ROBERTA 

**MUJER TORMENTA**

Bitches love acid. 

Energetic sets, oscillating between faster Techno, Acid and Trance  with big influence in the 90's and old school tracks.

Swamp trance
Love and hate letters: havinapsy@proton.me

Intimate art, music, body & soul celebrations <3
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⁊ Hors-Piste Festival (since 2024)
⁊ La Nature Festival (since 2019)
⁊ NoName Events, Collabs, Parties, Festival (since 2010)
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Based in Liège, Belgium

〃A Community Has No Name 〃

''This is about an incomparably passioned person who is telling her own unique psychedelic story for almost ten years now...

Rooted in the Netherlands, Jorine shaped the intimate interrelatedness between her and the cruddy climes of dark psychedelic music in the sweet scene of Germany.

With a decent mixture of magic and madness, this tainted troublemaker is carefully challenging a wide variety of disciplines within psychedelic music.

Since she's playing such a variaty of styles it makes the most sense to tell you what most of her sets have in common.

Jorine likes story's.. Well told story's with music that is deep, suprising, dynamic and minimalistic. No standard "THAT WAS A BLAAST"-kind of crap, but tailor-made sensitive soundscapes with mind-melt guarantee.

Being deeply religious about freestyling and improvising, she often needs a bit of time to get to know the floor, 
but then this smooth selector will often find an innovative way to send you on the journey you need.

Feel warmly invited to let this versatile artist demonstrate her quirky quintessence of psychedelic art and culture!"

When the veil of perception thins, the unreal seeps in.
Sound becomes fracture. Time loses structure.
There is no intent, only resonance.
No creator, only presence.
No truth, only the dream.

Notzing is an ongoing exploration of altered perception through sound. Dense drones, structural minimalism, and time-stretched loops converge to dissolve linearity and summon trance.

Influenced by oneiricism and surrealism, Notzing navigates the unconscious through sonic language — sculpting frequencies, bending time, displacing space. Modular synthesis, feedback chains, and processed textures act not as instruments but as conduits for dreamlike experience.

It is a ritual practice in cycles: sonic, thematic, subconscious. There is no final form — only recurrences, echoes, and the slow drift toward the unreal.

Innersha is following