Billets

À propos

From 23.1 to 1.2. CTM Festival’s 2026 edition brings together a multitude of voices echoing our cacophonous and interwoven realities for three nights at Berghain and many more events at further Berlin venues. Opening the main Berghain floor, ABOPF moves through bass intensity, ambient drift, and fractured IDM, shifting freely across styles. Driving harsh guitars, circuit pulses, and raw vocals against internal / external tyranny, Pain Magazine (Birds in Row х Maelstrom х Louisahhh) perform in support of their album Violent God. Finlay Shakespeare uses modular electronics, brute rhythms, and urgent vocals, with pop structure pulsing behind the noise. King Yosef shapes industrialised hardcore with heavy pressure, sharp textures, dark contrasts, and distortion. Supporting their new EP Yours, With Malice, Youth Code deliver EBM where hardcore, metal, and industrial collide. Mamba Negra affiliate White Prata blends hardcore, gabber, acid dub, and hard baile into high-energy forms where techno breaks down and breakcore shatters. A crackling b2b with Marylou and Fukinsei will move through dub, footwork, jungle, and hard rave. In Panorama Bar, Guedra Guedra mixes African field recordings, percussion, ancient instruments, and electronic pulses featured in his recent album Mutant. Appearing with longtime collaborator UTILITY, Vv Pete raps with shifting energies over Brodinski’s gqom, drill, and baile funk productions, moving between celebration and harder tones. Valesuchi shapes techno with experimental electronics and percussive traditions from Latin America, presenting her new album and live set. Chicago’s DJ Chad grew up in the echo of footwork’s birth and the global ripples of his father DJ Rashad. Layering juke-influenced rhythms and glitch-driven bass into his pulsing sets, his work rattles with underground urgency, samples pitched and drums off-kilter, footwork moves reframed through his own simmering perspective. JADA has quickly made waves in club and ballroom circles, her sets traversing house and breakbeat to bass-heavy club music weaving in R&B, rap, baile funk and soulful jazzy touches. Carved by club knowledge and community awareness, she programs rooms and reads crowds with a deft eye and ear. In Säule, the artists speak in many tongues—of bass, breath, drum, texture, glitch, and time-honored signal. Their poly(algo)rhythms function as vibrational languages, carrying the atmospheres of many skies, mountains, and waters, into Berlin’s subterranean chamber. Aunty Rayzor cuts through Nigeria’s alt-scene with a fierce, punk-tinged take on rap and electronic music. The Lagos-bred rapper, vocalist and performance artist hones industrial edges with gqom grit and left-field hip-hop, threaded with a sharp sense of satire and feminist bite. Her live shows bolster her confrontational energy with a theatrical flair, mixing icy synth-driven beats, afro-dancefloor rhythms and glitch-heavy production with her bilingual flow, twisting industrial and gqom-tinged textures into a sex-positive and socially awake statement. The alias of Mexican electronic artist, producer and member of the collective Interspecifics, Leslie García’s DJ sets as Microhm are dark and contemplative, pulsating beats detouring down disorienting ambient lanes into glitch-riddled Latin rhythms. Long at the centre of Lima’s psychedelic club renaissance, Peruvian duo Dengue Dengue Dengue warp cumbia, dub, and bass-heavy electronica into neon-lit fun with a cratehead’s appetite for folkloric textures. Their productions slither and blossom quivering synths, hand-woven percussion threaded with low-end pulses that throb like an Amazonian night. What began as small sets in DJ Love’s community grew as he started producing his own tracks with a distinct twist, giving rise to the high-octane genre budots. Marrying thick bass with vibrant collages of synthetic beats, jeepney horns, sirens, and whistles collide and thump at 140 BPM. After having to cancel his announced CTM 2025 appearance due to health issues, we’re all the more excited to finally welcome the Filipino pioneer this year. Hailing from Paraná, Brazil, Clementaum has quickly become a force in the global underground electronic scene. With roots in fashion and deep ties to the ballroom community (where she holds the title »Overall Princess Harpya«), her presence transforms any dancefloor into a vibrant and inclusive world. Her sets are a high-voltage fusion of baile funk, tribal house, techno, Latin rhythms, and ballroom flair. At the forefront of a new wave of post-pandemic producers pioneering new forms of guaracha and latincore, CRRDR twists guaracha’s kinetic rhythms into the playful and unruly mutation Uwuaracha, where cartoon physics collide. His productions favour elastic grooves and skewed dembow references, gleefully warping textures and folding street-level energy into unstable club forms. The pressure percolates from imbalance and excess, a sound that teases, glitches and spirals. Reduced event tickets are available in limited quantities at most venues for people who are unemployed, receiving social welfare, for holders of a severely disabled persons card, and for recipients under the asylum seekers benefits act. Students do not de facto qualify for this discount, which is generally aimed at giving access to cultural events and other services to people receiving social assistance. Door staff might request the presentation of relevant identification with your presale ticket when entering the venue.