Adam Riviere, world percussionist, audio engineer and composer boasts over 28 years of experience, 13 published albums and numerous collaborations. Riviere began playing the piano at the age of ten, which led to a love of percussion and throughout the years that followed, he studied more than 30 world instruments. Riviere received his undergraduate degree in Music Business in 2000 from Butler University, and by 2003, he completed a graduate degree from the Indiana University-Purdue University School of Music in Music Technology. His music sounds as unique as the instruments he plays. Styles he performs and infuses during his performances include Middle Eastern, African, Classical, Celtic, Latin/Afro-Cuban, Caribbean, Native American, Australian Aborginal, and Electro Acoustic World Ambient Trance. Riviere’s love for culture and music can be heard in his performances, displaying how different cultures and mediums of music can make one great sound. Riviere has taken his sound to major cities across the United States, presented workshops at Dr Hoch in Frankfurt Germany, and has performed and taught throughout Israel where he had the opportunity to perform at the Jacob’s Ladder Festival in May of 2014.He has also performed alongside great artists such as tabla player Badal Roy (tabla player for Miles Davis, and John McLaughlin), Steve Gorn (saxophonist for Paul Simon), and multi award winning Native American flute artist Steven Rushingwind.
Riviere owns and operates Playground Productions Studio in Historic Irvington located on the East Washington area of Indianapolis welcoming all involved in the arts to record, rehearse, and present their works to all, and celebrating what Riviere promotes; keeping the music going.
Adam Riviere is an endorsed artist of Tycoon Percussion and Soultone Cymbals, Drumz R Guru Ven Didgeridoos, Pearl Drums/Adams Percussion local artist, Sontronics Microphones, Vic Firth Education Team, Power Beat Drum Heads, Gator Cases, Roc-N-Soc Thrones, and Solomon Microphones.
During the embryonic development of the modern musical synthesizer, Morton Subotnick envisioned a day in which an individual could become the audience, the director, and the performer of a musical work all at once. The belief was that a device could exist that one could explore a sonic space with in real time and move from “point to point” within this space guided by feelings, emotions, or any other perturbation of the mind. With the creation of such a device (the “synthesizer”) in 1963, Subtonick’s idea became reality however alternative interpretations of its utility also emerged. With time, the “synthesizer” came to predominately be an instrument with which equal tempered, melodic music was created, recorded, and distributed among the masses. A select few have, however chosen to investigate and develop the concept closer to Subotnick’s original vision of the man-machine interaction. adamon is my pursuit of this.
Alex Keller and Sean O’Neill
Alex Keller and Sean O’Neill
have in performance and installation pieces since 2015. Using field recordings, vintage telephone test equipment, magnetic oscillators, light and space, their work has addressed the agents and artifacts of change in the urban and acoustic realms.
In 2017, they will release an LP called Kruos
on the Elevator Bath
label, and a CD called LCLX
on the Mimeomeme
is an audio artist, sound designer, curator and teacher based in Austin, Texas. His engagement with performance, installation, and recording is an outgrowth of his interest in architecture, language, abstraction and music. One of his distinctive features as a creator is his ability to show the act of research as having an aesthetic value in and of itself.
is a multi-media artist, who explores both the visible light spectrum and the audible frequency range to determine who they influence our lived environments, and vice versa; he has a stated interest in how perception shapes the dynamics of spatiality.
Angry Red Planet
Angry Red Planet consists of Joe Howard (keyboards, guitar, programming), Simon Howard (keyboards, programming) and Mark McCleerey (percussion). They formed in 2012 as a merging and continuation of previous projects. Their music is a beguiling, frequency-defying combination of synthesizer textures, edgy percussion and arcane spoken-word fragments. Particularly striking is their conflation of compelling melodies and warm tones with unapologetically gritty noise and pile-driver rhythms. Their full-length album Glowing is an intriguing journey through lovingly constructed sonic architecture – angry indeed at times, but often playful as well, and in any case a trip worth taking again and again.
Audio Mace is the 2nd project for Al Baldwin and Chris Wikman, formed to provide a vehicle for exploring music with a more “industrial” and “experimental” style, allowing for more free form electronic improvisation. Born out of recognition of the power and force of sound in our lives, Audio Mace combines electronic instrumentation with exotic instruments (including several unique and “home-made” ones), sound textures, rhythmic elements, and percussion as it seeks to explore new themes and sonic textures and to create unique and evocative musical journeys.
