Celebrating its fifth year, Ametric Festival returns to the captivating San Salvatore Bastion in Chania on September 12th & 13th, 2025. This year, the festival aims to re-explore the mixing of diverse musical and cultural references in a spirit of inclusion, as a fundamental condition of artistic expression.
OCD Project and Coherent States once again join forces, presenting an eerie and intense experience. The bastion’s unique architectural features provide the perfect backdrop for the sound and aesthetic highlighting of contemporary and experimental music, allowing the festival to continue showcasing innovative sound spaces with a focus on the interaction between artists, venue, and audience. Within these Venetian walls, we invite attendees to join us for an unforgettable journey into the depths of sound exploration.
In one of his very rare live performances worldwide, British artist Nigel Ayers comes to Crete to present the unconventional and diverse sound he has developed as Nocturnal Emissions for more than 45 years in an unceasing exploratory journey of electronic music from its formative years to the present, where he continues to record regularly.
Coming from France, one of the most important experimental musicians, sound and visual artists of our time, Félicia Atkinson will present her trademark ambient / spoken word sound alongside the improvisational percussion set by the Australian drummer / electroacoustic composer Will Guthrie, who will perform in Chania after the unexpected cancellation of his Ametric performance last year. The idiosyncratic experimental cut-up dance music of Turbo Teeth will act as a counterweight to the dark conceptual soundscapes of ILIOS, while the intense cello/electronics set of Viki Steiri will interact with the experimental/techno sonic terrains of Devika and the psychoacoustic electronic set of Tristanos.
INFO
Dates: 12 & 13 September 2025
Venue Location: San Salvatore Bastion, Chania
Tickets: HERE
SOCIAL MEDIA
Facebook: @amertriccc
Instagram: @ame_tric
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Nocturnal Emissions is the experimental music project of British artist Nigel Ayers, which began in the late 1970s in Derbyshire, England. Ayers, a former art student, was the core member, with collaborators his brother Daniel Ayers and Caroline K in the project’s early years. Their initial form combined elements of musique concrète, Fluxus, conceptual art, and the raw energy of the then-emerging punk rock music. In 1979, they founded their own record label, Sterile Records, which became a key pillar for their experimental and often provocative music, incorporating industrial sounds, noise, and entirely unconventional approaches. In addition to their own works, Sterile released some very important experimental industrial, noise, and electronic music works, such as those of SPK, Lustmord, Maurizio Bianchi, Annie Anxiety, and early projects by John Balance of Coil. Both the early music of Nocturnal Emissions and the existence of Sterile Records were pivotal factors in shaping experimental industrial music, even if Ayers himself, perhaps provocatively, rejected the term “industrial” as a description of his music. Through their explorations of musique concrète, synth pop, and more, and their creation of sound and video art, Nocturnal Emissions have consistently redefined the boundaries of conventional sound. Their work draws inspiration from a wide range of influences, including the Situationist International, surrealism, magic, and ancient sites, creating a unique otherworldly sound with exploratory moods and reflection, a key part of Nigel Ayers’ psychology. Thematically, their music often explores consciousness, spirituality, and the complex relationship between humanity and technology.
Nocturnal Emissions have collaborated with many artists, such as the Japanese C.C.C.C. and the British :Zoviet*France:, for example, and have engaged in various projects, including composing soundtracks for Butoh dance performances in the early 1990s and working on numerous animated films. They have a vast and diverse discography, with many albums and releases on various labels. Notable moments in their discography include their early, defining industrial albums “Tissue of Lies” (1981), “Fruiting Body” (1981), and “Drowning in a Sea of Bliss” (1983), their more rhythmic moments in “Viral Shedding” (1983) and “Songs of Love and Revolution” (1985), “Chaos” (1984), which has been described as the London Calling of experimental music, and their monumental sonic explorations in “Spiritflesh” (1988), “Invocation of the Beast Gods” (1989), “Stoneface” (1989), and “Cathedral” (1991). As a reference point in experimental and industrial music, Nocturnal Emissions are pioneers, pushing music boundaries and exploring unconventional ideas, while maintaining their relevance and influence in the contemporary music landscape nearly 50 years after their creation.
https://nocturnalemissions.bandcamp.com
For Félicia Atkinson, human voices inhabit an ecology alongside and within many other things that don’t speak, in the conventional sense: landscapes, images, books, memories, ideas. The french electro-acoustic composer and visual artist makes music that animates these other possible voices in conversation with her own, collaging field recording, midi instrumentation, and snippets of essayistic language in both french and english.
