb-rich atmospheres, digital noise and glitches merge inseparably. The result sounds shimmering, alive and abstract, yet incredibly beautiful. Inspired by nature, Fennesz opens spaces of sensation and emotional landscapes, earning him the reputation of being “the scene’s great romantic” (Pitchfork). Collaborations with international heavyweights such as Ryuichi Sakamoto, David Sylvian and Keith Rowe testify to his standing.

The artist name “GAWDESQUE” honours the power of the creative spirit – the god-esque in us – and serves as a personal affirmation of said spirit. Based in Vienna, Austria, they celebrate their African heritage and its global branches through the music they play; genres of West and South African origin, the African diaspora in the Americas and the Caribbean to create an eclectic blend of sounds to lift community spirit, lubricate the spinal joints, let the calories burn and ask for consent to make the back bend.

Together with DJ Tiwa, they’re a resident DJ of the Vienna based Afro-Event Crew Vinity and member of equally Vienna based dj collective BLK TLC Notable places they’ve deejayed at include Klub Halal x Wiener Festwochen 2026, WienWoche opening party 2025, Transdimensional 2025, Blechsonne Festival 2024 in Germany, Donauinselfest 2024, Youki Festival 2024 and Eddy Festival 2024.

Copyright Photo: Louise Brisante Mbakop Ngotchio

“An enchanted, walking dream blend”

Lithuanian multi-instrumentalist, singer, composer, and producer GINTĖ PREISAITĖ creates sensitive, folk-inflected, light-footed pieces that activate a sphere of collective memory. Her musical language is fragmentary and lyrical, plays with intimacy, and draws its character from the heterogeneous timbres of the instruments and sound sources she employs. A classically trained pianist, Preisaitė frequently works with extended playing techniques. Above all, however, it is her voice that breathes life into the compositions. Educated at Copenhagen’s Rhythmic Music Conservatory, where artists such as ML Buch and Erika de Casier also began their careers, Preisaitė situates her work between pop sensibility, modern classical, and avant-garde experimentation.

Copyright Photo: Lukas Mykolaitis

Ursula Winterauer, who performs under the moniker GISCHT, is a composer, electronic music
producer, and curator based in Vienna.
Her practice explores raw sonic structures shaped by digital processes, contrasted with analog
warmth and the vulnerability of the human voice. This results in layered compositions that draw
on industrial sound aesthetics, combining field recordings, bass guitar, synthesizers, and
dense electronic textures into immersive environments. Often developed through close
collaboration with musicians and performers, her works function as structural sound scores
rather than fixed notation.
Winterauer develops pieces for ensembles, works as a sound designer and film composer,

and creates compositions for contemporary dance. In addition, she is the bassist of the doom-
metal band Eaeres and one half of the noise duo The Answer is No alongside Maja Osojnik.

She is the cofounder and label head of Ventil Records.

Copyright Photo: Philippe Gerlach

HAMPUS LINDWALL  is another organist featured in the festival programme. The Paris-based musician is titular organist at the Church of Saint-Esprit, an award-winning organ improviser and a collaborator of artists such as Cory Arcangel, Ellen Arkbro and Stephen O’Malley, on whose label Ideologic Organ his most recent release appeared. Influenced by Xenakis, metal and rave, Lindwall’s playing is electrifying and often stubbornly dissonant. Sounds are partly digitally transformed, partly stacked – triggered via MIDI – into stochastic compositions. Through his intensive engagement with the instrument, Hampus Lindwall has developed a practice that consistently leaves traditional ideas of organ music behind.

Copyright Photo: Nils Boldt

HOUSE OF SKIN’s debut album ‘house of skin’ is a 9-track exploration of dub-infused sound alchemy that was recorded and produced between 2022 and 2025. The Vienna-based musician draws on both acoustic recordings and digital instruments, crafting a visceral sound design with a backdrop of subtle gestures, phantasmic textures, and warped rhythmical experiments. Unexpectedly, the voice, though often highly synthesized and unrecognizable, becomes a core element throughout certain tracks on the album. It’s a voice searching for its footing in volatile soundscapes, merging with jagged melodic motifs and askew beat structures. This body of work feels like watching a strange entity evolve, or tracing an orbiting apparatus. ‘house of skin’ is a shapeshifting, submerged hollow, stretching into the present tense, that halts linearity and pushes you into sideways time.

INOU KI ENDO searches for shared sensibilities across time and space. Filtering communal sounds from past and present, she moves beyond the concept of genre, instead approaching sound and rhythms as shifting intensities capable of affecting listeners emotionally, intellectually, and physically. Rooted in the global music underground, her sets draw on experimental approaches, and are shaped by the specific contexts and spaces in which they take place.

Shilla Strelka is a festival curator (Unsafe+Sounds, Elevate) concert organiser (Struma+Iodine), lecturer and journalist, based in Vienna.

