Making their debut Berlin performance and a rare European appearance, few bands push black metal as far outside its own architecture as Krallice. Formed in New York by Colin Marston and Mick Barr in the late ‘00s with Lev Weinstein joining on drums and Nicholas McMaster adding bass and vocals, they steadily dismantled their early foundations in favor of forms more fluid and abstract. After years they’ve freed themselves from metal orthodoxy towards increasingly alien territory: folding relentless tremolo riffing into labyrinthine rhythmic structures, their dissonant harmonies and longform compositions feel suspended outside normal pacing altogether.
Across an enormous and relentlessly prolific discography, the band has incorporated elements of progressive metal, minimalism, avant-garde composition, ambient music and spectral drone without sacrificing intensity. Their latest album, 2024’s Inorganic Rites , continues that trajectory with some of the band’s most immersive and otherworldly material to date: dissonance, cyclical structures and hallucinatory atmosphere reign triumphant here. Their 2025 demo No Hope is an enrapturing melding of chaos and ambience, a glimpse of uncanny blackness to come.
German-Syrian sound artist, composer and mastering engineer Rashad Becker is a key figure in Berlin’s experimental world. Built almost entirely electronically from modular synthesis, his dense microtonal environments—described as "a tear in the fabric of reality"—shape artificial voices and unstable interactions that breathe with uncanny organic life. Narratives mapping uncharted fictional realms recur heavily in his work, ephemeral realms where no single aesthetic reign dictates form; rather, an infinite tapestry of sonic diversity flourishes in boundless variation.
