Ben Ohr is a Canadian producer, composer, pianist, and engineer shaping emotionally charged electronic music rooted in memory, futurist pop, digital maximalism, and the shifting relationship between cultural memory and technology. His work weaves glitch, trap, IDM, ambience, rock, and art-pop into a singular aesthetic carved by hypnotic vocals, fractured melodies, and immersive atmospheres. Lyrically abstract, Ohr’s music has grown increasingly personal, exploring identity, coming of age, and the surreal fragmentation of digital life. His debut album, bet, introduced a world of maximal highs and fragile lows, establishing him as an artist capable of building emotive architecture from chaos, and beauty. In October 2025, he released components of digital err, a 28-track, vocal-forward document of memory, intimacy, and digital ephemera. Leaning into emotional maximalism and his DIY internet origins, the project traces sound, friendship, and identity across distance. A month later, Ohr followed with hard memory, a deconstructed-club record merging IDM intricacy, micro-trap rhythms, and neon-edged electronics into a sharper, more intimate counterpart. A few days later, Ohr released QUEER, an explosive, metallic project built on warped low-end pressure, shape-shifting theatrical sound design, and flashes of queer poetry. Confrontational yet vulnerable, QUEER expands the core of Ohr's work—noise as declaration, intimacy as impact, and identity expressed through controlled chaos.

Rhys Rogers is a Houston-based artist, producer, and engineer whose work sits at the volatile intersection of contemporary hip-hop, the distorted, high-energy aesthetics of underground rage, and the rapid, experimental frameworks of ’90s IDM. At just 23 years old, Rogers has carved an unmistakable identity defined by emotional volatility, adventurous sound selection, and an uncompromising commitment to sonic evolution.

His music is alive—constantly shifting in texture, velocity, and temperament—reflecting not only technical curiosity, but a deeply intuitive, emotionally driven creative process. Rather than treating a track as a fixed structure, Rogers approaches each piece as a living environment where patterns transform, energy mutates, and emotional tone directs the arrangement more than any genre boundary. The result is a raw, unpredictable sonic palette where aggression, tenderness, and vulnerability share equal weight. Each track functions as a vivid document of an internal moment—an immediate capture of where he was emotionally when the piece took form.

Many of Rogers’ recent works emerged during a period marked by significant personal upheaval, written in the fragmented intervals between major life transitions. During this time, his practice became both refuge and release, producing pieces that function less like traditional compositions and more like uncensored transmissions. “Untitled _2,” written in the aftermath of a hurricane during a week-long power outage, carries an atmosphere of suspended tension and displacement. “Scarification ii,” composed amid the most destabilizing parts of this chapter, stands as a fevered reflection of rupture, intensity, and emotional fracture.

These works—intuitive, urgent, and unmistakably mature—represent Rogers’ clearest articulation of his evolving sound. They move beyond conventional songwriting, operating instead as emotional documents: fragments of experience etched into form, each one bearing witness to transformation and renewal.

Rogers’ catalog continues to expand as he cultivates a practice grounded in experimentation, self-interrogation, and a quiet devotion to evolution. His music functions simultaneously as biography and architecture—a visceral record of where he has been, and an ever-shifting map of where he is headed.

Rhys Rogers is following