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Julia Reidy overlays vast spheres of sounds on top of each other. Frugally delicate picking on the twelve-string folk guitar, the sounds of various synthesizers, and Reidy’s surreal voice, processed by effects devices. All of which invites the listener to dive into an ocean of music that blends rock and hand-crafted ambient.
Julia Reidy has now been living in Berlin for almost a decade, a period in which she has undergone a process of musical reorientation. Reidy originally headed to the German capital for a short break from her jazz guitar studies in Sydney, but she was electrified by the Berlin scene.

Julia Reidy performs in various duo formations, is a member of Oren Ambarchi’s band »Carpe Diem« and straddles the line between the avantgarde of the alternative scene and improvised music. The woody acoustics of the guitar is the foundation of Reidy’s music, which plays with alternative moods and produces acoustic sounds that seem both unfamiliar and otherworldly. Like country folk on a glass harmonica or blues on the concert harp. Around these guitar sounds, Reidy constructs her own, sometimes extra-long, slowly developed, electro-acoustic works.

Hearing Max Cooper’s music is like diving into a high-res microscopic image. Dancing molecules speak of unlocatable flicker effects, spheres fade away in infinity, flexible beats structure soundscapes and generate a technoid danceability without ever being monotonous. Max Cooper produces electronic music for people who love being taken away to other worlds through sound.

It’s no surprise that Max Cooper approaches music from a scientific angle. He has a PhD in bioinformatics and gene regulatory networks, that is, the communication and interaction between DNS segments in and with a cell.

It wasn’t until 2010 that he decided to focus on music and visuals, a world that connects scientific logic with the incomprehensibility of aesthetic processes. In addition to his audio tracks, Cooper also produces breathtaking immersive visuals. His shows are an experience for the whole body and all the senses.

Beatport and Resident Advisor have both named Max Cooper artist of the year, and he plays avantgarde electronic festivals all over the world. Cooper has remixed tracks by Nils Frahm, Michael Nyman, Hot Chip, Au Revoir Simone and Philip Glass.

The mighty sound of Bulgarian women’s choirs, the introspective meditation of Gregorian chorales, the shimmering songs of central African nomads, classical bel canto, and the unique voices of the Gagaku – the ancient classical music of Japan. In her music, Hatis Noit – who now appears as part of the »ePhil« series – plays with the infinite facets of female singing.

Hatis Noit was 16 years old and on a pilgrimage to Buddha’s birthplace in Nepal when she heard a nun from the Lumbini temple singing. That voice, that sound, had a hypnotic quality. In this moment of awakening, Hatis Noit became aware of the deep emotional power of the voice – an original and instinctive instrument that connects people with each other, with nature and with the cosmos.

Hatis Noit relies entirely on this effect in her tracks. Loops allow her to create phenomenal sculptures, and only occasionally do soundscapes and electronic sounds ground down the polyphonic web.

In Japanese mythology, the name »Hatis Noit« describes the stem of the lotus flower, whose blossom represents the physical world, while the roots represent the spiritual world. Hatis Noit seeks to connect these spheres.

The artist grew up in the remote region of the Shiretoko National Park (Hokkaido), and has been living in London for a number of years. Like Nils Frahm, Lubomyr Melnyk and Ólafur Arnalds at one time, she belongs to the family of the legendary label Erased Tapes.

With these three geniuses of improvisation, it’s all about getting lost in the groove and becoming one with sound and rhythm. On the extra-long tracks of the album »Ghosted«, bassist Johan Berthling lays the foundation – driving, but with a self-assured calm. Layered on top, drummer Andreas Werlin puts together sketches of powerful beats. Oren Ambarchi’s guitar rarely sounds like one; he seems rather to produce soothing drone layers and Hammond organ sounds around the prongs of the bass and rhythm. In the trio’s work, scaling down leads to greatness.

Oren Ambarchi grew up in Australia as a Sephardic Jew and focused over the years on drums and percussion. But a new world opened up when he happened to pick up a guitar that was lying around and started hitting it with drumsticks. He was inspired by a love of rock and an unconventional approach to the instrument.

Ambarchi, Berthling and Werlin met in the legendary Rymden Studios in Stockholm in 2018. They pressed record and let the music take shape. A weightless, transcendental form of group improvisation.

The three have been playing their role in experimental improvised music in various formations for years. The assembly of »Ghosted« acted like a creative flow. And when the listener immerses themselves in this music, they get an idea of infinity.