As a producer, performer, vocalist, and DJ, Felicia Chen aka Dis Fig has long resisted simple categorization. She cut her teeth in New York City's scrappy DIY noise scene before finding her footing in Berlin's experimental electronic underground, where her distinctive artistic sensibility began to crystallize. Known for her intensely physical live performances, Chen dissolves boundaries between audience and performer, using her acrobatic voice and full body to transmit emotional complexity that's deeper than language. Whether through overwhelming walls of sound or barely audible whispers, her work invites shared vulnerability and collective catharsis. She will be touring wiht her new Album What To Make Of These Mortal Hands out on Thill Jockey.
Space Afrika, the Manchester/Berlin-based duo of Joshua Tarelle Reid and Joshua Inyang, make raw, intensely detailed, visceral music with shades of ambient, trip-hop, techno, and modern classical, drawing spacious urban dubscapes from the contours of their city. Quiet Storm, the duo's highly anticipated follow-up to their 2021 LP on Dais Records, expands on its predecessor’s sound and scale in every direction as a sprawling, collaborative vision shaped with profound patience and intention. The leap, both technical and emotional, outlines the duo’s development — two polymath producers, composers, performers, and visual artists who’ve met expectations with mastery, embedding their own coming-of-age story within a moving suite of cathartic abstraction. Songs allude to spirituality and the human condition, the tension between boldness and softness, ambition and the inner demons that persist.
Stubnitz presents: "EXIT Elbbrücken", gefördert durch die Freie und Hansestadt Hamburg, Behörde für Kultur und Medien.
Dis Fig
Chen's work is defined by dense, immersive sonic worlds where crushing heaviness meets startling vulnerability, anchored by a voice whose instinctive connectiveness cuts through even the densest sonic landscapes. Dis Fig has become one of the defining voices reshaping what heavy music can be. On her acclaimed debut album 'PURGE' (PTP), she established a singular artistic language, distilling noise, industrial, electronic music, and melodic songcraft into a sound that moves effortlessly between tenderness and brutality. Since then, she has continued to expand that language through collaborations with The Bug on 'In Blue' (Hyperdub), The Body on 'Orchards of a Futile Heaven' (Thrill Jockey), and with Asian Dope Boys, contributing performance and score to Tianzhuo Chen's immersive, ritualistic durational works. No matter the context, Dis Fig brings an unmistakable sense of cohesion and emotional intention, making even her most extreme sonic explorations feel deeply human.
Seven years after 'PURGE', Chen returns with her long-awaited second solo album, 'What To Make Of These Mortal Hands', released by Thrill Jockey on October 23. An ambitious widening of her sonic and artistic scope, the record expands both the scale and subtlety of her practice, carefully carving intricate detail from its sonic extremes. Spanning 63 minutes, her most emotionally expansive work to date unfolds like a film, exploring humanity's capacity for both beauty and devastation.
Space Afrika
The leap, both technical and emotional, outlines the duo’s development — two polymath producers, composers, performers, and visual artists who’ve met expectations with mastery, embedding their own coming-of-age story within a moving suite of cathartic abstraction. Songs allude to spirituality and the human condition, the tension between boldness and softness, ambition and the inner demons that persist. Contributors include Axelle Fanyo, Alto Aria, Deuén, Klein, RXKNephew, Tony Njoku, Kiala Ogawa, and Kelly Moran.
“We challenged ourselves and our own notions of identity, around class and diaspora, and how that is represented across musical genres. We wanted to show the characteristics of our project through the people we chose to work with,” says Reid. “We've stayed true to ourselves. It's music from the heart. It's music that has a particular rawness to it, but we've articulated that in a more modern classic structure, there’s a much more critical pronunciation of techniques,” says Inyang. “It's a collaborative record because there is always strength and love in collaboration. But with that, we were able to focus more strongly on our personal identity.”
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