“João Alegria is an essential figure in the Portuguese underground music scene. With a prolific career spanning over a decade, the guitarist – as he prefers to be called – embodies artistic commitment, resilience, and a deep devotion to crafting dark, experimental soundscapes. The numerous albums the Lisbon-based musician has released testify to a sonic vision akin to its object of study: unhurried and unperturbable, yet continuous and tempestuous."

— João Morado (Beats for Peeps, Cosmofonia, Jazz.pt)

“You paint for fame & status, I paint for freedom & awareness”, reads one of the vertical graffiti that Mr.Paradox Paradise painted on some Berlin building. Likewise, there is nothing in João Alegria’s art that is done with the intention of fame or likes. He spent more than a decade editing with recognition limited to the “community” of sound nomads. “I’ve been doing this for some time and I don’t have a very wide audience”, he admits. However, who knows, knows. And who knows, like it. João Alegria’s music is for connoisseurs. Perhaps that will always be the case.
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However, the unique contours of his art, combined with a stubborn aesthetic consistency and prolificacy, are the characteristics that simultaneously nest and vitalize it. The unconditional and obstinate way in which this “guitarist” – as he likes to be called – has created his work is a rare case of perseverance. His motivation? It’s not entirely explicit, but somewhere between the love of music and the physiological need to create lives the truth of João Alegria. If he lives because he breathes, he seems to make music because he has to live. One senses in his speech an inevitability of cathartic genesis that surreptitiously emerges between the lines like a figure wandering through the night.
João Alegria can also move through the shadows, but his music definitely points to the heavens, full of verticality” 

– João Morado (Beats for Peeps, Cosmofonia, Jazz.pt)

Adrian Mocanu's work spans chamber, vocal, orchestral and electroacoustic music. A laureate of various prizes, including the Frederic Mompou International Award (Barcelona), the Mauricio Kagel Composition Competition (Vienna), the SGAE-CNDM Young Composer Prize (Madrid) and Azrieli Music Prizes (Montreal), he has been supported by institutions like Casa de Velázquez, JM Spain, the Ministry of Culture of France, the Schleswig-Holstein Künstlerhaus and the Berlin Senate. He collaborated with ensembles Musikfabrik, Maulwerker, Ensemble Recherche, Pinknoise, Mosaik, Barcelona Modern and IEMA-Ensemble, with his works being premiered across Europe and North America. 

Italian composer, born in Bergamo in 1962. Stefano Gervasoni began studying composition in 1980 on the advice of Luigi Nono: this encounter, as well as others with Brian Ferneyhough, Peter Eötvös and Helmut Lachenmann, turned out to be decisive for his career. After attending the Conservatorio Giuseppe Verdi in Milan, Stefano Gervasoni studied with  György Ligeti in Hungary in 1990, and then, in 1992, he attended the IRCAM Course in Composition and in Computer Music in Paris. The first three years in France launched Gervasoni's international career that eventually led him to be artist-in-residence at Villa Medici in Rome for the biennium1995-1996.
With commissions from prestigious institutions such the WDR, the SWR, the Orchestra Nazionale della RAI, the Münchner Kammerorchester, the Festival d'Automne in Paris, Radio France, IRCAM, the Casa da Musica in Porto, the Festival Archipel in Geneva, the Divertimento Ensemble in Milan, the Ensemble Intercontemporain, the Ensemble Modern, the Ensemble Contrechamps in Geneva, the Maerzmusik festival in Berlin, the Ars Musica Bruxelles, the Festival Musica in Strasbourg, the French Ministry of Culture, Milan Teatro alla Scala and Suntory Hall in Tokyo, Stefano Gervasoni has established himself as one of the most important Italian composers of his generation. His catalogue – which includes chamber and vocal music, concertos, works for orchestra, for ensemble and an opera (Limbus-Limbo), commissioned for the 50th anniversary of the Percussions de Strasbourg (2012) – was first published by Ricordi, from 1987, and then, from 2000, by Suvini Zerboni.
A monographic CD entitled Antiterra, which features the pieces An, Animato, Antiterra, Least Bee, Godspell, and Epicadenza, released in 2008 by Aeon, bears witness to «a sonic world of great wealth, subtlety, refinement, expressive but also organic, that immediately captures one’s attention» (Philippe Albèra). Other monographic recording collections include the Harmonia Mundi CD in the series Musique Française d'Aujourd'hui (Ensemble Contrechamps), the Stradivarius CD by Divertimento Ensemble and the CD Dir-in dir released in 2014 by Winter & Winter (Académie Charles Cros price and Diapason d'or in France). A recent CD by Winter & WInter, released in 2016, entitled Le pré includes the three books of a piano cycle.
Winner of numerous prizes, including the recent Premio della Critica Musicale "Franco Abbiati" (2010), his work has allowed him to be a grant-holder at the Fondation des Treilles in Paris (1994) and at the DAAD in Berlin (2006) and composer-in-residence at the Domaine de Kerguéhennec during the period 2008-2010. He has also been invited to teach at the Darmstadt Ferienkurse, on the courses organised by the Fondation Royaumont (Paris), at Toho University in Tokyo, at the Festival International di Campos do Jordão in Brazil, at the Conservatory in Shanghai, at Columbia University (New York), at Harvard University (Boston) and at Takefu International Music Festival. He has been composer-in-residence at Lausanne Conservatoire (2005) and at Yellow Barn Summer Academy (Vermont, 2016). Moreover, he has been visiting professor at ESMUC in Barcelona for the 2012-13 academic year.
Since 2006 Stefano Gervasoni has held a regular teaching post as professor of composition at the prestigious Conservatoire National Supérieur de Musique et de Danse in Paris.
The musicologist Philippe Albèra wrote a substantial book on Stefano Gervasoni's work, Stefano Gervasoni. Le parti pris des sons, published in 2015 by Editions Contrechamps (Geneva).

