Two years in the making. The Crossroads of Evolutions… WE DID IT! As we slowly recover from a week of all-out intensity, time flourishes fond memories of a wonderfully unique period of collaboration, music making, and hang outs. It was nothing short of an honour to share this time and space together with Sivan Cohen-Elias, Jo Christman, Sarah Hughes, Magdalena Meitzner and Ulrik Nilsson (Hidden Mother), Maria Sappho, and Ute Wassermann — all of whom contributed something incredibly unique and special to our humble festival. We would also like to thank: Monty Adkins for sharing Aerial (2002). Alexandra Solovkina-Nilsson for creating Öländsk Svit (2018). Dave Kerr for joining us, heading up videography, providing (great) wine, and being all-round fantastic conversationist. Cafe OTO for always be willing to host us and for working tirelessly to support the experimental music scene in the UK. Our financial supporters: The Ernst von Siemens Music Foundation, The Hinrichsen Foundation, and Konstnärsnämnden (the Swedish Arts Grants Committee). Finally, thanks to everyone in the audience who came out to engage with and support our work. Photos by: Dave Kerr and Daniel Brew. Curation: Linda Jankowska. Fundraising and festival production: Daniel Brew. @scohenelias @voicextensions @k33sia @j.o_christman @hidden___mother @thehinrichsenfoundation @evs_musikstiftung @cafeotodalston @swedish_arts_grants_committee @dan_brew @ljankowska @alice.purton

July 5th. 3rd (and final!) set: Linda Jankowska & Jo Christman, recallfiction (2025). Using analogue and digital technology (guitar pedals, mixers, computer software), resonant surfaces (cymbal, snare drum, speaker cone) and tactile transducers, the piece focuses on listening as a form of meta and environmental sonic consciousness formation. Taking memory and sonic memories as its foundational building blocks, recallfiction looks at their almost instantaneous modulation and alteration as a result of individual perception, awareness and presence, in order to create a rich, process-oriented and durational set. Linda and Jo hope to create a sonic environment where source materials are put into question. Are they sources or is it a continuous becoming? @j.o_christman @ljankowska

July 5th. 2nd set: Presentation by artistic researcher, AI artist, and improviser, Dr Maria Sappho. Maria Sappho shares her current work and politics from inside the AI underground, reflecting on collaborations with machines, alternative intelligences, and speculative ecologiical aessmblages. This includes live performance on her newest instrument, Parsec—a gesture-based interface for listening otherwise. @k33sia @cafeotodalston @dan_brew @ljankowska @alice.purton

July 5th. 2nd set: Distractfold and Sivan Cohen-Elias perform Zenthraxidine (2025) for electric guitar, cello, and electronics. Zenthraxidine examines the energy in a restrained scream, translated sonically into complex and irregular rattling, its digital reflections and extensions multiplied and transformed into a hidden voice. Along the process, interruptions appear. Ticket link in bio! 🎫 @scohenelias @alice.purton @dan_brew @ljankowska

July 5th. 1st set: Ute Wassermann and Distractfold perform plankton:ensemble (2025). A new work developed in co-creation with voice artist and composer, Ute Wassermann, plankton:ensemble explores how water acts as an acoustic filter for field recordings and vocal/instrumental sounds aimed at engaging audiences with the elusive sonorities of water and exploring the sonic life of marine biomes. @voicextensions @cafeotodalston @dan_brew @alice.purton @ljankowska