Lineup

Established in 2011, Fort Evil Fruit is an Irish-based cassette / digital label that releases an eclectic variety of underground music from Ireland and around the world, including electronic music, improvisation and metal.

Established in 2022 as an outlet for experimental, avant, outer sounds. Releases to date include Bren't Lewiis Ensemble, Smegma, Dressing, Daniel Lowenbruck, Rick Potts, Ted Byrnes, Arv & Miljo, Kapotte Muziek, Adam Bohman, Creep Of Paris, David Lacey, Amanda Ferry, Dinosaurs With Horns, among others. Adjacent activities include Radio Dé-coll/Age on Éist, occasional gig promotion (or lack thereof), and chronic squandering of time and money on strange and broken sounds.

Nyahh Records is a record label based in Co Leitrim. The label's main focus is releasing and promoting Irish and international music and sound from the underground and experimental world, as well as releasing music from the more esoteric side of Traditional Irish music. 

Natalia Beylis' music revolves somewhere between sonic story-teller and multi-instrumental explorer. Based in rural Ireland, her work parallels the lines of her surroundings: creaking trees, farm animals, vocal samples taken from conversations with her neighbours, the northwesterly breeze, creatures rusting in the hedgerows, strange noises from the bog at dusk and rainfall. Lots and lots of rainfall. Her solo compositions and improvisations are a mix of garbled tape collage recordings, manipulated sounds of seemingly mundane objects, eerie mandola mantras and dreamscape piano voyages.

While she regularly records on a variety of traditional instruments, she is just as likely to use non-musical sound sources within her compositions. For example, she recently released an album using just the sounds created by a domestic Singer sewing machine. Natalia regularly collaborates with cellist Eimear Reidy, percussionist Willie Stewart in the duo Hedgling and is a member of the group BB84. She also composes pieces for ensembles. Her latest composition, Around Here, The Birds Plant The Trees uses conkers both as a sonic source and as a visual conducting aid to direct the players.

Joanna Mattrey is a violist and composer working in free improvisation, new music, and classical music. She uses extended techniques, modern compositional approaches, and electronic alterations to challenge the conventions of the viola. Joanna is a 2026/27 Crash Ensemble Resident Creator. Recent premieres include Battle Ready II (New Music Dublin, 2025), Battle Ready (Roulette, 2024), Arrhythmia (2023).

Mattrey has had residencies with Roulette, Watermill, ISSUE Project Room, Banff, 14th Street Y, Wild Project, and MoMa PS1's ALLGOLD. Mattrey has performed with icons Tyshawn Sorey, Henry Threadgill, Miya Masaoka, Marc Ribot, John Zorn, Billy Martin, Elliott Sharp, the International Contemporary Ensemble, Crash Ensemble, and Irish National Opera.

Mattrey has released numerous collaborative recordings and solo projects including Soulcaster (Notice Recordings), Dirge (Dear Life Recs), Veiled (Relative Pitch Records) and her works have been reviewed by Citizen Jazz, The Wire, The Chicago Reader, Bandcamp Daily, Noise Not Music, and more. Notable festivals include Newport Jazz Fest, ArtActs, Huddersfield Contemporary Music, and Monheim Trienniale. ’Joanna Mattrey is becoming a force of nature' (Foxydigitals)

The electro-acoustic sound collages created by S. Glass combine tape music, electronic processing, voice, found sound, and chance operations. Event-specific batches of curated and prepared audio files are mixed live, along with the playing of non-musical objects. Self-shot video is screened during sets, which, like the audio, juxtaposes textures with multiple layers that wobble out of sync, jump cuts, and primitive animation. The overall effect is a perplexing time-based mapping of subconsciousness. 

“A performance by Glass is a shifting composition: voices overlap, objects become instruments, fragments of text surface and vanish. There’s humor, disorientation, and moments of meaningful incoherence.” —Experimental Music Club, Berkeley, California

S. Glass is a founder of Bren’t Lewiis Ensemble (a large non-musical music group begun in the early 1980s), and Glands of External Secretion (a duo with rock musician Barbara Manning since the early ’90s). From the late ’80s until 2004, he was the main driver behind Bananafish. Since 2017, he’s  performed as a solo artist and completed U.S. tours of the West Coast, New England, parts of the South and Midwest, as well and England and Scotland, Australia and New Zealand, Japan, and a handful of places in Canada.

Ultan O’Brien is a fiddle player and composer from County Clare whose work is rooted in the rich traditions of Irish music while reaching boldly into sound art and experimental practice.