Supported by the Korean Cultural Center in Austria under the K_on_temporary programme.

Copyright Photo: David Visnjic

ISABELLA FORCINITI’s modular synth performances resemble an animistic séance. The Italian-born, Vienna-based composer, musician, has a degree in communication sciences. Forciniti brings the instrument to life with an incredible agility and sensitivity: it begins to speak, to communicate with her. Forciniti continuously listens in, adjusts, tries to understand, and channels its message. Witnessing this interaction between musician and machine feels nothing short of magical.

Copyright Photo: Petra Moser

JESS_WHEREYOUAT is a sonic explorer moving between sensual house, experimental cuts and unexpected club mutations. Her selections are playful and deliberately unpredictable – always rooted in groove, always charged with a distinct
sense of attitude. Born in Switzerland and shaped by Berlin’s club scene in the early 2010s, she is now a key presence in Vienna’s nightlife. Her sets move fluidly across house, funk, hip-hop, dub, electro and left-field

sounds, weaving them into seductive, slow-burning narratives that keep the dancefloor inmotion. Balancing softness and edge, jess_whereyouat creates a space that feels both intimate and unruly – equal parts cocktail glass and biker boot.

Copyright Photo: Dushan Petrovich

KUTIN works with sound and its compositional possibilities at various intersections. His non- disciplinary works are characterised by blending music with image, sculpture, light, kinetic art or video. This in-depth exploration of how sound and visual stimuli interdepend and interact with has expanded his artistic territory far beyond music, resulting in a body of experimental films, multimedia-scenarios, kinetic sculptures and stage-performances. In 2026, his debut feature film, Sound of Musick [sic!], is slated for completion.

Kutin received numerous awards, scholarships and residencies. In 2019, his kinetic sound-sculpture Torso#1 was honoured with the Prix Ars-Electronica. In 2016, along with the composer Christina Kubisch and his long time collaborator Florian Kindlinger, he received SWR’s esteemed Karl-Szucka award for the composition Desert Bloom. He is currently based in Brussels as Artist in Residence at the WIELS center for contemporary art.

Copyright Photo: UMZ

“The only thing in life is worth doing again is trying”

Fragments of the present: it’s brittle, reduced song sketches that Alina Astrova presents across her various projects. The Estonian-born musician and producer, who has been based in London for many years, is known as LOLINA, formerly as Inga Copeland, and as one half of infamous Hype Williams alongside Dean Blunt. With her concept albums and deliberately cultivated amateurism, she has become something of a poster child for a new lo-fi pop aesthetic. Her tracks are fleeting snapshots of an artist who continually reinvents herself and resists any stable identity. Cut-ups, sparse beats, dissolving synths, and what The Wire described as a “bored cool-girl rap” coalesce into idiosyncratic mutant pop.

Copyright Photo: Jebi Labembika

MARTIN ROVAN is an artist working across installations and sound. He explores the mythologies of cybernetic systems, financial markets, and speculative futures. With Lukas Kienzl, he co-runs Dead Mall Research, an online project space for sound and research.

There will also be readings at this year’s festival. Kraków-based writer NATALIA PANZER will be coming to Vienna. In her spoken-word performances, often tinged with a surreal quality, Panzer recounts impressions, perceptions and observations of her surroundings in a soft, hushed voice reminiscent of Robert Ashley’s voices. The NTS Radio host and former collaborator of Voice Actor, with whom she formed the duo ana reme, works across writing and music. At the festival, she will present a reading at the Wotruba Church.

“There’s no cynicism here – the songs work because they come from a genuine place” (Boomkat)

Also based in London is British-Chinese artist Tim Zha, aka ORGAN TAPES. Shaped by a private narrative, his songs resemble blueprints of emotional states, bringing the artist and his emotions to the foreground. An influential artist’s artist, Zha has produced for Triad God, among others, and played a significant role in shaping the aesthetics of the post-internet underground. His eclectic, diary-like numbers combine bedroom pop, Chinese city folk, 1980s indie, slacker rock, and cloud rap. Running through them is Zha’s Auto-Tuned voice, which, rather than creating distance, produces a peculiar sense of intimacy.

Copyright Photo: Megan Bruinen

Warsaw-based producer, musician, theatre and film composer PIOTR KUREK presents “Smartwoods”, an ensemble piece that feels as tender and enchanted as a pastel-coloured midsummer night’s dream. Inspired by Baroque music and ethereal jazz, “Smartwoods” is a newly refracted surreal pastoral, a wondrous, delicate chamber music, a piece of magical animism. Kurek unfolds the tableau of a bucolic landscape full of living beings in communication with one another.

At the Unsafe+Sounds Festival he will perform his pieces together with Ina Aloisia Ebenberger (harp), Sophie Hassfurthner (wind instruments, saxophone) and Matjia Schellander (double bass).