As you listen to their music, you will note the variety of moods, expressions, and styles. Each piece is unique and defies being placed in a stylistic box, having been individually crafted to express its inspiration, mood, or journey. You will hear a mixture of elements: here some ambient … there some industrial … here some space-rock … and there some electronic. If you need a “label”, consider “avant-garde music”… music which is ahead of its time, containing unique or original elements, or unexplored fusions of different genres.
Audio Mace has performed live at locations in Asheville, NC, at The Gatherings in Philadelphia PA, and the “Woodstock of Electronic Music” the Electro-Music Festival in Huguenot, NY, including on-stage improvisation with members of OneWayness, Symmetry, Finite Element, and ESP Modulator from London.
The space music project, Auroric Dreams, from veteran live space music artist, Tony Gerber and electronic music’s next generation, Bryan Burnett of Burnett Audio and Noize Index has performed many live space music concert events around the country as well as numerous live internet broadcasts since it’s inception in 2012. The group is based in Nashville, TN and they have 2 official releases available with several in the can for future release. This year they are joined by veteran electronic music artist, Todd Gerber to make a special trio version. The electro-music festivals have been a fantastic way to plug Bryan’s solo music project, Noize Index, into the great electronic community in addition to a great venue for the Auroric Dreams project. It is a rare occurrence to have such spontaneous musical synchronicity between people. We hope you have a truly musically intoxicating night of sounds. http://auroricdreams.com/
Colin Andrew Sheffield + James Eck Rippie
Performing together for the past 16 years, Colin Andrew Sheffield(samples, processing) & James Eck Rippie (turntables, samples, processing) are an improvising duo who sculpt primarily with commercial recordings to create works interested in turning aspects of plunderphonics and conceptual sound art into subconscious composition. Their work together has always been about their dialogue within a given meditation, bringing concrete sounds in and out of focus with hints of musicality underlying. Their debut LP, “Variations” (Elevator Bath), originally released in 2001 (with a 2016 reissue), was recorded “live” with no additional production. Each of the album’s pieces utilizes sounds from a single acoustic instrument as its sole source material. These sources are manipulated and shattered in multiple ways inside the performance. Since the release of their album, Sheffield & Rippie have continued to perform and to record, expanding the concepts utilized in “Variations” with the “Essential Anatomies” cycle. Volume One and Two of “Essential Anatomies” focuses more on the chaos and control within longer narrative work, and the duo’s very personal investigation into their juxtaposition, and the turmoil and otherworldly unity it creates. Or as said in Richard Allen’s A Closer Listen review ” Sheffield and Rippie use samplers and turntables to sculpt the past into new forms that defy instant categorization.. Touches of modern classicism grace the recording, lending it an air of sublimated dignity.”
This August 2017 will be the tour for their Essential Anatomies double LP on Elevator Bath.
James Eck Rippie is a visual/sound artist currently residing in Austin, Texas. His recorded work has been primarily as a turntablist . But has also worked extensively with other instruments and mediums. His focus with turntables has been creating abstract sound and concrete assemblages from various records while utilizing altered needles, turntable feedback, effect pedals, damaged records, resampling,etc. While decomposing the original sound source, Rippie’s intentions are to understand the transcending possibilities of sound as well as testing the capabilities of the turntable as an instrument. He releases his work for the Cronica Electronica (Portugal) and Elevator Bath (US) labels. And has collaborations with sound artist’s Simon Whetham (UK), Paulo Raposo (PT) and erikM (FR).
Colin Andrew Sheffield (b. 1976, El Paso TX) is a sound artist focusing on the strict re-contextualization of other commercially available recordings. His aim is to distill the essential qualities of these works and to then utilize that essence for new recordings. Usually only very brief sections of the original works are selected. These raw components are then contracted, expanded, layered, and/or otherwise processed until something new is forged. The resultant music is an atmospheric soundscape, gradually shifting and unfolding. In 1998, Sheffield founded the Elevator Bath recording label which has continually issued experimental works from a variety of artists from the United States and abroad (including Rick Reed, Tony Conrad, Merzbow, Francisco López, and many more). Sheffield has released a number of solo recordings, including 2005’s “First Thus,” his debut long-player, as well as 2009’s “Signatures” (via the Invisible Birds label), 2010’s “Slowly” (on the Mystery Sea label of Belgium), and 2012’s “Time Will Tell” (on the Quiet World label of the UK).