Equally at home tearing through jigs and reels in sessions across Ireland or exploring the possibilities of improvisation and contemporary sound, he moves effortlessly between pubs, concert spaces and more unexpected settings.

Drawing on a deep inherited tradition and an inquisitive, forward-looking sensibility, O’Brien brings a fresh, vital voice to Irish music—honouring its history while subtly reshaping it for the present.

Born in Lisbon in 1967, Rafael Toral belongs to a generation of artists – Kevin Drumm, Jim O’Rourke, Christian Fennesz, Peter Rehberg, Mika Vainio, Christoph Heemann, Otomo Yoshihide, Oren Ambarchi, etc. – who emerged onto the global experimental music scene during the 1990s, pioneering a new form of electronic music that often drew in equal parts from rock, jazz, ambient music, and minimalism.

Over the last seven years, Toral’s work has entered a new phase; a hybrid that utilizes the self-built instruments developed in the “Space Program”, as well as employing the long tones, ambience, and near static textures that defined early works like Sound Mind Sound Body and Wave Field, and encounters him returning to the guitar after more than a decade.

The product of three years of experimentation and recording, and arguably amounting to the total distillation of more than thirty years of musical research, Spectral Evolution is quite possibly the most striking and accomplished album we’ve encountered by Rafael Toral to date. It’s an absolute marvel that not only reminds us of the composer’s astounding impact on the sonic landscape over the decades, but also of the rich sense of possibility that lays ahead of us all.

Adam Campbell is an artist and musician working with cybernetically inspired performance systems. His work forefronts improvisation and exploration, in which he steers messily entangled networks of space, audience, sound systems and synthesis. Utilising noise, digital synthesis, analog electronics, feedback, volume and occasional vocal audience interaction his performances embrace the unpredictability and instability of high volume non-linearity.

Originally from Scotland, Campbell is now based in Berlin. Along with Tristan Clutterbuck he founded Fancyyyyy; a record label and synthesiser module manufacturer, and the net label FLMPP with Diego Behncke and Nick Klein. He has presented his work globally at Counterflows (UK), Tectonics (UK), Volksbühne (DE), Silent Green (DE), Ochiai Soup (JP), Artsite Soje (SK), Seendosi (SK), La Clínica (MX), Medialab Matadero (ES) and Cafe Oto (UK). Recent and ongoing collaborators include Beam Splitter (Audrey Chen & Henrik Munkeby Nørstebø), Nat Fowler (Novo Line), Fritz Welch, Claude Speeed, Nic Krog and Aonghus McEvoy.

Aonghus McEvoy is a composer, improviser and guitar player based in Dublin, Ireland. Aonghus' work moves between collaborations with improvisers, compositions for small ensembles and skewed takes on folk idioms. His work with the guitar spans conventional playing and more unruly experimental methods treating the instrument as a site for constant reinvention.

Aonghus has performed alongside musicians such as Rhodri Davies, Annette Krebs, Jon Collin, Ståle Liavik Solberg, Damo Suzuki, Ailbhe Nic Oireachtaigh and David Maranha, Long-term projects include collaborations with Adam Campbell, David Lacey, Sean Maynard Smith and Phil Maguire. He has worked with composers such as Conal Ryan, Jack Callahan, Jorge Boehringer, Eva-Maria Houben and performed on recordings by Éliane Radigue.

Anna Clock is a musician and sound artist whose solo performances instrumentalise cello, field recordings and electronics within live acts of investigation, inviting the audience to listen to themselves and their environment in new ways. Their latest EP UMBRA was released on Fort Evil Fruit to critical acclaim.

Alongside their solo work they score film, theatre, radio and installations and are currently pursuing a funded Collaborative Doctoral Award with Royal Holloway University and the Science Museum.

They have collaborated, performed and recorded with musicians including Tom Rasmussen (UK), Ailbhe Nic Oireachtaigh (IRL), David Lacey (IRL), Méabh Mckenna (IRL), Lori Goldston (USA), Thruoutin (CN), Roger Kim (USA). Recent commissions include sound and musical works for The Science Museum, Wellcome Collection, Royal Court Theatre, Lyric Hammersmith, Soho Theatre (UK), Times Square, Irish Arts Centre (NYC), Mainz Staatstheater, Dresden Staatsschauspiel (GER), Project Arts Centre (IRL) and Cirko (FIN). Their audio works have been played on BBC Radio 4, Radio 3, Resonance FM, Radio na Life and RTE Lyric radio.

