JLIN first made herself a name as a producer of footwork music, a genre that emerged in Chicago alongside the dance style of the same name. Its defining features include breakneck tempos of 150 to 165 beats per minute, irregular, heavily syncopated rhythms, deep sub-bass, lo-fi production, and samples drawn from R&B and pop. The result is music bursting of relentless energy – full of rhythmic twists and unexpected accents.

Jlin has collaborated with greats such as William Basinski, Holly Herndon and SOPHIE. What's more, her raw and dark sound is increasingly finding its way into acoustic arrangements. Her recent collaboration with Third Coast Percussion (in 2022) earned her a Pulitzer Prize nomination.

The driving force behind this transatlantic programme is the pleasure of forging connections between artistic practices that might, at first glance, seem incompatible. Then again, through sampling and the meticulous editing of the most intimate acoustic details, Jlin creates polyrhythmic, infectious, unpredictable grooves. Her music resonates strongly with our own long-standing obsession: the search for an embodied rhythmic rationality — a form of complexity that is fully inhabited by the body.

Jlin composed a brand new work commissioned for this occasion by Bozar and the Los Angeles Philharmonic. The work was digitally composed in the studio and consequently transcribed for a large ensemble by Miguel Atwood-Ferguson.

Meanwhile, the young Brussels-based percussionist Nolan Ehlers reimagined some recordings by the New York group Dawn of Midi as scores for a hybrid ensemble combining acoustic instruments and amplification.

At the heart of this programme lies a plunge into contemporary post-digital composition: hard editing and soft sampling; fragility and power; ceaseless rhythmic modulations stretching from the glacially slow to the explosively fast.