Copyright Photo: Ada Zielińska

RICHARD YOUNGS is regarded by many as a key figure of the British underground scene. Described by The Quietus as “a magus of the avantgarde”, the Glasgow-based musician moves between folk, avant-pop, improvisation and minimalist composition without ever submitting to the conventions of a single genre. Youngs’ expressive and charismatic voice has earned him comparisons with musicians such as Robert Wyatt, Arthur Russell and Bill Callahan. Sincere and moving, and marked by a purist beauty, his songs consistently move beyond the mainstream.

Synthetic field recordings, sonic fictions, sound worlds teeming with life: Vienna-based composer, artist, sound researcher, and architect ROBERT SCHWARZ brings together influences from computer music, sound studies, and architecture to unsettle our senses while evoking vivid images. For more than twenty years, Schwarz has investigated acoustic phenomena, directing his attention towards the hidden and uncovering details that usually escape our perception. From the interplay of field recordings and sound synthesis, he creates abstract sonic structures that open up profound, dislocated listening experiences while critically questioning established habits of hearing. In his current work, which he will present live for the first time, he investigates the remarkable bioacoustic characteristics and spatio-temporal organisation of cicada sound production. Open air.

Copyright Photo: Anna Breit

Political, urgent, powerful and intense: SAINT ABDULLAH & EOMAC create resistant, confrontational tracks that act as a pressure valve. Behind Saint Abdullah are Iranian-Canadian brothers Mohammad and Mehdi, who grew up in New York’s improviser music scene and now live between London and Tehran. Eomac is Irish producer, composer and DJ Ian McDonnell. What unites them is a pronounced rhythmic sensibility. While Eomac contributes visceral, forceful beats, Saint Abdullah launches samples and found sounds into the mix, charged by a diasporic consciousness in which questions of identity, memory and political urgency resonate. The samples become carriers of historical and cultural references, placing the sounds within a political context. The result is not over-conceptualised or cerebral; on the contrary, it is deeply sensual and gripping.

Saint Abdullah & Eomac will present their latest album, due to be released on Planet Mu in autumn.

SCHTUM’s  music conjures the sense of abstract movement in sound. Performing live on instruments the duo transforms microtonal interferences and feedback into dark, often brutal electronic sequences. The dynamic contrast between raw expression and clinical precision is the prime mover in their music. The duo cultivates a contemporary chamber music playing attitude in order to create electroacoustic soundscapes that can be located between microtonal spheres and club music.

Copyright Photo: Andreas Gnigler

“opening up the emotional floodgates” Boomkat

With her releases on AD93 and CODES, the PAN sublabel, SKY H1 is regarded as one of the key figures of the contemporary ambient sound. Introspective and personal, yet clearly connected to the club, the Belgian producer’s tracks reveal a distinctive pop sensibility. Harmonic atmospheric pads, abstract vocals and melancholic-melodic hooks merge with reverberant fragments of drum’n’bass, grime and dubstep, offering full satisfaction to “ambient dance romantics”.

Sky H1 will present her new album at the festival, due to be released on AD93 in autumn.

Copyright: Maryan Said

SOPHIE PUBLIG is a Senior Scientist researching digital ecosystems. Based at the Weibel Institute for Digital Cultures at the University of Applied Arts Vienna, she navigates the intricate networks of online territories. She conducts independent research in the fields of media theory, critical posthumanism, post-apocalyptic narratives, and contemporary art, with a particular focus on uncovering the symbiotic relationships between technology, culture, and the environment.

SSOLVE explores the intersections of contemporary electronic music and focuses on deconstructing and re-contextualizing sonic fragments. The result is a raw and sometimes dark digital soundscape of contemporary club, experimental, gqom, and bass. His last project was released on DAWN RECORDS. ssolve is based in Vienna.

The New York Times has called them “the greatest trio on Earth”, while The Guardian described them as “one of the most entrancing live acts in the world” – few formations captivate live audiences quite like the Australian trio THE NECKS.  Since 1987, pianist Chris Abrahams, bassist Lloyd Swanton and drummer Tony Buck have pushed the art of improvisation to its limits. Today, they enjoy cult status. The Necks are oriented as much toward jazz as toward minimal music, as much toward krautrock as toward the avant-garde. Their sound is warm and hovering, tonal and accessible, yet complex and challenging. Their dynamic playing always retains its focus while remaining mobile, developing an unmistakably hypnotic pull. Improvisation becomes a collective act of alchemy.

