Since co-founding the seminal Sonic Youth in the early 80’s, Gordon has remained at the nexus of music, art and (more recently) books and film. She has debuted in the #1 spot on the NY Times Bestseller List with her 2015 memoir Girl In A Band, acted under the direction of Gus Van Sant (in 2018’sDon’t Worry, He Won’t Get Far On Foot), released music and performed as one half of Body/Head alongside Bill Nace, and opened multiple solo-exhibitions at internationally renowned museums.

Released in 2019, Kim Gordon’s debut album No Home Record received wide-ranging critical acclaim, including from The New York Times ("The art star queen of New York cool”), TheGuardian ***** (“brilliantly weds noise textures to pop dynamics”), Sunday Times ‘Album Of TheWeek’ (“brutally good), Vogue (“immediate, loose, and liberated....as ferocious as she’s ever been”), Vanity Fair (“finds new ways to sound experimental”) and Pitchfork ‘Best New Music’("thrilling solo debut lives at the vanguard of sound and performance”). She debuted the album live with a full band at BBC 6 Music Festival in London before the start of the pandemic, and more recently has played select live dates at festivals including Riot Fest, Primavera and Corona Capital.

A member of countless beloved bands, including Naked City, Destroy 2 and Hanatarash, Yamataka Eye, or just ∈Y∋, is best known for his tenure in Japanese experimental rock band Boredoms. His perplexing, raw vocal style has driven him to collaborate with some of the world's most challenging artists, such as Bill Laswell, Beck, Sonic Youth and Otomo Yoshihide. And ∈Y∋ is also an accomplished, limitless DJ, throwing together feverish blends of jackhammer beats, demented bleeps and surreal screams.

With synched visuals by, C.O.L.O (founder of COSMIC LAB), which stands for Cosmic Oscillation Luminary Operator, massaging the boundaries between the conscious and the unconscious by oscillating with optical reality by the means of deconstructing visual information to the level of luminary oscillations.

Together their accelerated hybrid style transcends the boundaries of traditional DJ/LIVE performances, offering audiences an immersive journey beyond the ordinary, where material beats converge with audio-reactive narratives, evoking tectonic movements and the vibrancy of primitive life.

Leyland Kirby is a renowned British artist widely known for his multifaceted musical endeavors. Under the moniker The Caretaker, Kirby embarks on an exploration of memory and its gradual decay, delving into themes of nostalgia and melancholia. Alongside The Caretaker, Kirby has also birthed other notable projects such as V/Vm and The Stranger, and has also created music under his own name.

Initially inspired by the haunting ballroom scene in Stanley Kubrick's 1980 masterpiece "The Shining," The Caretaker's fascination with the passage of time and its effect on memory culminated in his magnum opus, "Everywhere at The End of Time." This monumental project not only solidified The Caretaker's name in ambient and experimental music, but also went viral online, spawning millions of plays, thousands of remakes and a place in meme culture. In recent years, The Caretaker's rare shows have taken place at the Barbican in London, the Lincoln Center in New York and GRM in Paris, and recently Lana Del Ray used his track "It's A Burning Memory" during her 2024 Coachella concert.

Jim O’Rourke has been working in music and film since the late 80’s, as a producer for Wilco, Sonic Youth, Beth Orton, Stereolab, John Fahey, Joanna Newsom and many others, including the Grammy Award winning “A Ghost is Born” by Wilco. He has been a member of Gastr Del Sol, Fennoberg, Loose Fur, The Red Krayola, and Sonic Youth. In film he has scored films for Werner Herzog, Koji Wakamatsu, Olivier Assayass, as well as musical consultant for The School of Rock. His own work ranges everywhere between his series of albums on Drag City to his work with Merce Cunningham, commissions for the Ina-Grm, as well as championing underappreciated artists like Tony Conrad, Loren Connors and Roland Kayn both through his own reissue labels and archival work to secure the future of their music.

Eiko Ishibashi is a versatile Japanese multi-instrumentalist renowned for her diverse portfolio, including acclaimed singer-songwriter albums, film scores, and improvisational music. With releases on labels like Drag City and Editions Mego, she has garnered international recognition. In 2020, she composed music for prestigious exhibitions like "Japan Supernatural" at The Art Gallery of New South Wales. Notably, her score for "Drive My Car" earned her the "Discovery of the Year" award at The World Soundtrack Awards. She continues to captivate audiences with her innovative soundscapes at film and music festivals worldwide.

