BIO

Born in Miami to Cuban immigrants, Alpha 606 is a multitalented multi instrumentalist. His innovation is in blending the varied history of Electro, 20th Century Avant Garde and his native Cuban influences, ranging from the ritual music of Santeria to the Afro Cuban highs of 1930’s Havana. With this stew of influences, he creates a dense and colorful sound, melding advanced electronics with intricately played live hand drums. His style is the definition of a new sound, known as Electrónica Afro-Cubano.

Itaru Yasuda & AAAA pres. Anesthesia

BIO

Anaesthesia is an audiovisual project dedicated to create a state of temporary induced loss of sensation through the unification of electronic sounds and computer generated imagery. 
While AAAA focuses on conducting serene harmony of acid sequences triggered by analogue modular synthesiser, Itaru Yasuda constructs radically primitive patterns and lines affiliated with original audio analysis software. The addictive audiovisual structure gradually evolves into a photorealistic panorama, eventually reaching pure mental scenery.
Gabo Barranco also known as AAAA is a Mexican electronic musician based in Mexico City. 
Throughout years of experience teaching music theory and audio engineering in the academic field, Barranco has developed exceptionally diverse production skills and dynamic performance styles. His raw sounds driven by analogue modular machines varies from melancholic ambient to undeniably intense acid assaults. As MUTEK.MX Edition 15 will mark his 5th time appearance in the festival, Barranco is extending his domain of expression by premiering the ambitious audiovisual live performance.
Itaru Yasuda is a Japanese visual artist based in Berlin. In 2008, Yasuda started his audiovisual experiments with computer programming at Institute of Advanced Media Arts and Sciences (IAMAS) in Japan. After moving to Berlin in 2011, Yasuda has been performing live visuals worldwide as the visual artist of recent Richie Hawtin and Plastikman Live show projects. 

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Itaru Yasuda

Website 

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AAAA

BIO

AAAA is the artistic moniker of Mexico City’s suburbia-raised producer Gabo Barranco. During his relatively short career under this name, Barranco has oscillated between acid and techno soundscapes and intense narratives – achieving post-techno textures via his modular and hardware-driven live sets to create ethereal spaces. Two notable appearances on Boiler Room, one including a special collaboration with Acid maestro Tin Man, two spots on MUTEK MX’s bill, and an extensive curriculum on international labels like Holland New York Haunted and Jack Dept. from New York show a deep fascination with re-invented techno and experimentation with noisy circuitry that blend in a shimmering fashion on the dance floor.


BIO

Many of the most representative selectors within Mexico seem to be concealed – revealing themselves in intimate presentations within a silence. Yet, its this same silence that makes Josep’s selections so special. His selections have opened doors that have received great acclaim in some of the most important Berlin clubs, additionally to platforms like Boiler Room. Josep transmits dark and energetic narratives; shaping nights into musical encounters that are out of the ordinary – track by track.

BIO

Tijuana based Gerardo Cedillo is also known as Soul of Hex through a vast musical testament immersed in his signature nuanced and grainy style that oscillate around the Detroit or New York old school dance pastures. With peak-time floor boosters on eminent emissaries like Freerange Records, CVMR, Dirt Crew, Defected, Quintessentials, and his very-own channel Vicario LTD, Cedillo has molded a sophisticated jazz-infused and analog-driven passion to exploit his creative hoodoo. Notable supporters and remixers under his sleeve include Chicago’s legend Larry Heard and jazz prodigy Henry Wu to name a few.

BIO

RA: Decibel 2008 in review

“Not so for the banging set of Cubenx, who turned in one of the best performances of the festival. The Mexican producer was also playing new material, but his self-assured snare splatter-laden melodic techno seemed at times like it had been beamed in directly from Nathan Fake’s hard drive. One to watch out for.

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