Zeynep Toraman performs excerpts from her upcoming solo album Afterimages, an eclectic take on electroacoustic music in song form. The set brings together voice, synthesizers, electric guitar, strings and field recordings, creating textured and immersive soundscapes of resonance and memory, exploring the afterimage as a perceptual residue.

Max Eilbacher (born 1991) works with sound. That work materializes in various forms: compositions, musical performances, conceptual systems, perceptual choreography, installations, and theoretical sculpture. He presents these different works as a solo artist, as a member of the musical group Horse Lords, and in various collaborations with artists like Phillip Sollmann, Konrad Sprenger, Ka Baird, Jules Reidy, Lucy Railton, Arnold Dreyblatt, Nina Guo, and Henry Birdsey. No matter how the final work may be categorized, the art typically utilizes speakers and sound waves. A frequent concern throughout the works is an inquiry into the inextricable and complex relationship between sound and experience. At each sound incident, a phenomenological abyss must be transversed. He is aware the listener is the agent taking such a leap. Composition (or whatever may be emanating from a speaker) is the practical enactment of such a leap.