"Transitions," quite literally. The third in a series of pseudonyms, amidst cryptic and distant gestures – an album on Hyperdub in 2021 ("Im Hole," awarded "Best New Music" by Pitchfork), a prior mix, and now an EP ("Lip Flip"), both exclusively in digital format, managing the label YCO with BFTT, a collaboration with Space Afrika. Above all, a series of DJ sets that weave together these and other pieces into one of the most enigmatic mosaics ever intercepted.

No name, just Bassolino, and that’s enough: what matters is the flow of music and lyrics, both on record and on stage. The live dimension is the ideal parameter to convey the encounter between a plurality of souls, voices, rhythms, and harmonies that, in its essence, can only be Neapolitan: with disco-funk, melodic tradition, and futuristic impulses, Naples is the only place in the world where this synthesis occurs. Thus, talking about "Southern sound" acquires a specific meaning and purpose, to be proudly claimed.

The voice is the link that connects the homeland (in this case Gallura) to the rest of the world, through an unknown language of which Daniela Pes is the sole custodian, whose power would have made Babel a place of order and peace. "Spira" is the name of the glottological marvel that never ceases to enchant; it also contains a piece of Bologna (where it was recorded), and for the final date of the tour, its creator brings an exclusive performance with unreleased tracks and a light show that will be seen only here.

A rare opportunity to witness a giant of experimental electronic music in action. Drew McDowall has gradually reduced his public appearances, leaving those who have been able to attend with memories of a career spanning nearly five decades – from his involvement in Psychic TV and Coil, to numerous collaborations and remixes. He breaks his isolation to present his latest work "A Thread, Silvered and Trembling," alongside other excursions, at the Oratory of San Filippo Neri: what better celebration could there be?

Of Nigerian mother and Italian father, being a "citizen of the world" holds a literal meaning for Evissimax: with a highly personal blend that incorporates Afro, Techno, Electro, Jersey Club, and Trance, she manages to transform every dancefloor into a "home," sharing from the stage the essence of her experiences and artistic vision. A multitude of influences captured in her debut EP "REBOOT-Y," presented at ROBOT in a DJ set where vintage and innovation coexist in harmony.

It is a constant pursuit of ascension that motivates Kali Malone's artistic journey, from Denver to Stockholm to here, to take the discourse to the next level: three keyboards, 5,000 pipes divided into 60 real registers, and no other churches around sound like this. In a performance designed specifically for this location, compositions will be adapted to play at maximum power on Bologna's most important organ, culminating in a magical split for the final crescendo.

Born from a series of collaborations (notably with Marie Davidson, who also appears solo at ROBOT 15), captured, conceived, and crafted by/in the streets of Milan, then reassembled at the headquarters (also in Milan), "DON'T" is the new album by Lamusa II, premiered at ROBOT 15. It explores mental states connected to sounds ranging from the fusion of 1990s rock and electronic music to imagining hypotheses of a future that we still like to believe will be beautiful.

Another historic place in Bologna intersects with the history of ROBOT for the Italian premiere of Lyra Pramuk's new performance, the face and conceptual foundation of edition 15 – the words in the manifesto are her own. A voice that seems to come from another galaxy soars above the digital worlds around us, a non-verbal language that enters the nerve centers of the soul and tells us how it could be; if "Black Mirror" carried a message of hope, it would likely sound like this.

Mabe Fratti's music has been described as "the best thing to happen to cello and avant-garde electronics since Arthur Russell"; with her fourth album in five years, the Guatemalan artist continues her journey of bridging the gap between nature and sound design, heart and improvisation, soul and amplifiers. Her live performances are elusive, intense, and vibrant, driven by a voice that lays the soul bare. The very recent "Sentir Que No Sabes," presented at ROBOT 15, is a premiere for Italy.

A summit meeting between two prominent figures in the Swedish new drone music scene, in an ancient venue of strong evocative power recently returned to the city. Maria W Horn utilizes synthetic sounds and electroacoustic instruments, applying generative and algorithmic processes to control timbre, tuning, and structure. Mats Erlandsson has made sustain his trademark. "Celestial Shores" is the result of this collaboration, presented live for the first time in Italy at ROBOT 15.

Something profoundly unsettling runs through Marie Davidson's entire discography; a quality that manages to be both personal and universal, like the soundtrack to a horror film everyone has seen, uniting the consciousness and experiences of strangers scattered across the globe. Perhaps it's the John Carpenter-esque synths, her presence evoking an actress from another era, or a series of songs that once heard, are unforgettable. For those who have yet to experience it, this is the opportunity.

The first "L'Ebbrezza delle Grandi Profondità" (2023) was an immersion – both figurative and literal – into a liquid and timeless sound, simultaneously carnal and abstract, without barriers or boundaries, much like how Gagarin saw the Earth from space. For the new album "Orafiore," live at ROBOT 15 in a unique performance for Northern Italy, few known reference points so far: starting with the dystopia of Michael Ende's "Momo" and an arsenal of tape machines, the rest must be discovered through direct experience.

From the illegal post-wall parties in Berlin to today, along a path of broken barriers and collaborations with kindred spirits (Apparat, Ellen Allien, Thom Yorke, Siriusmo) that have helped shape history and change the face of global electronic music as absolute protagonists, Gernot Bronsert and Sebastian Szary are still here to redefine trajectories. In Bologna for their last Italian date of 2024, it is the final chance to see them in action before their next transformation.

For the premiere of "Automatic Popular Music," in collaboration with RomaEuropaFestival, Nicola Ratti presents an exclusive site-specific installation. The setup is designed in collaboration with LL Edizioni, the platform producing the album. Over four hours, the audience is invited to enter and stay as they wish, with no stage; the sound will fill the entire Sala Re Enzo. Space and perception become abstract concepts, with dimensions and orientation as malleable mental projections akin to lumps of modeling clay.

It's a match of opposite poles where there are no losers or winners: a side-by-side DJ set between Nziria, creator of a new sound aptly named 'Hard Neomelodic' – the meeting point between North and South, traditional and contemporary, hardcore gabber and neomelodic – and Stefania Vos, one of the main voices of the web radio RBL.MEDIA, a selector and producer bridging breakbeat, ambient, and everything in between. The set stems from a collaborative idea between ROBOT and Dancity Festival.

Richie Hawtin has always ridden the wave of continuous exploration. A legendary musician, producer, label manager, and DJ, he has done for techno with machines what Hendrix did with the guitar; for digital DJing, what Tim Paterson did for the personal computer. A pioneer, personal and innovative like few others in the world. In Bologna for the first time in 16 years, once again to set the pace: as with every one of his sets, there is a world before it and a world after it.

The Berlin collective lands in Bologna propelled by its "ToyTonics Jams" – the recurring event that has drawn in a diverse audience, party after party, putting the brand on the party maps – to see how they make people dance: label boss Kapote alongside the new Italo disco prodigy Sam Ruffillo for a side-by-side DJ set. A borderland of New York/London house vibes with the old-school dance spirit of the new millennium, Italo disco at its heart, and funky in its soul.

Adding to Valentina Magaletti's already extensive résumé, undoubtedly one of the most innovative figures in drumming and composition (solo or with Nicolas Jaar, members of Radiohead and Sonic Youth, the Nist-Nah gamelan orchestra, to name a few), is her new joint venture with the visceral, militant Afro-Portuguese electronic producer Nídia. This project, born out of exchanging beats to break down linguistic barriers, is destined to endure. At ROBOT they are presenting their newly released album.