Cranial Mythos is the solo project of musician, composer, producer, and event organizer Greg Waltzer. He has recorded and performed with Waveformation, AfterMyth, xeroid entity, Technicolor Travel Agency, Fringe Element, Holosphere, and Mutation Vector. The music of Cranial Mythos ranges from dark, ambient, and spacey to upbeat and melodious, with some strange trips in between.
David Peck a 27 year old electronic musician, beat maker, and DJ from Indianapolis, Indiana. David produces music with atmospheric moods, heavy drums, groovy synth bass lines, and samples taken from vintage records.
DEFENSE MECHANISM is a chiptune musician who makes songs on a Nintendo Game Boy using LSDj.
) is an electronic duo formed by James Spitznagel and Tom Bruce. Their creative process consists of equal portions of organized musicianship, staring at each other across a table, and hey-look-at-this-app-I-found. Collectively, their goal is a mutual alibi (and stretching the bounds of creativity, time, and space). Individually, their bios appear elsewhere in this program.
dRachEmUsiK is the solo project of composer, instrumentalist, sound designer and producer Charles Shriner. dRachEmUsiK combines a plethora of nuanced techniques in order to create groovy and meditative soundscapes; giving structure to improvisation. This style manifests itself into an organic and natural composition of a free flowing design resulting in improvisations and structured pieces ranging from ambient to glitch-groove, noise to nujazz
Working under the name DREKKA since 1996, Anderson has released dozens of cassettes, CDs, and LPs on both his own Bluesanct label and many other labels internationally. He has traveled, collaborated, and relocated; collecting memories and building an very personal archive of corresponding sound. Tours throughout Iceland and Europe and the United States have contributed to that archive as much as they have served as platforms for public performance. DREKKA owes something to the soundscapes and non-linear impressionism of CINDYTALK or COIL, the gravity of EINSTÜRZENDE NEUBAUTEN. But his work is very apparently unique. Throughout years of performing and recording, Drekka has explored early industrial tape culture, fragile bedroom noise folk, and expansive cinematic textures. He has touched on the themes of silence and memory and noise and forgetfullness. In the past decade, his gorgeous sound sculptures have fit more neatly into the industrial noise and ambient genres, holding a place alongside contemporaries like SVARTE GREINER, TIM HECKER, or WILLIAM FOWLER COLLINS. And yet these pieces are very evidently personal. Rather than the obscurity that is so often the effect of experimental music, DREKKA functions as a direct line into Andersons mind, his dreams, and his fragile and tenuous cache of memories. These personal aspects and this fragility are even more clearly on display than if they were obfuscated by poetic abstractions.
While “haunting” and “hypnogogic” are words often used to describe experimental music and art, DREKKA unequivocally occupies and deals in those dark spaces which comprise the tenuous province of memory and dreams. Those are the real ghosts of time and sound.
Duet for Theremin and Lap Steel
The name of this Atlanta duo implies a proper classical recital, a rigid formality. But Scott Burland (theremin) and Frank Schultz (lap steel) don’t do scripted, improvising not so much distinct sounds as evolving eddies of sound, vapors of tones that develop and transform gracefully. Hypnotic pulses and dreamy drones weave together to form a kaleidoscope of sounds and moods, ambient clouds and swooning collages that are as much about texture as they are timbre, like a long-lost soundtrack to a deep-sea documentary.
Earthgirl is the music project of Jeannie Allen, an Indianapolis electronic artist. What started as an experiment in ambient soundscapes later came to include danceable beats, lyrics, and collaborations with friends both near and far. The goal is to put feelings and stories into sound for a trip through time and space. Songs at http://earthgirl.bandcamp.com/
Elaine Marschik is a St. Louis-based artist with a long history in performance photography.
embral is the duo of Adam Holquist (Erie, PA) and Charles Shriner (Indianapolis, IN). Beginning in 2012, the pair have released three critically acclaimed studio albums and given dozens of live performances, first under their combined solo monikers of onewayness + dRachEmUsiK, and continuing from 2017 as embral. Their music draws influence from ambient, drone, dub, noise, electroacoustic music, modal jazz, non-idiomatic improvisation, and a variety of other musical and non-musical sources.
Emerald Adrift seeks out the points of transition between familiar categories: tone and noise; structure and spontaneity; tradition and experimentation; immediacy and timelessness. An alias of composer and sound designer David Herpich, Emerald Adrift is an aesthetic exploration of unified diversity. Delicate melodies blur into the breezes of exoplanetary landscapes. Crackling klaxons melt into the swell of harmonic waves. Boundaries become indistinct. All is sound.
