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Rabbit Rabbit Radio is the song-a-month art-pop duo of Carla Kihlstedt and Matthias Bossi, both formerly of Sleepytime Gorilla Museum. Founded in February 2012, the project releases a new song to Bandcamp subscribers on the first day of every month, collecting them into yearly volume albums. Drawing on art song, folk song, industrial and improvised music and heart-wrenching balladry, their songs are described as raw, beautiful, sparse and rich. The core duo is expanded in performance and recording by Jeremy Flower and Jon Evans.

Senmuth is the solo project of Russian multi-instrumentalist Valery Androsov (b. 1973, Moscow), extraordinarily prolific with well over a hundred releases combining ambient, industrial/industrial metal, EBM, and 'ethno metal' built from guitars, programming, and ethnic instruments (sitar, dutar, domra, tarka, duduk, oud). Albums are conceptually organized around ancient civilizations — especially Egyptian, Mesoamerican, and Asian themes — with the project's style shifting from guitar-driven doom/industrial metal in its early years toward increasingly sample-based, ethnically-fused, ambient composition over time.

KUNTARI is a Bandung duo, multi-instrumentalist Tesla Manaf and percussionist Rio Abror, who coined their own genre tag 'primal-core' for a sound built from roto toms, sarons, percussive guitar, field recordings and voice. It threads ancestral Indonesian ceremonial rhythms and gamelan tonality through sludge metal, dark ambient and minimalist sound-art, most fully on 2025's industrial-tinged Mutu Beton.

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Telefon Tel Aviv is an American electronic act formed in 1999 in New Orleans by high-school friends Joshua Eustis and Charles Cooper, known for a lush, melodic strain of IDM, ambient techno, and glitch. Their debut Fahrenheit Fair Enough (2001) paired intricate glitch programming with warm, romantic textures, while the synth-driven Immolate Yourself (2009) marked a darker turn. Cooper died in January 2009 just as that album was released; Eustis put the project on hold before reviving it as sole member in 2016.

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Mixhell is the São Paulo-born electronic project founded in 2006 by former Sepultura drummer Iggor Cavalera and his wife Laima Leyton, which grew from a husband-and-wife DJ duo into a live three-piece with bassist Max Blum. Their sound welds techno, acid, disco and industrial to Cavalera's ferocious live drumming, landing somewhere between dance music and rock. The debut album Spaces (2013), mixed by Brazilian techno producer Gui Boratto and released on Boysnoize Records and Last Gang, features a guest vocal from Greg Puciato of The Dillinger Escape Plan on the single 'Exit Wound'.

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The Black Queen is an American dark synth-pop/electronic supergroup formed in Los Angeles in 2015, growing out of sessions Greg Puciato began in 2011 while fronting The Dillinger Escape Plan. The trio pairs Puciato's crooned vocals with the lush programmed synthwave of Joshua Eustis (Telefon Tel Aviv, ex-Nine Inch Nails) and Steven Alexander, a stark departure from Puciato's mathcore roots. They self-released their debut album Fever Daydream (2016) and followed with Infinite Games (2018) on their own Federal Prisoner label.

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Sal y Mileto are Ecuador's most influential rock band, fusing progressive/alternative rock with hardcore, heavy metal, jazz and electronics into what they call 'Rock Libre Ecuatoriano.' Formed in 1994 in Latacunga, they've staged theatrical works blending poetry and contemporary dance and woven in Andean instrumentation like the traversa flute.

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Puscifer is the shape-shifting studio-and-performance-art project of vocalist Maynard James Keenan, formed in Los Angeles around 2003 out of a fictional band gag from HBO's Mr. Show. Where his other bands Tool and A Perfect Circle deal in heavy rock, Puscifer wanders through electronic rock, trip-hop, art rock and post-industrial textures, wrapped in tongue-in-cheek desert-Americana theatrics. The core trio of Keenan, multi-instrumentalist/producer Mat Mitchell and singer Carina Round fuse music, live performance and visual art into a single conceptual whole.

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Peeping Tom is Mike Patton's self-described 'version of pop music' — chart-radio hooks, trip-hop and hip-hop production run through his warped sensibility, named after Michael Powell's 1960 voyeur thriller. Its sole, self-titled album (Ipecac, May 30, 2006) took roughly six years to assemble, built by swapping song files through the mail with a rotating cast including Dan the Automator, Rahzel, Norah Jones, Massive Attack, Kool Keith, Amon Tobin and Bebel Gilberto. Widely called Patton's most mainstream-accessible work since Faith No More, it reached #103 on the Billboard 200 and #1 on the Heatseekers chart — the atlas's clearest case of an avant-metal lifer infiltrating pop rather than escaping it.

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Keiji Haino is a Japanese guitarist, vocalist and multi-instrumentalist active since the 1970s across rock, free improvisation and noise, best known for his long-running band Fushitsusha, formed in 1978. His intensely cathartic sound blends noise, psychedelia and Japanese traditional inflection into massively amplified guitar exploration. Within this atlas he intersects the drone axis directly: Black: Implication Flooding (1998) is a live collaboration album with Boris, and a 2006 meeting with Sunn O)))'s Stephen O'Malley (via Oren Ambarchi) grew into the trio Nazoranai.