Marco Fusinato is an artist and musician whose work takes the form of installation, photographic reproduction, performance, and recording. As a musician he explores the idea of noise as music, using the electric guitar and mass amplification to improvise intricate, wide-ranging, and physically affecting frequencies. He performs regularly in the experimental music underground, primarily as a solo artist and has released many recordings on vinyl format. His work and performances have been presented at the Venice Biennale, MoMA New York, Sao Paolo Biennale, Sydney Biennale & Berlin Atonal.

Bendik Giske is an artist and saxophonist whose expressive use of physicality, vulnerability and endurance have won him much critical acclaim.

With his latest, self-titled record (his third for Smalltown Supersound), Giske is in his prime as an artist: confident in his voice and abilities, buoyed by critical acclaim from all corners – including two Norwegian Grammy nominations – and a surge in audiences everywhere. With the intriguing choice of Beatrice Dillon as album producer – clearly the British electronic musician is a fellow traveler in the practice of original aesthetic expression – her distinctly spare influence is immediate and keenly felt. Arrangements are decluttered, reverb stripped back and layers of melody peeled away while honing in on pattern and rhythm to bring out a different dimension of his mesmerizing sound.

With his live performances, Giske draws his audience into an arresting display of musicality, physical stamina and rich, unfettered humanity. Every element - be it microphone placement, light arrangment or creative sound design - is carefully considered for maximum resonance.

33EMYBW, a Shanghai native producer and visual artist, has shaped the Chinese music scene for over a decade. Drawing from modern dance, folk music, and diverse visual inspirations, she crafts deeply personal rhythms and experimental soundscapes. Her album "Golem" garnered critical acclaim in 2018, praised by Bandcamp and supported by luminaries like Kode9 and Aphex Twin. Her 2019 album, "Arthropods," delves into post-human themes and experimental rhythms, showcased at global venues including Unsound Festival and SXSW. As a core member of Duck Fight Goose, she merges traditional Dong Choir music with electronic sounds, expanding her sonic horizons.

Joey Holder, a visual artist who probes the frontiers of science, medicine, and human-machine interactions. Her immersive installations, showcased globally, blur the boundaries between natural, non-human, and technological forms, sparking philosophical discourse. With extensive collaborations across scientific fields, Holder constructs intricate worlds challenging conventional boundaries. Her groundbreaking work has been featured in ARTFORUM, Frieze, and The Guardian, solidifying her status as a visionary force in contemporary art.

"Agua Dulce" is the groundbreaking collaboration between Berlin-based artists Alejandra Cárdenas (Ale Hop) and Laura Robles. Born just houses apart in Lima, Peru, they unite to deconstruct traditional Peruvian coastal rhythms, spotlighting the cajón—a box drum forged by enslaved peoples in defiance of colonial bans. Robles' processed electric cajón evokes dances like Landó and Zamacueca, while Cárdenas infuses abstract electronics, echoing Lima's vibrant dichotomy. Together, they reimagine Afro-Peruvian rhythms, blending heritage with modernity in a radical exploration of sound.

British critically acclaimed artist, electronic music composer and DJ, Lee Gamble joins forces with Spanish choreographer/action artist Candela Capitán to bring his latest album 'Models' to life on stage. 

'Models' delves into mimicry and simulation, featuring a chorus of simulated voices singing in an almost wordless language, both AI-generated and synthetic—echoes of pop history spanning decades.

Capitán's work explores social ties, body relations, and technology's impact on communication. Her choreography for 'Models' delves into embodiment dynamics, mimicry, and mechanisation, employing paratheatrical devices to navigate contemporary technological constraints.

The performance juxtaposes real-life experiences with those mediated by technology, with the ‘Models’ streaming their close-ups via Instagram Live, inviting viewers to engage with the tension, delight, and delirium of the experience.

Performed by Virginia Martin Mateos.

Commissioned by Unsound and co-produced by Sonar.

Yirinda embodies the fusion of Butchulla Songman, Fred Leone and musical innovator, Samuel Pankhurst, blending ancient Aboriginal language with modern production. Their collaboration invokes millennia of story and culture yet emerges as something entirely novel. It's the convergence of two traditions expressing a singular idea, captivating listeners with self-evident meanings, even to those unfamiliar with Butchulla.