_JP [Noton]
Japan’s leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision, and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.
In December 2022, codex | edition and Noton (DE) released Ultratronics, their first album in a decade. This year, the L.E.V. Festival will have the pleasure of presenting their latest project at Teatro de la Laboral, thanks to the support of the Madrid Japan Foundation.
His albums +/- (1996), 0°C (1998), matrix (2000), ‘dataplex’ (2005), test pattern (2008), and supercodex (2013) pioneered a new minimal world of electronic music through his razor-sharp techniques and aesthetics. Ikeda has been working on long-term projects through audiovisual performances, and installations, and acoustic music pieces. His books and CDs are released on codex | edition, his online source established in 2018. You can discover more about his work at codex | edition, an online platform launched in 2018.
_FIN/FR [INT / PAN]
In this edition of L.E.V. Festival, we present HOAX, the latest collaboration that emerged through STROBE.RIP by Amnesia Scanner and Freeka Tet. Both return with a new double album project in which they reinvent the rules of music production, songwriting, and sound aesthetics. HOAX is not simply an album accompanied by a remix but a unique experience unfolding in two interconnected records. These works mirror, complement, and, in some cases, even deconstruct each other.
Amnesia Scanner is the Berlin-based Finnish duo Ville Haimala and Martti Kalliala. Founded in 2014, the group’s scope encompasses music writing, production, and performance, as well as its creative staging and circulation. Characterized by a deep fascination with system vulnerabilities, informational overload, and sensory excess, Amnesia Scanner carnivalizes the present. At the core of their work is an interest in how the contemporary experience is mediated, including how listening to music and live performance is evolving as streaming platforms dominate and the feedback channels between artists and fans become more direct.
Freeka Tet is a French-born digital artist based in New York City who focuses on experimental art. His practice merges diverse elements such as objects, prosthetics, animatronics, hacking, coding, electronics, sound, video, and performance. Drawing inspiration from internet culture, memes, trolls, and the irrational nature of human social behavior, he reinterprets the elements he encounters, seamlessly blending vibrant creative expression with precise technical execution.
Currently, he continues to work as a creative consultant and designer while furthering his personal artistic pursuits. His ever-evolving body of work explores innovative visual and sound production approaches with a reflexive, intuitive, and playful ethos.
_USA
In this edition of L.E.V Festival, Ash Fure’s new work ANIMAL is presented for the first time in Spain. Part performance and part sound sculpture, ANIMAL transforms the space into a sensory training circuit designed in collaboration with architect Xavi Aguirre. Through the vibration of speaker cones and polycarbonate sheets, the work proposes an auditory experience that is heard and physically felt, inviting the audience to exercise their affective capacities and explore their bodily connection to sound.
Ash Fure is an experimental composer who blurs the boundaries between music, architecture, and performance to sculpt visceral sound experiences. With a PhD in music composition from Harvard, she is an associate professor of sonic arts at Dartmouth College and co-artistic director of The Industry, an experimental opera company. The fundamental elements of sound friction, vibration, and architectural resonance inspire her work. It has been presented in iconic spaces such as Berghain, IRCAM and festivals such as CTM. With ANIMAL, she claims an embodied listening, a sensory and physical response to the advancement of artificial intelligence in music, exploring the connection between the human body and sound in its purest state.
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Video Credit: Michail Stangl at the CTM Festival.
_UK [LuckyMe]
The festival welcomes back Iglooghost, the alias of UK-based Seamus Malliagh. He will present his third album, Tidal Memory Exo, on the LUCKYME® label. Written in a storm-tossed UK coastal town, the album fuses detailed soundscapes with a fictional narrative about trilobite civilizations and mutant musical genres. His live show transforms this mythology into an immersive audio-visual experience.
Known for his experimental approach, Iglooghost has developed a genre-defying sonic universe intertwined with surreal and magical-realist narratives. On Tidal Memory Exo, inspired by his time spent in a flooded garage on the Kent coast, he creates a dystopian radio station atmosphere, combining his trademark electronic chaos with post-punk influences. The album’s music evokes prehistoric debris, rumors of undersea civilizations, and an underground music scene featuring genres such as Foamtek and Germ_Musik.
