Titanic Ambient 

T. Raumschmiere – aka Marco Haas – needs little introduction: but for those who need to know, he is one of the brains behind the Shitkatapult label and a fantastic live performer who flits between punk, electro, techno, noise, and pop like a card sharp shuffling a pack. This show will NOT be a normal Raumschmiere show but, as the title suggests, one anchored in ambient sounds. Expect the unexpected!

Expect glitchy rhythms, skittering percussion, and sweeping ambient dreamscapes from Rotterdam-based Alberta Balsam. With releases on labels such as Dekmantel and Clone, she channels the space-age spirit of early electronica, the techy, trippy vibes of 1990s IDM, and her lifelong love of science fiction.

Her hardware-focused live sets are dynamic, featuring hard-hitting drums, modular freak-outs, and hyper-human voice mangling. All orbiting around broken beats, alien bass experiments, dreamy ambient, and avant-garde techno. Her performances have graced venues and festivals like Dekmantel, Draaimolen, De School, C12 and Paradiso.

Through her recently founded label, Terra Atomika, she continues her search for the perfect soundtrack to our distorted reality: sad, beautiful, and cathartic.

Colloid is the moniker of Jan Willem Hagenbeek, a Dutch electronic musician and the founder of Ginkosynthese. Colloid is a mixture of insoluble particles throughout another substance. This reflects the live sets by Jan Willem Hagenbeek on his modular synth. His live sets blend dense, unpredictable layers of sound into a cohesive flow.

Jan Willem also stands at the base of Dutch Modular Fest. After organizing Ginkofest in 2016 and 2017 at his atelier The Besturing in The Hague, Jan Willem asked all modular event organizers in the Netherlands to join in a Dutch gathering for modular synth enthusiasts. Ginkosynthese (The Hague) joined forces with Modulation (Utrecht), Noodlebar (Rotterdam), ModuLab (Eindhoven), and Voltage Control Amsterdam, and in 2018 the first Dutch Modular Fest was born. Without him, there would be no Dutch Modular Fest. Our eternal gratitude and respect goes out to him!

When Raaf and Estroe take the stage together, a musical world unfolds that is constantly in motion. Both artists operate at the intersection of electronics, improvisation, and texture — each with their own signature, yet always in dialogue.

Raaf weaves rich melodies and sparkling arpeggios from his modular system. His sound is layered, organic, and infused with a cinematic sensitivity. He builds worlds that are both dreamy and rhythmically charged, with a strong focus on harmonic development.

Estroe, known for her subtle and atmospheric approach to electronic music, brings warmth, depth, and a keen ear for nuance. In her live performances, her love for improvisation shines through: an intuitive play with sound, texture, and timing, always responding to the moment.

Together, they create a set where melody, timbre, and rhythm challenge and amplify one another. Beats are present — layered, glowing, and sometimes danceable — but never dominant. Their music invites both listening and movement, drifting and grounding.

Each performance is a carefully crafted whole, with room for surprise. Spherical, rhythmic, melodic — and always with attention to detail.

Numbers Station is a sound designer with a background in visual and performative arts, who works with a hybrid modular system consisting of Doepfer and Serge modules. The configuration of her system is intentionally as low-level and patch-programmable as possible.

Numbers Station performs atonal pieces using feedback patching and no input mixing techniques. Her work draws on the concept of the ear as an organ that creatures use to locate themselves spatially, and she is therefore interested in using psychoacoustics as a way to conjure up immersive sonic landscapes or interiors, and ultrasonic sound to stage the experiential presence of things larger than the sound piece.

“The machine and I split the work fifty-fifty,” Numbers Station iteratively builds generative patches that she deliberately tilts over the edge to allow her system to make its own mistakes, until its path that brought it there can no longer be retraced.