Welcome to electro-music 2013
The electro-music festival is now in it's ninth year – having moved from the Cheltenham Art Center in Philadelphia, the Renaissance Center in Kingsport, Tennessee, and the Star Lake Camp in Bloomingdale, New Jersey to Huguenot, New York at the Greenkill Retreat Center. We have seen an increase in participation each year, until electro-music has become the premiere event of its kind in the world. This year we have many old friends returning, and new artists appearing for the first time. The diversity of talent and expertise is outstanding. We have high expectations for three days of innovative music, fascinating seminars, demonstrations and rousing jam sessions.
In organizing this event, we have tried to give opportunities to participate and perform to as many people as we can. In order to accomplish this, music and seminars will run almost continuously without breaks. Several events have been scheduled to run simultaneously. It will be impossible for anyone to see and hear everything. A primary purpose of this meeting is to renew old friendships and make new ones, to share ideas and experiences - to network. We expect that people may not attend all of the sessions as they take opportunities to participate in jam sessions, or just to schmooze.
The musicians presenting at electro-music 2013 are generously sharing the gift of their music. But live music involves both the performers and the audience, and there is generosity in being a listener too, especially when the music is experimental and not mainstream. Most of the music presented in these three days is not a commercial product to be purchased and consumed, but rather a personal expression done strictly for the joy of it. At this event, all of the performers are also listeners, and listening is just as important as performing.
The electro-music festival is an outgrowth of the electro-music.com internet community, which has grown in ten years to more than 19000 members. This event provides a unique opportunity for the community to support and nurture each other as we explore new ideas and develop our music. We hope that electro-music 2013 will be a positive and fulfilling experience for all who attend. Everyone working on this event is a volunteer. All of the performers, speakers, the graphic artists, and the event staff are contributing their time, skills and resources because they believe in our community and they want to be a part of it. Every piece of equipment we use is loaned as well. We can't possibly thank you enough. This is indeed a community event. Thanks to everyone, we will all be stronger for it.
Howard and Greg
Acoustic Interloper (Dr. Dale Parson) is an Associate Professor at Kutztown University of PA with a doctorate in computer science from Lehigh University and over 30 years of computing experience in Bell Labs and related companies. Starting in 2005 with the encouragement of the Electro-Music.com community, he began to integrate his musical and computing activities. He has fused the harmonic perspectives of modal Appalachian folk music and modal jazz, the finger picking approaches of bluegrass modulated with Latin American rhythms, and the pointillistic sensibilities of Minimalism into his music. This fusion catalyzes his performance using finger-picked, processed stringed instruments and laptop improvisation.
Collaboration led by Jez Creek
Keyboardist NEIL ALEXANDER has been performing professionally for 30+ years. He works with music in all forms and styles and in many different roles, from Composer/Arranger and Production of Live Sound to Ensembles, Musical Theater, Modern Dance and Film. As an active musician he has a recording and/or a performance history with a variety of groups and artists such as Alphonse Mouzon, Jesse Gress, Kermit Driscoll, The Machine, The Mahavishnu Project, Tony “Thunder” Smith, Gunther Hampel, Tal Ross (P-Funk), and The Adaptors Movement Theater. A classically trained pianist, his repertoire includes works by Stravinsky, John Cage & Bela Bartok. His most recent CD is “Darn That Dream: Solo Piano Vol. 1?. Previously he was promoting and managing his own modern music ensemble “NAIL” with whom he has produced 4 discs, the most recent entitled “Tugging at The Infinite”. Currently Neil is booking and performing a solo piano concert series titled “100 Years Of Spring“, celebrating the centennial of Stravinsky’s “Rite Of Spring” with a stunning solo piano arrangement. Other projects include Solo performances (both acoustic and/or electronic), Mr Gone (the Music Of Weather Report) and “Scene Re-seen”, live electronic scoring of silent films. He runs the Ableton Hudson Valley User's Group and teaches Master Classes in Synthesizer Programming and Music Performance Technology.