Faux Pas Quartet
Faux Pas Quartet is a free form improvisation ensemble who Intuitively apprehend coming changes in the collective unconsciousness thru the group’s shared spontaneous expression of their personal unconscious.
Soft and hard synths, live bass, world percussion, Electronic Wind Instrument, a pedal tray and female vocals are used to create beats, bleepy-blurpy noises, samples, and haunting vocals.
Aaron Urbanski – keyboard, synthesis and processing
Charles Shriner – EWI, synthesis and processing
Duncan Putman – Bass
Jen Schmetzer – Voice, processing
Adam Riviere – World percussion
Goodhands Team is the moniker Bloomington’s Josh Olivo has been recording, remixing, and performing under since the early 2000s with the generous musical contributions of many friends. After more than a dozen digital online self-releases between 2002-2009, the Bloomington boutique label Red Frost Industries released Goodhands Team’s first physical album “Austerity Measures” on vinyl LP (2013), and followed with the companion “Austerity Mixtape” cassette (2014). And most recently, the micro-cassette release “Micro Worlds” (2016) was released on Bloomington’s prolific Auris Apothecary label. The Team plays largely improvised music live that typically involves several players exploring their favorite sounds and instruments of the moment, which often times yields a mostly electronic landscape that sits rhythmically near techno, hip-hop, or IDM, but with post-rock or electro-acoustic compositional component, and ambient melodies.
Process Prototype is the live-coding project of composer and programmer H. James Harkins. Live coding is an experimental medium for improvisation of computer music, in which the performance consists of writing code before the audience, and displaying the code to the audience, giving the audience an opportunity to see the relationship between the computer interface and the sonic result. James uses a live-coding dialect of his own design, implemented in the SuperCollider audio programming language, which controls arbitrary musical processes by compact “pattern strings,” which associate sounding events with metrical positions within the bar and also generate some materials randomly. A performance is not a repetition of prepared materials, but real-time composition.
H. James Harkins is a composer of electronic music, with 20 years’ experience in a variety of styles ranging from academic/experimental music to techno, house, breakbeats and ambient. He earned his Ph.D. in music composition in 2001 from Duke University, where he studied with Scott Lindroth, Stephen Jaffe and Sidney Corbett. He has produced fixed-media works using a variety of software, and currently specializes in live performance with computers. He is an active user of the SuperCollider programming language for live, interactive audio, and contributes code and documentation to the project. He is currently an Associate Professor in the Modern Music Department of Xinghai Conservatory of Music in Guangzhou, China, teaching electronic music production, film music and sound design. He has performed and lectured in Washington DC (USA), Birmingham (UK), Guangzhou, Beijing, Shanghai and Nanning (China), Seoul, S. Korea and Tokyo, Japan.
James Spitznagel has been working in the music and visual arts fields for the last 45 years. His digital art, paintings and sonic explorations are all part of a cohesive artistic statement. His music stretches the imagined uses of the iPad, iPod, and Nintendo DSi to fit his abstract vision of ambient-dub music.
Spitznagel has performed and recorded electronic music with The Bemus Point and Plus Ultra. He currently performs and records solo as well as with The Electric Golem and DFLT.
James Spitznagel lives in Ithaca, New York.
Electronic and reductionist musician who creates subtlety evolving atmospheres and rhythms using Sunvox as a programming platform to compose.
Joe Belknap Wall taught himself to make music slicing reel-to-reel tapes into a blizzard of tiny fragments, then stringing those pieces together into disjointed assemblages of noise using dime-store cellophane tape. In time, he got his hands onto a proper synthesizer, which fueled a long run of one-man shows for spoken word and electronics, including This Nonstop March Around The World, Uneasy Listening In Baltimore, A Troubled Sleep, DIalogues From The Laser Farm, The Trampoline Spectator, and My Fairy Godmothers Smoke Too Much, which earned a Maryland State Arts Council Individual Artist Award in 2006. Between telling stories on stage with machines as his greek chorus, he built interactive sound installations for the American Visionary Art Museum and other spaces and finally took his long-ago piano teacher’s advice to slow down, subsiding into the drift of drones and molecular atmospheres in hazy ambient pieces unfolding over hours.
Kevin Kissinger is a classically-trained musician/composer from the Kansas City area. Since the Electro-Music Festival in 2006, Kevin has appeared playing his own compositions on the theremin: the only instrument which one plays without touching it. His compositions can be described as modern but classically-informed and includes works for solo theremin with live looping and theremin works where Kevin blends synthesizers with solo theremin. Kevin will present a program that includes some works that he played in 2006 along with new compositions.