Her own voice, always shifting to make space, might whisper from the corner or assume another character’s tone. Atkinson uses composing as a way to process imaginative and creative life, frequently engaging with the work of visual artists, filmmakers, and novelists. Her layered compositions tell stories that alternately stretch and fold time and place, stories in which she is the narrator but not the protagonist.
Atkinson lives on the wild coast of Normandy and has played music since the early 2000s.
She has released many records and a novel on Shelter Press, the label and publisher she co-runs with Bartolomé Sanson. She has collaborated with musicians including Jefre Cantu-Ledesma, Chris Watson, Christina Vantzou, and Stephen O’Malley, and with ensembles including Eklekto (Geneva) and Neon (Oslo). She has performed at venues and festivals including INA GRM/Maison de la Radio and the Philharmonie (Paris), Issue Project Room (NYC), the Barbican Center (London), Le Guess Who (Utrecht), Atonal (Berlin), Henie Onstad (Oslo), Unsound (Krakow), and Skanu Mesz (Riga). Her work has been commissioned by filmmakers (Ben Rivers, Chivas de Vinck) and fashion houses (Prada, Burberry). She has exhibited in museums, galleries, and biennials including RIBOCA Biennale (Riga), Overgaden (Copenhagen), BOZAR (Brussels), Espace Paul Ricard (Paris), and MUCA ROMA (Mexico City).
https://shelter-press.com/felicia-atkinson
Will Guthrie is an Australian experimental drummer living in France. He plays solo using various combinations of drums, percussion, amplifiers, and electronics, and leads the contemporary hybrid gamelan ensemble ENSEMBLE NIST-NAH. He came to prominence in 1997 when he won the Wangaratta National Jazz Awards for drums in Australia, and went on to play with many of Australia’s most renowned jazz musicians, including Mark Simmonds, Julien Wilson, and Ren Walters. From the new millennium onwards, his work moved away from traditional drumming, and he developed an interest in junk electronics, extreme amplification, and electroacoustic techniques, documented in a series of solo and collaborative recordings from that period. Alongside creating works in the realm of electroacoustic music, in the last decade Guthrie has returned to drums with a particularly aggressive playing style, developing a series of solo works characterized by a radical monomelody, from relentless rhythmic exercises to explorations of the low frequencies of gongs and other metallic percussion. Will Guthrie’s work is distinguished by his sophisticated rhythmic approach, unpretentious virtuosity, and undeniable physicality, touching on various aspects of world music, from Javanese Gamelan to South Indian Carnatic music. As a dedicated DIY concert organizer while still a student in Melbourne, Guthrie founded (with Ren Walters) the weekly concert series “Improvised Tuesdays,” now renamed Make It Up Club, which is the longest-running concert series in Australia for improvised and experimental music. Upon moving to France, specifically to Nantes, Guthrie joined the CABLE# collective, serving as a curator and organizer of regular concerts and annual festivals. Will Guthrie has released over 50 albums on labels such as his own Antboy Music, as well as on labels like Black Truffle, Editions Mego, Erstwhile, Clean Feed, Gaffer Records, Hasana Editions, 23five, iDEAL, Kythibong, NAKID, Fragment Factory, and Ipecac. He has performed at numerous venues and festivals worldwide, including Lieu Unique (Nantes), Cafe Oto (London), Berghain (Berlin), Super Deluxe (Tokyo), SPRING Performing Arts Festival (Utrecht), Meta House (Phnom Penh), MONA FONA (Hobart), Suoni Per Il Popolo (Montreal), Lampo (Chicago), Oct Loft Jazz Happening (Shenzhen), and Geometry Of Now (Moscow). He has collaborated with world-renowned artists such as Mark Fell, Oren Ambarchi, Sarah Hennies, James Rushford, Ghassen Chiba, Jean-Luc Guionnet, Erell Latimier, Rudolf Eb.er, Roscoe Mitchell, Chulki Hong, Mark Simmonds, Jérôme Noetinger, Keith Rowe, David Maranha, and many others.
