Kara-Lis Coverdale is a musician and composer with omnivorous approach to sound. She creates colourful and dense arrangements that blur the line between the human and the machine with a unique penchant for long-form melody, harmony, and sonic detail. Her pieces often contain arrangements for keyboards, as she is a classical pianist by training and has been an organist and music director at several churches since she was 13. Following a 2014 release of pieces for processed voice, In 2015 Kara-Lis released a solo album Aftertouches, which was named best of the year by The Quietus, The Wire, and others as well as a collaborative album Sirens with LXV. Kara-Lis has been called “One of the most exciting young composers in North America” by the Guardian, and a unique navigator of the electronic world with “unearthly grace” by NPR. 

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Martin Howse is occupied with an artistic investigation of the links between the earth (geophysical phenomena), software and the human psyche (psychogeophysics). For the last ten years he has collaborated on numerous open-laboratory style projects and performed, published, lectured and exhibited diversely. He is the creator of the skin-driven audio divination noise module, aka. The Dark Interpreter, and the recent ERD modular synth releases.

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Aaron Miller-Rehm (US 1989) is a Colorado based artist and experimental musician best known for his work surrounding the Bleak Environment label which he founded in 2010. While at EMS he is recording an upcoming release for his solo project Flowering Blade using the Buchla 200 synthesizer, as well as using the Studer B67 tape machines for Sorrowing Christ, a collaborative effort with Stockholm-based musician Kali Malone.
Sorrowing Christ is performing May 21st at Fylkingen hosted by XKatedral.

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Photo credit - Locker, April 2016

Andreas Dzialocha (DE), electric bass player, programmer and composer, founder of the Serenus Zeitblom Oktett. Studies of art history, musicology, media science and computer science. Writes environments with and without computers for instrumentalists, theater and sound installations. Performs in various ensembles between free improvised music, chamber music and pop. Bass player of the swedish group Tula (Telegram / Warner), publisher of the BLATT 3000 paper platform for contemporary music. Solo Electric Bass Album Release 2015 on Slip Imprint (London / Berlin). Co-founder of the self-curated festival VERANTWORTUNG 3000 summer 2016. Young artist award 2012, nominated by the Moers Festival. Lives and works in Berlin.

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Andrew Tuttle based in Brisbane, Australia; creates sounds that explore the relationship between instrumentation, structure and genre within electronics and acoustics.

Tuttle, usually solo, although occasionally in semi-regular and ad-hoc collaboration, creates a synthesis of electronic/acoustic instrumentation and genre, and improvisation/composition performed on computer, synthesiser, banjo, acoustic guitar, electronics and other instrumentation.

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This project is supported by the Queensland Government through Arts Queensland and has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Electronic Musician, Percussionist and Composer Jake Meginsky has collaborated and performed with such artists as Milford Graves, Alvin Lucier, Joan Labarbara, Kim Gordon, Vic Rawlings, Greg Kelley, Bhob Rainey, Joe McPhee, Thurston Moore, William Parker, Daniel Carter, Paul Flaherty, Arthur Brooks, Bill Nace, and John Truscinski.  

Meginsky frequently collaborates with choreographers and has worked with Cori Olinghouse, Paul Matteson, Jen Nugent, Susan Sgorbati, Katie Martin, and Nora Chipaumire. He has a longstanding artistic relationship with Gwen Welliver, and recently composed the score for her new work, “What a Horse”.  Welliver and Meginsky will debut a new work at the Ginbney, NYC in 2017. 

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Photo by Gabriel Chicoine