Klimchak is a man of few names and many talents. In 2009, he was awarded the Loridans Arts Award, a $15,000 cash prize often called “Atlanta’s MacArthur Genius Award.” His sonic artwork has been heard in solo concerts, performance art pieces and scores for theater, dance and film. Combining a sense of whimsy with the playing skills of a master multi-instrumentalist, his concerts are filled with surprises and crazy home-made instruments played using even crazier techniques. Waterworks
is played by striking small pieces of metal while dipping them into an amplified bowl of water. Speaking NonSynths
melds theremin, Tuvan throat singing, didgeridoo and percussion into a bubbling groove in 7/4 time.
Klimchak’s last performance art project was presented at The Goat Farm Arts Center in Atlanta. CooksNotes is a performance art cooking show, funded in part by grants from Idea Capital and the Atlanta Mayor’s Office of Cultural Affairs. He built instruments out of kitchen equipment & wrote music for them. Klimchak performed that music live, WHILE cooking food on the instruments. At the end of the concert, there was a complete meal made for the audience to eat. In the last year, live performances include playing theremin, Moog Minitaur and a set of tuned circular saw-blades for Shakespeare’s As You Like It for Theater Emory, Theremin Bike in the Little Five Points Arts Alive Festival, and a modified kitchen sink with electronics for the Art In Odd Places Festival in Orlando. He’s currently composing music for an opera, The Followers, to be performed at 7 Stages Theater in 2018
My music is best described as textural: I weave various sonic textures together, where beats and rhythms come from complex overlays of various waveforms and sonic devices. At first listen, it may seem very focused on drones, but my intention isn’t to create a drone-scape, but rather, to investigate the molecular details of sound. I work with long duration sonic events because it allows both myself as the improviser and you, the listener, to really get to know the sounds that are happening. My musical philosophy comes from a similar place of the music of David Tudor, who didn’t really want to tell his equipment what to do, but rather explore what it’s natural tendencies were. For this performance, I will be using streetlights, modular synth, handmade circuits (that are at times a bit unstable and provide unpredictable results), and a few other odds and ends. My performance is improvised, and my performance style is very focused.
I’ve studied music and sound art my whole life. I’ve performed throughout the United States, and have composed music for dance, film, and large acoustic ensembles. I build my own instruments, am known mostly for my work with theremin, and spend a lot of time trying to figure out how to make light and sound work together. My work is largely connected to philosophy and critical theory of the everyday, with a smattering of the esoteric thrown in. I teach electronic music and experimental film production at Michigan State University.
Matthew Ryals is an electronic musician and composer based in Cleveland, OH. Last summer saw the release of his first full-length album, We Could Make The Ride Better For Everyone, on his own record label, Behind Glass. The release was followed by a 20-date tour across the East Coast and Midwest. In 2015, he released the EP, Weekend Sonata, on Low Hanging Fruit records based in Cologne, Germany via Kompakt. His sound could be described as electronica with influences ranging from dance music to contemporary classical. Recent collaborative projects include his work with The Movement Project, a contemporary dance company based in Cleveland, in which he created new work and performed on stage alongside the dancers. Additionally, his music was featured in two of the films that comprise The Fixers, a set of short-films that asks Cleveland residents what they would share with RNC delegates if they had the opportunity. The work was co-created by a group of artists led by Kate Sopko and exhibited at SPACES and Smack Mellon in New York City. As an inaugural Kulas Composer Fellow at Cleveland Public Theatre for the 15/16 & 16/17 Seasons, Ryals created an original electronic music score for the plays Feefer Rising and Red Ash Mosaic.
Michael O’Bannon is a visual artist, sound designer, programmer, and psychologist based in Atlanta, Georgia. He specializes in improvised mixes of video imagery in concert with live electronic music performances. He has collaborated on visuals for electro-music festivals and other events in the northeast, southeast and midwest USA, as well as designing software for visual and music performances. His music is an exploration of internal psychological states produced by electronic generation and modification of ambient soundscapes. His work pursues the ephemeral phantasms lurking in transition zones between abstract and representational experience.
mindSpiral: Mike Metlay and Paul Vnuk Jr.
Mike Metlay is a battle-weary 35-year veteran of the Electronic Music Wars, and the curator and founder of the RadioSpiral internet electronica station (http://radiospiral.net/), which was given its name from Mike’s Second Life avatar, Spiral Sands. You can learn more about Mr. Spiral and his various musical projects (including his latest releases on Aural Films and earthMANTRA) at http://mrspiral.com/.
mindSpiral is Mike plus anyone who doesn’t hang up the phone when they hear him say, “Hey, I’ve got this idea for a concert…” For this year’s Electro-Music Festival, that would be Paul Vnuk Jr.
