Music

Gerald Simpson, known as A Guy Called Gerald, is a British record producer and musician.

Aliya Ultan is a composer-improviser from the road, now based in New York.

Anetha has been mixing since the age of 16, introduced to techno music by her father, a Kraftwerk fan and amateur DJ.

ARCHANGEL makes dance music that treats a floor set and a game score as the same kind of problem: how do you move a listener through a world.

Vivie-Ann Bakos builds her practice around a single conviction: that a dancefloor can be a portal, not just a party.

Two electric guitars, no fixed score, and a shared willingness to follow the sound wherever it goes: that's the operating principle of Body/Head.

Trained on keys and bass in Parisian psychedelic rock outfit The Clockwork, Chloé Caillet carried those harmonic instincts through jazz improvisation and into the DJ booth: where she mixes in key, building chords in fifths and thirds on the fly.

Chris Ryan Williams makes electroacoustic compositions that pull family archives apart.

Born in Derry, Northern Ireland, Eamon Harkin arrived in New York and spent the next two decades building something rarer than a good DJ set: a sustained argument that music is infrastructure for community.

Eli Escobar built his practice on a hunt for vocal records—the voice, he insists, is the most emotive instrument of all.

Goat (jp) starts where melody ends.

Ives writes pop songs the way people actually think: jumpy, self-contradicting, funny in a way that stings a little.

Teneil Throssell grew up in Karratha, a remote mining town in Western Australia, played guitar in psychedelic rock bands, then moved to London and taught herself electronic production on a borrowed Mac running Logic.

Drums, bass, synthesizers, sirens, and a low-end pressure that pulls toward trance: that's the core of Holy Tongue.

Jim Staley works primarily with improvisation, crossing genres freely between post-modern classical music and avant-garde jazz.

John Medeski has spent thirty years asking the same question he articulated at the New England Conservatory's Third Stream program: how do you absorb Coltrane, Ray Charles, and A Tribe Called Quest through the same ear and let it all come out? Behind the Hammond B3, Steinway, Clavinet, Mellotron, and any vintage keyboard within reach, the answer keeps shifting.

John Zorn composes through rules and then breaks them.

Justin Cudmore's coming-of-age as a creator of dance music took place in central Illinois, where he grew up in Springfield playing drums as a jazz percussionist in school, while his peers listened to pop music.

Kamasi Washington's 2015 album The Epic placed him at the crossroads of jazz's experimental past while forging new paths through soul and DJ culture—a three-disc statement that announced something larger than the album itself.

Klein moves between sound collage, production, and composition across R&B, grime, electronic, and classical idioms: always interrogating genre boundaries.

Lambkin works with vocals, Ableton Push, synthesizer, and FX pedal to share new material as a Brooklyn-based musician and composer.

Matthew Welch is a bagpiper and composer who treats the Highland pipes as a concert instrument.

Moin builds music from a collision that shouldn't hold together: Raime's Joe Andrews and Tom Halstead (producers who came up making suffocating industrial techno for Blackest Ever Black) write guitar and bass parts and then hand Valentina Magaletti's drum tracks through an edit, slicing her playing into pieces before reassembling the whole into something that lands between post-hardcore and dance music.

Nate Wooley works as a trumpet player, improviser, composer, and writer dedicated to the American tradition of vibrantly shaggy experimentalism.

Jungle runs in Nia Archives' blood (her Jamaican grandmother owned a sound system and played Goldie at family gatherings) but the music she makes from that inheritance is entirely her own.

Daniel Lopatin makes music out of sounds that were never supposed to matter: ad jingles, TV idents, '90s sample CDs from companies like Zero-G and Spectrasonics, the synthetic muzak that scored waiting rooms and PBS science shows.

Palosanto manages a record label, produces events, and curates artists focused on Afro and Melodic House.

Rema is the stage name of Divine Ikubor, a Nigerian singer born in Benin City in 2000 who broke through in 2019 with 'Dumebi' and signed to D'Prince's label, Jonzing World, before he turned nineteen.

Rival Consoles makes synthesisers sound human and atmospheric, often drafting early ideas on acoustic instruments like guitar or piano before channeling them through his synth rig.

Rodney Williams digs for rare records and recording artists, sharing music with conviction about the role of the DJ.

House and techno built from field recordings, Peruvian cumbia samples, and the specific grief of leaving home: that's the material Sofia Kourtesis works with.

TADDEO performs as Sound Voyager, a music curator who calls themself a jazz head.

Vanessa Valdes, who records as Take Van, crafts a sound where emotion and energy move in constant conversation.

Theo Parrish builds from a core philosophy: love of music as the driving force, where sampling becomes tribute and DJing becomes spiritual participation.

Percussion, for Valentina Magaletti, is never just timekeeping.

Vivian Girls formed in 2007 at The Orphanage, a punk house in Greenpoint, Brooklyn.

Founded in 2011 in the immediate aftermath of Fukushima, Ende Tymes has always worn its sense of emergency on its sleeve.

Good Room opened in 2014 in a former Polish queer club on Meserole Avenue (wooden floors, steel ceilings, a disco ball hanging over the dance floor) and has been making the case ever since that a neighborhood bar and a proper club don't have to be separate things.

Sixteen warehouses, 35 acres, a waterfront that once moved 70 percent of America's World War I ammunition.

Bang on a Can's Long Play Festival started as a name with a pun baked in.

At 295 Grand Street, Nightmoves occupies a slim back corridor behind Four Horsemen, opening into a light-up dance floor built for 75 people and not a body more.

Nowadays started as a seasonal outdoor bar on an ex-industrial lot just inside Ridgewood, Queens: rough dirt backyard, a few picnic tables, a food truck, and a sound system that was already better than it needed to be.

Pioneer Works occupies a red brick building on Pioneer Street in Red Hook that was, in 1866, a factory floor for railroad tracks and sugar-refinery machinery.

Sound is the organizing principle at Public Records: not as backdrop, but as the whole point.

Roulette started as a Tribeca loft in 1978 (an "homage to Dada and to chance operations in music") and never really left that headspace.