Jonnine of HTRK’s intoxicating ghost story “Tea For Two (Boo)” languishes at the border between the ordinary & the uncanny

Thursday

Olga Productions announces new compilation RUINES with the unrelenting donk euphoria of Antony No Limit’s ‘Laisse-Toi Dériver’

aqnb, Monday

Willem Feltzer & Rik Laging, ‘Lyves II’ (2023). Courtesy the artists + PLAZA.

27 January 2023

REIF shares video from Eventide at Julia Stoschek Foundation by artists Fa’ Pawaka & LABOUR

23 January 2023

PHILTH HAUS & Chelsea’s “PROSXL (Radio Edit)” probes taxonomies of queer identity in a brutal collision of consumptive joy

aqnb, 10 January 2023

Dread, mourning & alienation in Hannah Rose Stewart & Blackhaine’s ‘MIASMA’ neo-noir A/V performance

9 January 2023

SEBA debuts EP with the tenacious electro-clash & up-tempo pop of ‘TRACE’

aqnb, 22 November 2022

Complex structures & cosmic phenomena in the light sculptures & video mapping of Kévin Bray at Trauma Bar und Kino

7 November 2022

A walk through time: reflecting on ecology & action during Sonic Acts biennial exhibition, one sun after another

Matt Dell, 31 October 2022

Moro La Flor updates alias & debuts surf rock-reggaeton record via NAAFI following hiatus with the video for ‘Golpe De Ola’

21 October 2022

Extractive Commodities: Maryam Monalisa Gharavi & Sam Lavigne discuss Oil News 1989-2020 & OBIT for Sonic Acts 2022 Biennial exhibition

Matt Dell, 19 October 2022

Ecology & temporality: a look ahead at Sonic Acts’ 2022 Biennial exhibition, one sun after another

28 September 2022

IRL euphoria for the terminally online: Namasenda talks live shows & staying independent as a pop artist before Balance / Club Culture Festival

20 September 2022

Ritual, ceremony & organised chaos: talking collective consciousness & technology with Paraadiso’s TSVI and Seven Orbits ahead of Lunchmeat Festival 2022

15 September 2022

Muyeong Kim’s distortion of machinic memory, linear temporalities, & darkness is a soliloquy of the obverse in reverse

diana, 14 September 2022