https://www.will-guthrie.com
https://www.facebook.com/willguthriedrum
Active since the early 1990s in sound art and visual art, ILIOS (Dimitris Karyofyllis) is in a constant exploration of the extremes of sonic and visual phenomena. Through the continuous change of his sonic palette, touching and surpassing the limits of the audio spectrum, ILIOS pursues a unique anti-career. Some of his recorded works have been described by the music media as: “The sound of death” or “The most exhausting record imaginable.” He has given over 400 performances, lectures, and workshops in 35 countries across Asia, South and North America, Europe, and Oceania, producing live experiences that rigorously challenge the senses. His discography includes a vast catalog of releases, including “Kenrimono” (based on sounds from Pachinko game arcades), “Vento Elektra” (based on electrical signals and household electricity), “Symphony #1 for oscillators and internal combustion engine vibrations” (based on car vibrations), and many others. After a seven-year absence, ILIOS made a strong comeback in 2024 with two albums, “The tale of the Rüetschi foundry” and “Ploutonion” (collaboration with Massimo Pupillo). He is a member of the band Mohammad (with Nikos Veliotis), with whom he has released 14 albums to date. He has numerous musical commissions for dance, film, and theater. He has served as curator and co-director at the Electrograph “Athens Sound Media” festivals (from 2001 to 2006), SDR Santander Sound Art Festival (from 2008 to 2012), and co-director for [Un]Commonsounds, among others. In 1997, he founded Antifrost, a publishing platform/record label for sound media with more than 80 works published to date by renowned artists from around the world.
https://www.siteilios.gr
https://www.antifrost.gr
Turbo Teeth is the solo project of Giorgos Axiotis, a key figure in Athens’ experimental underground scene and a member of groups like Free Piece of Tape, Balinese Beast, Tom Cruisin’, Holefold Diver and Bruised Lee. TT crafts a frenetic, ever-evolving sonic tapestry where jagged hardware rhythms collide with fractured, distorted loops, creating a volatile yet immersive mix of chaotic and rich textures. His sound is defined by a distinct blend of genre-defying elements, culminating in warped rhythmic structures that constantly verge on collapse.
TT’s discography includes a range of self-released works, such as Yellow Equals One (Untitled-1, 2017), +X+ (2021), Secreto/Live EP (2021), Live @ Threads Radio (2021), and Sharp Horns of a Trilemma (2022). He has also contributed to numerous compilations, both locally and internationally.
https://turboteeth.bandcamp.com
https://soundcloud.com/turbo-teeth
Viki Steiri is a composer, cellist and interdisciplinary artist with an interest in experimental electronic music, free improv and composition for other media. Her first solo LP ‘Βalm’ was released digitally by Alien Jams and on vinyl by Rekem Records in 2024. She is a member of the improvised music/art group Ectopia and has collaborated with visual artists such as Monster Chetwynd, Urara Tsuchiya, musicians including Saint Abdullah, Sofia Jernberg and on releases such as ‘Future Chorus’ with Eleni Ikoniadou and ‘sex robot’ with Sidsel Meineche Hansen. In the past she has co-hosted a radio show on NTS radio with Chloe Frieda and performed with the Eddie Prévost improvisation workshop. She has performed at Le Guess Who? Festival, Cafe OTO, ICA (London), New Museum (New York), KW (Βerlin), among others. She is based between London and Athens.
Devika is a multi-genre DJ and music producer. Her work includes sound design and music selection for theatrical performances. With techno as a focus, her sets draw elements from a wide range of sounds, starting from electro and ending in drone music. She is a member of the Pi Electronics DJ roster and has collaborated with actress Gioula Bountali on several works such as “Those Who Sleep” (2017, National Theatre of Greece), “Smoketopia” (2019, ‘Prosorinos’ Theater) and “Open Light” (2021, ‘Prosorinos’ Theater). Her appearance at the Ametric Festival 2025 is of particular importance due to her personal connection with Chania, where she lived for many years.
https://soundcloud.com/devi-ka-1
Tristanos (Tristan Beutter) is a sound artist originally from Chania and based in Athens, whose research explores the fields of psychoacoustics, indeterminacy, and field recordings, elements of which intersect and are incorporated into sound installations, electroacoustic compositions, and live electronic sets. His practice focuses on the particularity of space and often incorporates improvisation and the use of audio programming languages. His work has been presented in the Netherlands, Greece, and the Czech Republic. He holds a BA degree from the Institute of Sonology (2023) and has conducted workshops on soundscape studies and soundwalks. In 2022, he worked on the “Site Sound” project, an archaeological study based on the senses of the ancient sanctuary of Zeus on Mount Lykaion.
https://tristanbeutter.bandcamp.com