Paul A Vnuk Jr is a professional audio engineer, musician and music producer living in Oak Creek, WI. Since 1995 he has been producing critically acclaimed electro-acoustic ambient music on his own, with Tribal Ambient duo Ma Ja Le with Christopher Short and with collaborators including Tony Gerber, Oophoi, Vir Unis, MindSpiral and James Johnson.
His most recent releases are the ECM flavored ambient jazz album “The Moss Garden Sessions” with guitarist Greg Hurley and saxophonist Brian Good and he also contributed drums, synths and vocals to the Sensitive Chaos album “March of the Timeshifters” which has just been nominated as one of 2015’s top 5 electronic albums by the Zone Music Reporter.
By day he is a professional audio engineer at his studio Moss Garden Music and is the Tech Director at Grace Church in Racine, WI. He is also the Technical Editor of Recording Magazine.
When performing live Paul spins live improvisational soundscapes largely using analog synths, Wave Drum, live audio loopers and long delays. If you see a computer on stage it is just for live effects and mixing as Paul prefers to perform with out a safety net of backing tracks or pre-recorded loops when possible.
Although they’ve shared a stage as part of larger groups (including mind2Spiral in 2006 and mind12Spiral in 2012) and attended the same festivals many times over their 15-year friendship, Mike and Paul have never before performed as a duet, despite numerous attempts to do so in the past. If the jealous Gods Of Music don’t foil them again, this will be their chance.
In an extended set, they will alternate smoothly between the two musicians performing solo music and playing together. The set will range from deep tribal to lightly chilled pulse, with forays into popular genres like fractronica, klezwave, biopolka, and of course Kenosha Bounce.
onewayness is Adam Holquist, a composer, improviser, and multi-instrumentalist from Erie, Pennsylvania. He uses guitars, pianos, analog and digital synthesis, spoken word and field recordings, and a variety of hardware and software tools to create atmospheric and textural music which draws influence from a variety of sources. These may include: ambient, drone, minimalism, post-rock, and vintage and contemporary electronic ‘listening music’.
Adam tours regularly, perfoming at festivals, galleries, cafés, dive bars, art spaces, basements, and the occasional laundromat throughout the US and in Canada, and has released over a dozen albums and EP’s.
In addition to recording and performing as onewayness, Adam is a member of the duo embral, with longtime collaborator Charles Shriner [dRachEmUsiK], and also regularly performs in both composed and improvised group settings with a variety of local and global collaborators. Adam is also the curator of the electroFLUX experimental music series, which presents creative music from local, regional, and international artists at various Erie venues.
Pallid Mask is the solo project of Al Baldwin. Named in honor of his affection for things dark and occult and provides a venue to explore strange new sounds and textures, to seek out new instruments and music, and to boldly create evocative soundscapes no one has heard before, Pallid Mask combines electronics with exotic instruments, sound textures, rhythmic elements, and percussion to create unique and evocative musical journeys.
His performance at EM 2017 will include an excursion into strange new sounds and textures showcasing some of his more unusual and unique instruments.
Pas Musique is a group which creates musical output through the form of abstract sound. The term Pas Musique translates to not music in french, metaphorically negating everything that is established in music and starts from a clean perspective. The viewpoint fuels our creativity to create our own world of beauty. The aesthetic underpinnings are defined by the notion that music can be whatever the ear perceives. Its a conception fueled by the love of life and art. Itsa desire for honest artistic self-expression.
Pas Musique started in 1995 out of Brooklyn, NY, USA, driven by the creative talents of Robert L. Pepper working in the mediums of sound and video. Since then Pas Musique has evolved into a collective with many different instrumentations and lineups. Permanent members include Jon V Worthley, Michael Durek, and Robert Pepper. Pas Musique have numerous releases and collaborations. Pas Musique have performed in 17 countries and all throughout the United States. Sound and video installations have also included Chile and the United States. Pas Musique also curates events in New York such as Experi- MENTAL nights, Ambient-Chaos nights and the Experi-MENTAL Festival once a year.
