Nic Krog is a musician and sound artist whose signature is a volatile blend of bass-heavy club music intertwined with subversive sound art and diaristic spoken word. Their work deals with themes of isolation, identity, and transformation. Krog’s early releases as Misantrop on Opal Tapes and their own Foul-Up label traced the effects of life in the hedonistic capital of Berlin on the self-proclaimed introvert from small-town Denmark. With the release of the audio play “Perfect Pattern” (Psychic Liberation, 2025), the artist shed their former alias and focused in on a raw and self-aware kind of sonic self-portraiture, taking cues from 20th century experimental music, 90s queer house tracks, and the storytelling style of soap operas and Jean-Luc Godard’s “Le Mépris”, resulting in something all their own. The artist’s debut album “Reproaching the Absurd” has also recently been reissued by Opal Tapes and Foul-Up under their own name. Krog’s latest EP, “Better Failing”, takes the listener on a journey out of frustration and disillusionment into a newfound joy over the wreckage of old patterns. The artist has performed across Europe alongside acts like The Body & Dis Fig, Richie Culver, and Wolf Eyes in venues including KW Institute for Contemporary Art, Säule at Berghain, and Intonal Festival. Krog’s work has earned recognition from publications like The Wire, The Quietus, and Crack Magazine, as well as from artists including Puce Mary, Helm, Loraine James and Laurel Halo. Krog was selected for the 2024/2025 artist roster for SHAPE+, a platform for innovative music and art in the EU, and hosts a regular show on Noods Radio. They hold a masters degree in Sound Studies and Sonic Arts and live in Berlin, Germany. Caterina De Nicola is an artist working across sound, objects, writing, and image‑making. Her work uses found materials, visual motifs, and cultural symbols to examine how forms circulate and lose meaning within contemporary systems. In her practice, a post-postmodernist skepticism becomes a recurring mechanism through which generic images-symbols allow us to feel part of a common and undifferentiated social environment. Her approach to noise moves beyond genre: embracing no‑fi aesthetics, visceral rhythms, and a DIY sensibility that foregrounds palpable sonic experience over polish. De Nicola’s work has been shown in institutional and museum contexts including Fondazione Sandretto Re Rebaudengo (IT), Istituto Svizzero (IT), and MAXXI (IT). She has also performed live in experimental music contexts such as Bad Bonn Dudingen (CH), LUFF Festival (CH), and CTM/Berghain (DE). Her work has been recognised with awards including the Premio Michetti 2025 and the Fondazione Paul Thorel Prize. PLATA PSICICA