To expand the album’s universe, Malliagh launched exported. XYZ, an interactive site with fictional boards and a marketplace of imaginary artifacts. His live show, created with artist Yaz XL, blends theatrical and scenographic elements, including live metal detection and circular projections with cryptid-inspired imagery, offering an immersive experience beyond the musical.
_UA _DE/PE [Subtext]
Katarina Gryvul is a classically trained composer, violinist, and music producer. She blends the concept of holophony with avant-garde techniques to develop distinct soundscapes through instruments, voice, and analog synths. Alex Guevara is a digital artist who specializes in data visualization. He focuses on the audiovisual domain, integrating sonic and light elements to create immersive landscapes in his artworks.
At L.E.V. Festival 2025, Katarina Gryvul and Alex Guevara present the Spanish premiere of SPOMYN, a multidisciplinary performance based on Gryvul‘s upcoming homonym album. A deeply personal exploration of the fragmented, fragile nature of memory, Spomyn examines how flickers of distortion and loss shape the essence of who we are. Gryvul’s thwarted and sonically corrupted choral pop compositions, combined with vicious bass, characterize Spomyn’s uncanny and chimeric sound. Deconstructed sonic elements intertwine with fragile ambiance and irregular rhythm patterns, enveloped in a dynamic and immersive light show that pulses and shifts in harmony with the music, creating a deep sensory experience. Much like the blurred edges of memory itself, Spomyn resists resolution, inviting listeners to embark on a journey into worlds that linger in shadow and evoke the beauty of the unknowable.
_US [RVNG Intl]
Colin Self composes music, performances, and environments that expand consciousness, trouble binaries, and boundaries of perception and communication. They work with communities across disciplines and use immaterial and material means —including voices, bodies, and computers— to interface with and reimagine worlds.
Let’s remember that, at L.E.V Festival 2019, Colin Self left the audience spellbound with his performance on the stage of the Muséu del Pueblu d’Asturies, creating a truly magical moment. He returns to the Teatro de La Laboral to present Gasp!, the second opera in his Self’s Shadow series. This work explores transdimensional dialogue, spiritual guidance, and queer ancestry while highlighting Self’s brilliant artistic practice, which combines song, movement, and spectacle in a captivating experience.
Colin Self currently lives between Berlin and New York.
_DE/IT [Sync]
Amelie Duchow, a German audiovisual artist, investigates the experimental relationship between sound, space, and visual perception. Her conceptual approach unfolds as an interplay of subtle, multilayered microsounds and intensive electronic structures transmuting into immersive visual articulations that challenge perceptual boundaries.
In this edition of L.E.V. Festival, she presents his project LOGOS MATER, where she investigates essential questions:
How does a language sound beyond the meaning of its words?
How much does the sound of a language influence us?
How does the sound of a language resonate with us?
The sound composition of LOGOS MATER is inspired by phonetic and acoustic elements that explore the essence of the world’s languages. To this end, Amelie Duchow invites people worldwide to participate in the project through a web platform where they can record their voices. The artist analyzes and transforms these vocal contributions, giving rise to a creative process of sound alteration.
Each sound in the composition derives directly from these contributions, giving the project a unique and constantly evolving identity. Thus, each live performance of LOGOS MATER incorporates the latest recordings received, establishing a global connection through the language of sound.
LOGOS MATER‘s composition transcends words and seeks to connect people through a universal language: sound. It attempts to communicate beyond cultural and geographical boundaries, establishing a unique and ephemeral dialogue that unites us, if only for an instant. The project has been recognized as one of the winners of the open call for raster media for soundtrack Europe 2025.
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She is a member of Female Pressure, a transnational database and network of women working in electronic music and visual arts.
Her debut album, TONSTICH, was released on Sync, an audiovisual platform and label she co-runs with media artist Marco Monfardini. Together, they created the SCHNITT project, which operates in the transitional space between electronic music, digital art, and technology. Their audiovisual performances and installations have been showcased worldwide in museums and festivals such as L.E.V Festival (Spain), Mutek Montreal (Canada), Elektra Festival (Canada), e-Phil (Germany), Biennale Némo (France), Act Festival (South Korea), and Sonica Festival (United Kingdom).