Past Collaborators include:
John Driscoll, Phil Edelstein, Faust, Robin Storey (Rapoon) (UK), Al Margolis (If, Bwana), Dao Anh Khanh (Vietnam), Doan Minh Hoan (Vietnam), Rinus van Alebeek (Netherlands), Philippe Petit (France) , Z’EV (Cold Spring, Tzadik Records) , Steve Beresford (Tzadik Records), HATI (Poland), LaptopAcidXperience, Philippe Gerber (Heat From a Dead Star), Brandstifter (Germany), Alex Ward (United Kingdom), Magnetica Ars Lab (Italy), Chester Hawkins
Paul Harriman built his first synthesizer in 1974 at the age of 14. A trained pianist, brass and recorder player, Paul played for many years with many regionally known bands around the New England music scene. While living in Vermont, Paul composed and played the music for locally written plays (Vermont Reperatory Theatre and Burlington’s community theatre) as well as playing in occasional sessions and sitting in on Burlington’s music scene throughout the late 1980s and early 1990s.
Paul has had an electronic music studio in his house since the 1980s and continues to compose and play solo both on the internet and live. Now living in London, UK, Paul helps with running the Electro-Music.com forums and radio site, and his radio show Edison’s Electronic Review is now in its 7th year. In addition, Paul runs a radio server dedicated to streaming in-game (for Uru Live, Second Life and Opensim) and lends a hand with many music and radio projects, as well as the Electro-Music festivals in Asheville, NC, Huguenot, NY and Indianapolis, Indiana. Paul is also known on the internet as Edison Rex, a name that his jazz band instructor started to call him back in the 1970s when at the Berklee Jazz Competitions, Paul repaired his Wurlitzer 200A with a Swiss Army knife about 15 minutes before the competition. The name has stuck throughout the years and Paul can be found under this name online, in Second Life, and in the Opensim Hypergrids.
Paul’s musical composition style has evolved over the years, and now focuses on his fascination with the marriage of environmental sounds and ambient music. Paul is also committed to the use of alternative controllers for electronic music and counts an Eigenharp Alpha, EWI and Linnstrument amongst his current gig rig. You can find a number of Paul’s performances on Youtube or Vimeo, and audio on the Electro-Music.com website.
Project Ruori is an art-automation amalgam proliferating interstellar dust densely correlated with the neo-constructivist rubric. We assemble concrete music and rock formations, self-referential madlibs, snippets from marketing class recitation, songs for a chorus of answering machines, and some occasional colorless green writing utensils to infuriate spectators with an underwhelming sensory trauma.
Puppet Head – Mark Hoffman
The music of Puppet Head is built around sounds that have been morphed out of circuit bent toys and musical instruments. These strange sounds are then layered over programmed electronic drum rhythms and oscillated eurorack modular synth beats.
These spatial foundations are accompanied by voice and electronic synth guitar to create songs written about nature, people and the world.
remst8 is an experimental computer musician who explores sounds in whatever spare time he can steal. This on-again/off-again affair began in the early ’90s, using tracker programs on his Amiga 500 and later a PC to create soundtracks for his friends’ creations (computer games and an independent film). Following a 7 year hiatus to focus on his software engineering career, remst8 returned to tracking music for fun and creative exploration.
Rather than aiming for a particular genre, remst8 prefers to follow the sounds where they take him, informed and inspired by the eclectic styles of music he listens to. Recently, remst8’s explorations have focused on deep drone and dark ambient tracks with a smattering of noise and experimentation.
Rob Funkhouser is a composer, performer, and instrument builder who can never quite sit still. He is currently pursuing an M.M. from Butler University in Music Composition, and most recently completed Expanding Ever Outward for Solo Vibraphone. He has released projects through various labels in three different countries, and has had his music played on the radio in many places, including Australia. His current projects include a percussion duo for the group Neutrals, a suite of works for kalimba and toy piano, and various chamber works.
Currently residing in Indianapolis, Indiana, Funkhouser divides his time between composing, performing, and curating shows at various venues around the city. His performances vary widely, but often take the form of solo percussion or ambient electronics. He also collaborates with a wide variety of performers and artists. Most recently he has worked with Corey Denham, Sara Goodman, and So Percussion. His principal teachers include Dr. Michael Schelle, Dr. James Aikman, and Dr. Frank Felice.
Stephan Haluska is a harpist, composer, and improviser based in Cleveland, Oh. He creates abstract compositions for harp exploring its idiomatic textural, harmonic, and percussive qualities. His harp is further aided and manipulated through the use of effects pedals, laptop processing, and samples. The harp has developed a mystical identity in western culture as the sound of angels in heaven, magic, and dream sequences. Acknowledging these stereotypes, Haluska plays with and challenges them in attempt to (de)mystify the harp.
