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Mumdance is one of the most respected DJs and producers from the UK. His signature sound, forged by his early work with grime pioneer Jammer back in 2006, takes cues from experimental techno and hardcore as well, making him one of the most innovative producers around. Since the beginning of his career, he has been working with artists as diverse as Skepta and Brodinski, while living and collaborating with local artists in Mexico, Brasil and Egypt.
Mumdance’s DJ career started to made strides in 2013, with numerous DJ mixes ranking among the year’s best, such as his back-to-back mix CD with Pinch in 2014, his FabricLive mix in 2015 and his 2016 album “Different Circles”, produced alongside UK experimental grime fellow Logos.
Since then, he has played the biggest international festivals such as Sónar Barcelona and Reykjavik, Unsound, CTM, SXSW, Glastonbury, Appelsap and Field Day, while touring Europe, America and Asia, sharing his musical experience at conferences at Tate and playing at the Barbican and the ICA.
His latest endeavor is the launch of Different Circles, record label and party series, still alongside Logos.
He also worked with artists less close to his typical sound such as Mica Levi, Tirzah, Nozinja and Yuzo Koshiro.


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Renick Bell is an american musician, programmer and teacher living in Tokyo since 2006, where he completed his studies with a degree at the Tama Art University and a Ph.D. at the Denki University, in addition to a Master in Music Technology from the Indiana University and an interdisciplinary degree in Electronic Music and Philosophy from the Texas Tech University.
Lately, his research has been focusing on live coding, improvisation and algorithmic composition using open source software, perpetuating the theories of Alex McLean, briefly summarized as “Making music with text(ure)”.
Renick Bell is the author of Conductive, a live coding library built with the Haskell programming language.
As a performer, he has toured the world and he is considered a pioneer of Algorave, an alternative musical scene taking off in the international experimental landscape with a series of rave-style events in which the public dances to music generated by algorithms (thanks to software such as Max/MSP and Super Collider), produced by artists such as Slub and Algobabez.
As a performer, Renick Bell is famous for his intricate generative sonic fabrics, produced in real time using a self-produced piece of software, created after years of frustration imposed by the restrictions of commercial music programs.


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Since Danielle Mana’s 2017 debut EP for Hyperdub, Creature, which was a taut, evocative suite of beatless, almost neo-classical electronics, we find his music has caught an alien virus and started hallucinating. On ‘Seven Steps Behind’ the borders between reality and the weird have collapsed on each other, and with each listen through its zigzagging course, you’re rewarded by its strange twists and turns. ‘Seven Steps Behind’ is an electronic album that doesn’t always sound electronic; a great deal of the record has been created to sound like prepared pianos, harpsichords, cellos and flutes. At other times, sampled acoustic instruments and specially recorded sessions have been processed through software and careful editing. It’s this sophisticated layering of contrasting versions of the same sources that help give this record its uncanny balance. The album also plays with your sense of time in its mostly drum-free hall of mirrors, pulling from minimalism, chamber music, dark jazz, and synthesiser experiments. Mana’s singing voice also makes it’s debut here albeit adorned by abrasive FXs. His lyrics are encrypted in noise, in fitting with the music’s chimerical character, casting images for the listener to decipher. His heavily manipulated voice enters on track two ‘Myopia For The Future’, sounding something like a singing motorbike pitched over bouncing ostinatos, or on ‘No Body’s’ inhuman, word-less range where it’s impossible to tell where the human finishes and the machine starts. Or in the case of ‘Leverage for Survival’; it’s animal and machine. Here, as with the album’s title track that concludes the record, a sensory assault subsides to reveal a heart-wrenching melancholy that anchors the record. Listening to ‘Seven Steps Behind’ is like stepping into a dream, with all the curious emotions and buried meaning that involves. Yet for all its restless, shifting energy it manages to hold both dissonance and melody in sweet proportion.


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The italian Broke One, aka Fabio Brocato, is a young talent of the worldwide house scene. His musical style, emerging in the late 2000s, is influenced by Chicago’s Trax Records, Paris’s Roulé as well as old school Hip Hop. After a slew of releases for Bmkltsch Records, remixes for artists such as Strip Steve, Urulu, Little Freaky Things and When Saints Go Machine and attending Red Bull Music Academy in 2011, Broke One embarked in a European DJ tour, pushing his selections all across the continent.
His productions have been supported by artits such as Lone, Breach, Nautiluss, XXXY, Matthias Zimmermann, Guy Andrews and many more. His debut album, “Reminiscence”, preceded by his “Lovefool / Roy Batty” and “I Can See You And Me / A Parsec From Here” EPs, was published by White Forest Records in October of 2015.