Amelie Duchow, along with Gianluca Sibaldi and Marco Monfardini, forms EXTRAsync, an interdisciplinary platform dedicated to audiovisual research and the development of multimedia projects, software, and audio/video devices.
CREDITS
concept + music: Amelie Duchow
concept + video: Marco Monfardini
computer system and programming : EXTRAcode / Gianluca Sibaldi
_UK/IT
PINCH & LOREM will present A RED RABBIT at L.E.V. Festival, an immersive audiovisual journey presented live. Tension builds as characters traverse time, space, and dreamscapes in pursuit of a red rabbit or the secrets it may hold. Beats, textures, sci-fi bass technologies, rapid psychedelics, unanswered questions, awe, and wonder are all at play here.
The project was commissioned and premiered at the Lunchmeat Festival and will have its Spanish premiere at the L.E.V. Festival.
Lorem is a project that explores consciousness and emotions through immersive audiovisual experiences. Directed by Francesco D’Abbraccio, also co-director of Krisis Publishing, a publishing platform focused on the impact of media culture. He has collaborated with artists such as Danny Elfman and Blixa Bargeld, and his work has been exhibited in venues such as Ars Electronica, the Biennale di Venezia, and the NXT Museum in Amsterdam.
Rob Ellis, known as Pinch, is a dubstep pioneer and a key figure in UK bass music. In 2004, he founded Subloaded in Bristol, the first dedicated dubstep and grime night outside of London, leaving a lasting mark on the scene. His sound fuses the depth of dub with the energy of techno, which has led him to perform in over 40 countries and collaborate with labels such as Tectonic, Planet Mu, Deep Medi, and Ninja Tune. He has worked with artists such as Mumdance, Shackleton, and Adrian Sherwood, with whom he released the albums Late Night Endless and Man Vs Sofa. In 2020, he released his first solo album in 13 years, reaffirming his influence in electronic music with an innovative and avant-garde approach.
_UK [Boxset Recordings]
BABii is the alter-ego of master creator, world builder, and electronic adventurer Daisy Warne. In the past few years, BABii has radically changed the way she writes captivating, boundary-pushing songs. Daredevil 2000 is a continuation of the writing style she began with2022 collaborative mixtape Screamer, which saw the producer and vocalist writing from the perspective of her younger sister and their struggle with BPD. On Daredevil 2000, she pushes that conceptual approach even further, offering an abstract look at the idea of evil and projecting it into her imagined idea of hell.
Through this creative exercise, BABii asks challenging questions about what pushes people to transgress while also exploring her relationships with those society deems unwanted or unacceptable. Across the album, BABii enters something akin to Dante’s Inferno, exploring the origins of violence and criminality and how hell relates to the real world. Each song corresponds to a separate sin and comes with a villainous criminal attached. These include hooligans, gargoyles, goblins, and a Trash Spirit Clown named Tito Von Bricabrac. All exist in the fantastical world, a futuristic hellscape in which the album exists.
She gathered producers Warpstr, SamuelOrgan, Mun Sing, Iglooghost, and Pholo at Prah Studios in Margate, Kent, to finish the album. Reference points in the recording process for Daredevil 2000’s punchy and abrasive sound included Kanye West’s dark masterpiece Yeezus, as well as Jam City andMumdance. The album touches on classic grime instrumentals, fluorescent basslines, UKG, R&B, and Detroit cybercrime scam rap for influence while sounding utterly unique.
Very little is known about Dylan Henner, who emerged in the experimental ambient scene with his debut album, The Invention of the Human (2020), quickly making it onto BBC 6Music’s album of the year list. He avoids social media and communicates mainly through soundscapes and poetic titles. His music mixes synthesized vocals, marimba, field recordings, and synthesizers, creating symphonies between the serene and the desolate. The Invention of the Human addresses philosophical questions about humanity and technology. In 2022, he released You Always Will Be, an acclaimed album reflecting on life’s passage. He has covered artists such as Ryuichi Sakamoto and Terry Riley and has worked with labels such as Phantom Limb and Dauw. His first soundtrack was released in 2024, and we will enjoy his work at the L.E.V. Festival 2025.
The concert can be enjoyed through wireless headphones that will be provided at the entrance, allowing you to fully immerse yourself in the music and the environment.