Steven Curtin is a Detroit area musician/engineer/psychologist, mild mannered software engineer by day and instrument builder/player by night and weekend. He started building his own analog synths in the late 70s in high school, received an MFA in Electronic Music and the Recording Media from Mills College in 1989, and an MA in Humanistic Psychology and BCIA certification in Biofeedback in 2008. One possible description of his sound output is experimental ethno ambient with an old school meets newer school approach. His two albums on Cyclene and http://archive.org/
employ home programmed CPLD and FPGA devices controlling his Serge/Wiard analog modules. He’s more recently been using Supercollider on Windows tablet and Jasuto Synth on Android. His current projects include programming Codebug with an optical interface to control analog synths, expanding a Moog Werkstatt and programming ATtiny processors. In addition to electronics he plays anything else with strings that doesn’t run the other direction, and includes guitar looping and drones in his performances.
Stochastic Whimsy – Brian Good & Bill Fox
Stochastic Whimsy is an eclectic project whose musical influences range from contemporary classical through free jazz to Frippertronics. Presently composed of Brian Good (woodwinds, EWI, Linnstrument, electronics) and Bill Fox (guitars, loopers, keyboards, electronics), the group has historically incorporated both hardware- and software-generated probabilistic elements into its music.
Brian Good has performed in venues in the US and Europe, primarily in jazz and classical contexts. He has received Outstanding Soloist awards at a number of collegiate jazz festivals, and has appeared at the Montreux Jazz Festival. He performs occasionally with members of the Detroit Symphony and the Detroit Chamber Winds. His interest in electronic instruments, and electronic processing of acoustic instruments, developed almost thirty years ago, and he remains fascinated by the combinatorial explosion of musical possibilities offered by modern electronics. When not making music he works as a physicist at NASA Glenn Research Center.
Surrealestate is an electronic music band based in Indianapolis that combines old Berlin style analog and vintage gear with digital and polyphonic soundscapes. Current members include Bunny Sheets, Kelly Sheets, and Joe Howard (who also performs with Angry Red Planet). Surrealestate has performed at all the previous Indy MEMEs and we are honored to be part of Electro-Music 2017. Surrealestate has also performed at the Asheville Electronic Festival in 2015, 2016, and 2017.
Thollem is a pianist, keyboardist, composer, improviser, singer-songwriter, activist, author and teacher. He’s spent his life skirting and erasing the edges of boundaries musically, culturally, geographically. His work is ever changing, evolving and responding to the times and his experiences, both as a soloist and in collaboration with hundreds of artists across idioms and disciplines. Though Thollem’s widely known as an acoustic piano player, he’s also the lead vocalist for the Italian agit-punk band Tsigoti and has branched out significantly into electronic instruments through a multitude of projects.
Tom Bruce (https://soundcloud.com/tom_bruce
) attended the first concert by David Borden and Mother Mallard in 1969. As a performer, he remained dormant for the next 47 years, while earning a living first as a stage manager, designer, and audio technician, and later as a pioneer in law and computing. These days, he yields to other impulses.
Twyndyllyngs are an electronic music chamber ensemble using high tech devices to make “spacemusic” that is suitable for everything from planetarium presentations to deep inner thought explorations. This duo consists of Howard Moscovitz and Bill Fox who have international reputations, having performed across North America and Europe.
Bill hosts a weekly electronic music radio program Galactic Travels on WDIY-FM (wdiy.org
) and Howard is the founder of the electro-music movement and electro-music.com
University of Tennessee Electroacoustic Ensemble
The University of Tennessee Electroacoustic Ensemble performs freely improvised music that incorporates electronics and acoustic instruments. The ensemble was formed in the fall semester of 2015 and released it’s first album, Vantablack
, in the Spring semester of 2017. The group has performed at several universities and music festivals, including Big Ears Festival 2017. Frequently featuring guest artists, they recently worked with percussionist and composer Tim Feeney. The ensemble is under the direction of Dr. Jorge Variego.
Veronica Pejril is a composer and multi-keyboardist from Greencastle, Indiana, where she teaches digital musicianship and computer music at DePauw University. An alumna of the University of Illinois Experimental Music Studios and Princeton’s computer music lab, she was an early explorer into the intersections of MIDI and sound synthesis and continues to explore non-traditional uses of human/computer interfaces for musical expression. Her current interests include applications of sound-spatialization for real-time interactive installation art, as well as for traditional through-composed music.