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Through a variety of techniques, Rocchetti extends his deconstructive approach and his meditation on time formation and memory to the border territory between composition and performance, creating an interpretation of the Goldberg Variations of Johann Sebastian Bach: a monster-opera that many have tackled, often transforming their fascination into obsession.
“If there was a composition that I would bring with me in hell or purgatory indiscriminately, well this is it, and, just like all the things I love, I can’t resist but mold it; the desire to make them even more mine makes me touch them, mixing myself with them and adding more layers and more stories. Sure, the risk to ruin perfection is there, but isn’t this part of the job of an experimental musician?”.
Claudio Rocchetti’s work is a deep dive into sound density, of which he investigates the internal mechanisms. Using a variety of reproduction tools such as turntables, audio cassettes, samplers, radios and microphones, and often combining them with other objects and traditional instruments, both in his live performances as well as his studio works, Rocchetti builds structures where sounds become pure matter, mass and impact. His “Musical Object” are characterized by hypnotic shades and built by layers of sonic debris. From techno rhythms to slow melodies, from sharp constructions to choruses and strings samples, Rocchetti builds layered structures of elusive elements from often hidden sources, enacting a sonic mirrors’ play.


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Riccardo La Foresta is a percussionist which performances move at the border between improvisation and composition.
Far from traditional drumming, he plays a prepared bass drum like a woodwind, thanks to a special system built by himself. Its name is Drummophone, and it was officially unveiled at Tempo Reale, the research institute founded by Luciano Berio, in 2017.
Lately, he has been touring Europe with Sho Shin Duo and with his solo project, collaborating with musicians such as Axel Dörner, Lê Quan Ninh, Michel Doneda, Massimo Pupillo, Toma Gouband, Stefano Pilia, Chris Corsano, Otomo Yoshihide, Ingar Zach and many more.
He played in France, Netherlands, Sweden, Germany, Poland, Austria, Belgium, Portugal and Italy for some of the most important experimental music assemblies such as NODE Festival, Angelica Festival, Area Sismica, Centro d’Arte, Tempo Reale.
His music has been released by El Gallo Rojo, Troglosound, Setola Di Maiale and has aired on radio in Europe, UK and Canada.
He holds a degree in jazz drumming, and since 2013 has been actively involved with teaching and organizing experimental music concerts around Modena, mainly with his organization Bæd and, since 2018, with NODE Festival.


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Classica Hooligans is a project born in 2017 with the intention to bring classical music (from the Renaissance era to the avant-gardes, from Baroque to Romanticism) to a non-academic public.
Inspired by the politic vision of Luigi Nono and by the music of the XVIII century – when the public was mostly formed by courtiers – Classical Hooligans try to divulge this music while pointing attention to its historic contextualization rather than the composition technicisms, shining a new light on classical music, still a prerogative of a small cultural elite nowadays.


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VIBRISSE is a two-headed project based in Turin that manifests itself through bastard and impure selections of tracks from different genres and musical contexts, put side by side as a way to replicate the peculiar ability of modern society to blend the different timelines of past, present and future in a single, dense instant, in which every aspect of reality collapses mutating in an infinite and adimensional reflection of itself.


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Daniele Raimondi, Morse’s resident DJ, has been collaborating with LeDisque, historical record shop opened in Verona in 1988, for a few years now.
His selections are lessons in mixing, musical pathways that travel across different sonic landscapes, from refined minimalism to the latest in ambient and techno.


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Ra Kunesh is an experimental electronic project revolving around semi-modular synthesizers, drum machines and distorsions: analogue machines that contributes towards a solid, but fickle, sonic stream, able to spark interest in its abstraction as well as rapturing in its danceable energy.


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Addicted to electronic music and vinyl culture.
Obsessed by djing and its aurea of mysticism, he loves to spend his time researching tracks that, one by one, create a pathway in which both the mind and the soul are carried to unconsciousness.
His sets reveal a brute, pure and introspective nature, bringing the public towards unknown destinations.


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Avid collector of everything ranging from afrobeat to scandinavian techno, he is convinced that the most interesting aspect of music research is to understand its cultural context.
Ecletic and multifaceted, he avoids repetitions; always looking for new and old jams, he can lay down a set starting with tribal rhythms and ending with 80s French productions without the listener even noticing.