Copyright Photo: Camille Walsh

TIMOTHEUS VERMEULEN is Professor of Media, Culture and Society at the University of Oslo and joint director of the Media Aesthetics Research Group. He was a visiting scholar in Art History at Harvard in 2023–24 and will serve as joint Principal Investigator on a project on the politics of tone at the Centre for Advanced Study in Oslo in 2027–28. He co-founded the webzine Notes on Metamodernism, co-edits the Bloomsbury series Studies in Metamodernism, and is a regular contributor to Frieze. From 2023 to 2025 he co-hosted the podcast The Cluster F Theory with BBC TV presenter Gia Milinovich.

Vermeulen writes on media, cultural and aesthetic theory. His latest book is Plastic Time: Gesture on Screen (SUNY, 2026). His work has been translated into more than ten languages, cited well over 3,000 times, and inspired numerous conferences, special issues of journals including Open Philosophy, English Studies and Screen, as well as exhibitions in Berlin, London, Moscow and New York.

He has spoken at the Venice Biennale, Documenta and Summit at Sea, appeared on BBC radio and in international press, and served on juries and gremia including the Nam June Paik Award and the Bonner Kunstpreis.

Copyright Photo: Stephan Porombka

This year, Wotruba Church will host the festival opening. Alongside the acts already announced, the programme will feature the world premiere of a newly commissioned work. “Clustertract / Luxxx” by Tony Wagner explores the physical and emotional limits of the violin. The composition combines a cultural-historical reflection on the violin as an instrument of secular community and collective transgression with a contemporary perspective on shared experiences of loss. Moving between minimal music and dark ambient, academic inquiry and underground spirit, the composer, producer, and musician connects with the legacy of figures such as Pauline Oliveros and Tony Conrad.

Copyright Photo: Tender Matter

UGNĖ UMA is a phenomenon. Born in Vilnius, the singer has not yet released a solo album, but has already collaborated with numerous renowned artists and, within a very short time, has become a favourite of the European music scene. Uma moves with velvet-footed ease and an exceptionally distinctive voice between soul, jazz, trip-hop and folk, atmospheric electronics and experimental poetry. Self-determined, with a softness and coolness that bring comparisons to Sade and Beth Gibbons to mind.

Copyright Photo: Gedvilė Tamošiūnaitė

The pieces by Ulla Straus – ULLA for short, or even shorter, U.e – also have a chamber-musical character. Ulla’s contemplative miniatures behave weightlessly. They are intimate, sensitive vignettes, delicate small treasures. Flute, guitar, piano, saxophone, voice and electronics come together in somnambulant pieces that always seem on the verge of dissolving. Peaceful like a daydream, fleeting like a thought, carried by a gentle melancholy.

YASMINA HADDAD’s essayistic sound sets challenge the normativity that our ears are constantly exposed to by bringing unheard voices, sounds and songs to the surface. With a call for active listening she spans a bridge between Lili Boulanger, Midori Takada, Faten Kanaan, Pamela Z, Louise Lawler, Julia Perry, Jlin, Sainkho Namtchylak, Moor Mother and many more.

Lebanese musician, composer and musicologist YOUMNA SABA explores, in both theory and practice, the relationship between singing voice, the Arabic language and electroacoustic music. In her musical work, she expands the oud through new playing techniques. Interested in the materiality and tactility of sound, she approaches the traditional instrument as a resonant space and sound body, while her voice possesses astonishing emotional depth. The result sounds unsettlingly beautiful.

Copyright Photo: Nasri Sayegh

ZEY is a Prague born DJ, interdisciplinary artist, sound designer, sound engineer and community organiser based in Vienna. Their creativity is a tool of liberation – their own and of others. They point to the deeper musical connections between diverse Black contemporary cultural landscapes while honoring their distinctive musical traditions. Genre is not as important to them as making people feel and dance. Since 2017, they have been an active force in organising QTI*BIPOC safer space parties in Czech Republic and Austria, and are currently a member of Vienna-based club night collectives Spice Mixers and BLK TLC. Among other platforms, their mixes have aired on Prague’s Radio Punctum, LYL Radio Paris, Brussel’s Kiosk Radio, Accra’s Oroko Radio and Dhaka’s Ghurni listening sessions. They’re known for breaking beats and keeping it fast.

মm. (read: mwo, just like the bangla alphabet) is a DJ, curator and community organizer based in Dhaka & Vienna. They play with percussions, rhythms, bass, and drama to tease out experiences of time and energies. They work predominantly with genres, styles and rhythms of the global South and Black Atlantic to perform sonologies of collaborative music histories across the larger regions and its diasporas in metropoles of elsewhere. They curate and mix along movements of sounds, diasporic collaborations and hybridity, brought together with nostalgia, collective memories and embodied cultures of music and dance. In recent years, they have shared the stage with artists such as Ikonika, DJ Haram, Nick Leon, Manuka Honey, Idlibra, Kode9, Heavee, Toumba, Assyouti, Vanyfox, Sarah Farina, Authentically Plastic, Bapari, DJ Lycox and more.

Copyright Photo: Nishat Hossain