Teresa Riemann (* 1988, Dachau) is a Berlin based multi-instrumentalist, performance-artist and poetess. A curious mind that seeks the holes in the ground, windows to another world, often discredited as 'échappatoires' (engl. = escapism).

She had entered the music world with piano lessons at 6 years old, left classical education at age 16 behind and started to explore different instruments on her own: Guitars, Cello and since 2012 the drums. Since then she has developed her very unique style of convulsive percussion.

She accompanies her drumming with the eclectic use of her fragmented voice, frenetically reciting bribes of the living memory of humankind.

Besides her solo projects on drums and on piano (A tender kiss into the void), she plays in the groups TRAS (Asja Skrinik - Electronics & Vocals; Teresa Riemann - drums & vocals), Shake the Train (Damien Jaroszonek - modular synthesizers; Lukas Huerta-Rueckner - trumpet, harmonica, vocals; Teresa Riemann - drums, vocals) and Naked in the Zoo (Ruben Tenenbaum - violin, Teresa Riemann - drums, vocals).

Roslyn Steer is a Cork-based musician known for her work both as a solo artist and in collaboration with groups such as Crevice (with Elaine Howley and Irene Buckley), and the Cork Improvised Music Club.

Her sound touches on folk, pop, ambient, drone, and improvised musics and is usually well soaked in reverb. Live shows weave layers of double bass and vocals into captivating soundscapes, unique to each performance.

Rick Potts (LAFMS, Le Forte Four, Solid Eye, Airway, ExOrg) and Joseph Hammer (Points Of Friction, Dimmer, Swinging Chandeliers, LAFMS, Joe & Joe) met at a Halloween party in 1982. Throughout 1983 they recorded regularly in Rick’s cramped living room on a reel-to-reel four track tape deck. Their self titled cassette was released on The Solid Eye label in 1984. A CD reissue was recently released on Krim Kram.

These days, the duo freely improvises with Exotica style rhythms driving a carousel of synth sounds and cartoony samples. Their music has a woozy magic that combines musical qualities with discombobulated weirdness. Spontaneous synchronicities emerge as plunderphonic samples meets tape loops, tropical rhythms, Buchla synthesizer and other electronics. Dinosaurs with Horns crawled out of a surrealistic swamp  and galumphs through the hazy L.A. smog bombastically wandering since 1984.

Daniel Löwenbrück (b.1974) is a German performance- and sound-artist, publisher, curator and (sometimes) visual artist.

He performed internationally since the late 1990's as part of the Schimpfluch-Gruppe (with Rudolf Eb.er, Dave Phillips, Joke Lanz), as a duo with singer and performance artist Doreen Kutzke, as part of Ohne (with Tom Smith, Dave Phillips, Reto Mäder), with Swedish conceptual artist Leif Elggren, with Brazilian video- and sound-artist Marcellvs L., and solo as Raionbashi and under his own name.

In 1994 he founded the label Tochnit Aleph publishing music, conceptual sound-art and editions by (visual) artists, sound-poets and composers. Between 2008 and 2021 Löwenbrück curated Rumpsti Pumsti (Musik) in Berlin, a store & mailorder specialized in Artist-Records, Sound Poetry, Conceptual Sound Art, Contemporary Classical Music and the Noise Subculture.

Since 2010 Bitchin Bajas (the trio of Cooper Crain, Rob Frye and Dan Quinlivan) have continued to prove themselves as one of finest groups operating on the borders between electronic music, minimal composition and jazz improvisation. Their music combines synthesisers, electronic organ with saxophone and flute in a way that is reminiscent of artists such as Terry Riley, Harmonia or Fripp and Eno but delivered with a contemporary freshness and clever sense of composition that makes the music feel vital and new.

We have been big fans of both their series of releases on the Drag City label alongside their collaboration albums with Natural Information Society. We suggest starting with their album Switched On Ra (Drag City, 2021); an electronic reimagining of the music of Sun Ra or their latest album Inland See (Drag City, 2025).

Beam Splitter — Audrey Chen (US) and Henrik Munkeby Nørstebø (NO) — is a duo for amplified voice, trombone and analog electronics based in Berlin, Germany.

Through numerous performances in a wide range of spaces, contexts and collaborations, they have developed a unique brand of highly amplified dialog, which is as intimate as it is equal amounts raw and entirely exposed.

The duo have toured extensively across five continents since 2015, joining together their two individual voices into a distinct language that delves beyond the borders of the corporeal elements of un-processed voice and trombone, while utilizing analog electronics to offset their hyper extended physical play.