Selected by a prestigious international jury, five of the ten winners of raster.call soundtrack europe 20-25—Ireen Amnes & Merlin Ettore, Amit Dagim, Maarja Nuut, Léa Paintandre, and Camilla Pisani—cross the threshold of the Romaeuropa Festival for the first time, bringing with them the sounds of the most advanced and experimental electronics.
Their works, presented by sound research expert Caterina Tomeo, reach beyond the borders of uncharted sonic territory: collages and compositions where everyday noises or recorded fragments of words and dialogues become driving narrative elements; pieces born from improvisation and collective experience as engines of freedom, purification, and renewal; creations that pave the way for new electronic music through the deconstruction and re-appropriation of repetitive, default patterns.
This is avant-garde music that mirrors the present—what German philosophy aptly calls Zeitgeist—breaking with tradition courageously and transporting the audience to a strikingly new musical world.
Camilla Pisani is an audiovisual artist based in Rome. Fascinated by Wagner’s concept of the “Total Work of Art,” later embraced by Kandinsky, and by the cognitive power of “synesthesia,” she explores the interaction of multiple expressive forms—graphic sign, sound, and space—shaping them through technology and new digital media. Her aim is to create multisensory, multimodal experiences that engage the corporeal, emotional, cognitive, and social dimensions simultaneously.
Her music is a hybrid, moving across various influences: dark ambient, soundscape, industrial, soft noise, and minimal electronic. She uses field recordings to compose suspended atmospheres, hypnotic and surreal textures, structured by concrete rhythms.
Amit Dagim is a composer, sound artist, and mastering engineer. His process combines modular synthesis, feedback systems, and digital tools to create unusual rhythms, quasi-acoustic creature voices, virtual instruments, and unsettling environments. Dagim’s practice incorporates experiments with timbre and signal processing, chaotic behaviors, and pseudo-acoustic qualities in synthetic sound. His album Super Satin Italian Network (Sadan Records, 2022) integrates odd-metered jingle beats, acoustically inspired digital instruments, and expressive melody and harmony. His latest album, Growth of the Soil, further explores the possibilities of pseudo-acoustic synthesis in electronic music. Dagim has performed at various venues and events across Germany, the Netherlands, and Sweden. He has released music on Raash Records, Sadan Records, tokinogake, and EVEL Records. In 2022, he founded saga.domaine, a label dedicated to experimental electronic music.
Ireen Amnes, founder of the collective and label Under My Feet., brings her background in industrial, noise, and experimental music to the forefront. Transitioning from singer and instrumentalist in metal bands to a key figure in Berlin’s electronic scene, she has developed a distinctive sound that merges deconstructed rhythms, melancholic atmospheres, and distorted aesthetics. Her performances—ranging from hardware-based live sets to DJ sets at iconic venues such as Funkhaus and Tresor—are known for their unpredictability and intensity. Releases on labels like Tresor and Sonic Groove Experiments, including her LP In The Land Of Silence, have cemented her reputation as an artist pushing the boundaries of contemporary electronic music.
Merlin Ettore, a virtuoso drummer and prolific producer, is acclaimed for his rhythmic complexity and innovative approach to merging acoustic and electronic music. His multidisciplinary talent, which also includes visual arts, allows him to craft intricate, psychedelic compositions. Ettore’s holistic approach to music-making—encompassing performance, collaboration, and production—has earned him international recognition. Featured in FACT Magazine, he has performed at major festivals such as Atonal, Unsound, and Rewire, collaborating with artists including Don Preston (Frank Zappa), Pussy Riot, Kangding Ray, Barry Burns (Mogwai), and Huun Huur Tu. Under his alias SORCERY, Ettore has released music on labels such as Bedouin Records, ARA, and 47, and performed live at iconic venues including Berghain, Radion, and Tresor.
Maarja Nuut is a singer, violinist, electronic artist, and composer whose work spans a wide spectrum of rich and diverse musical worlds. Classically trained and a graduate of several prestigious music schools and institutions, she later explored numerous genres: from Hindustani classical music during her studies in New Delhi, to Estonian archival sounds and dances, to ethnomusicological research, and more recently, to the outer edges of looping and electronic sounds. Driven by instinct and curiosity, this exploration arises from an inner need and a desire to investigate the musical language, techniques, and expressive qualities of each world—elements she weaves into her hypnotic, captivating art.
Creative and restless, Nuut has always been interested in storytelling and what the past can teach us about the future; for her, myths serve as points of connection with the modern world and its social upheavals. Since the release of her debut album Soolo in 2013, she has received widespread critical acclaim and numerous awards, touring the world multiple times as a solo artist. Known for her immersive, often hypnotic live performances, she has collaborated with many artists including Sun Araw, the Estonian Chamber Choir Sireen, Kristjan Järvi, Kiya Tabassian, and Hendrik Kaljujärv (aka Ruum). Her third solo album, Hinged (August 2021), was met with critical acclaim and hailed by Future Music as the work of one of Europe’s most innovative musicians, always in search of new depths.
Léa Paintandre is a sound artist and composer who earned her Master’s degree at ENSPAC in June 2023. Her work explores the physicality of sound, highlighting its abstract nature and formal properties. This material is spatialized in site-specific installations, questioning the transformation of sound and modes of listening in various environments. Through this approach, she redefines the relationship between space and the listener. Her studies at the Beaux-Arts were marked by a deep reflection on the corporeal and collective dimensions of listening.
In parallel, she is training in electroacoustic composition at the CRR in Paris under the guidance of Paul Ramage and Jonathan Prager. There she discovered acousmatic music and the performance of the acusmonium, deepening her practice of recording and exploring sound ecology. For her, listening is a way of relating to the world. Paintandre composes for live performance and cinema, bringing her expertise in sound spatialization, electroacoustic textures, and immersive soundscapes to create evocative, sensory experiences. From music to sound ecology, through the use of technologies, she pursues a transversal path of sound. Sound, as a medium at the intersection of multiple disciplines, becomes a meeting place. For her, hearing enriches our relationship with the world and facilitates communication. Sound is an immediate address to the world—there are no eyelids for the ears. She is convinced of its transformative power, as it directly engages the senses, emotions, and discursive rationality.