Álvaro Ramírez Romero, conocido artísticamente como Álvaro Romero (apellido que utiliza para hacerle un homenaje a su parte feminina a traves del apellido de su madre) es un cantaor de flamenco gaditano un tanto especial pues no se identifica con casi ningun cantaor clásico ni actual, buscando sus referentes fuera del flamenco. Afincado en Sevilla desde hace años, deja su ciudad natal (el pto de Santa María) para estudiar una carrera universitaria y sin querer acaba dedicandose al cante flamenco. Allí se pone en contacto con maestros del cante y del baile y empieza a formarse como cantaor tradicional solista y como cantaor de baile acopañando a diferentes bailaores relevantes de las escena flamenca actual. A partir de ese momento empieza a cantar en diferentes peñas flamenca del territorio andaluz y fue mas adelante, gracias al cante para el baile, donde amplia su trayectoria más allá de las fronteras andaluzas e incluso de España. Recorre gran parte de la geografía europea (Grecia, Alemania, República Checa, Inglaterra, Escocia, Italia, Noruega) e incluso fuera del continente europeo (Rusia, México, Canada, Japón) compartiendo cartel y escenario con grandes figuras de la escena flamenca actual (Andrés Marín, José Valencia, Belén Maya, Andrés Peña, Dorantes, Manuel Liñan, entre otros) actuando e impartiendo cursos de cante. 
Durante el año 2009 trabaja como cantaor acompañante en diversos cursos impartidos por grandes figuras del baile como Rosario Toledo, Ángel Atienza , Ursula López, Manuel Betanzos o Alicia Márquez. 
En el año 2012 decide marcharse a Granada, donde colabora en un proyecto con la FAAQ (colectivo que realiza proyectos colaborativos relacionados con la producción social del territorio) basado en la obra de José Val del Omar. En él, también participa la factoría experimental ¨Bulos y Tangerías¨ de Raúl Cantizano y Santiago Barber además de Pedro Jiménez (Zemos98).
En 2016 colabora en “NO un cuento flamenco”, una película del director sevillano José Luis Tirado, actuando y componiendo la música junto a Raúl Cantizano.
Desde el 2014 trabaja como cantaor acompañante en Centro andaluz de Danza (CAD) junto a los profesores/as Rocío Coral, Miguel Angel Corbacho y Rubén Olmo.
En Noviembre de 2017 colabora en un proceso de investigación sobre la felicidad en el Espacio Teatro Contemporáneo (Sala Cuarta Pared de Madrid) en un proyecto llamado 10 % de tristeza bajo la dirección de Raquel Camacho.
En lo que llevamos de este año 2018, el cantaor portuense esta involucrado en diferentes proyectos abarcando el tema de la identidad de género. Entre otros trabajos acaba de estrenar en la sala Manuel García del teatro de la Maestranza junto a la bailaora americana Cristina Hall una performance llamada "ANIMALS" donde tocan temas como la diversidad sexual o el maltrato. 
Actualmente trabaja junto al productor malagueño Toni Martin en un proyecto discográfico con música electrónica y letras de poetas homosexuales como el hace poco desaparecido poeta chileno homosexual Pedro lemebel. Además de colaborar en el proceso de creación del bailaor/investigador/escritor Fernando Lopez Parra llamado "PENSAOR".

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