Collaboration led by Howard G. Mangrum, keyboard, synthesizer player. Howard's been interested in electronic music since he bought Kraftwerk's Autobahn, at a local grocery store in 1975, age 14. He has been playing and buying synthesizers ever since. He runs a small project studio in California, Bay Area. While extremely excited about Electro-Music 2013, this will be his first time. He looks forward to getting a chance to work with other electronic music musicians.
Ambient collaboration, led by Ken Palmer
Scott Patire Aka Atonal
Pre midi, analog and tape ...My beginnings !
Atonality, Dissonance, Counterpoint and Repetition ...My mindset !!
Effected and Synthesized Guitar, Analog and VA Synths, Ableton, Push and Logic !! ...Some of my tools
Audio Mace is Chris Wikman and Al Baldwin from Maryland. Audio Mace was formed to provide a vehicle for exploring music with a more “industrial” and “experimental” style. 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. 2013 has been a challenging year for us but we have been inspired by listener feedback to our work to create a piece this year that will take us on a journey, mixing elements of traditional Shamanistic music with Electronic and Industrial textures. We look forward to sharing this new experiment with our friends at Electro-Music.
Azimuth Visuals is the artistic partnership of Greg and Hong Waltzer. They create video performance art to accompany musical events. Using a combination of computer-generated abstract images, animations, Greg's artwork, Hong's nature photography and video clips, these images are processed and mixed in real time by various effects software and video hardware. The intent is to provide a colorful and dynamic visual experience that is inspired by and complements the music.
Geert Bevin is a singer-songwriter that has been exploring electronic music for a few years after decades of acoustic and electric guitar playing. Geert worked at Eigenlabs on the software of the Eigenharp for 3 years. His recent music is mostly comprised of explorations through the Eigenharp's expressive capabilities using software and analog synthesizers played live.
serpentine atmospherix holographic architecture heavy mecha rotation technoid mass harmonically interlocking blox ov light sex robotic dancing industrial strength geometric trancing bioluminescent sikedelectronic meditation dark sound wave suspension
biomass Sonic Driving Audio Visualization Biofeedback Experiments initiated in Los Angeles, California 1990
biome :: headphones // loudspeakers // black void
Frequency :: bioluminescent psychedelic meditation // a // T // psilocybin // lsd // dmt
Process :: emotionally dynamic electrosonic energy field activation into audiovision
Access :: multi-dimensional potential for psychonauts & dancers
walter ovtha woodz from Fawnskin, California in The San Bernardino Mountains is involved with experimentation & synchronization of sound & the visual arts. He is also a radio & club DJ, VJ & a long time promoter of electronic dance music & beautiful alien sounds.
Boombeest is Kyle Palmer, a graphic designer and illustrator, part-time art museum security officer, and full-time daydreamer. His music can be inspired by anything and everything, particularly video games and movies, science fiction and fantasy, nature and design, beauty and strangeness, and is likely to include progressive, electronica, world, industrial, and classical flavors. He plays with Animoog on an iPad, Korg DS-10 on a Nintendo DS, and any other synthy things and noise-makers he may have on hand.
For over 17 years they've recorded many albums of strange music, but Brainstatik is best known for their improvised live concerts. They perform long-form jams combining ambient, world, progressive rock and space music, liberally shifting and mixing genres within each piece. Every member of Brainstatik is a certified electronic gear junkie, so when choosing noisemakers from their diverse musical toy box, guitars can sound like drums, keyboards can make guitar sounds and drums can play keyboard sounds. These eclectic combinations often can confound audience members (and sound engineers) who can’t always tell who is playing what. During their live shows, songs constantly morph and evolve. Within a single piece, Brainstatik's music can sound ethereal and quiet, majestic and orchestral, or experimental and edgy.
The band's current lineup includes founding member Ken Palmer, along with Mike Hunter, Glenn Robitaille and Jim Silvestri. Together, their live creations often sound rehearsed and composed, but in reality, the band has no real explanation for where the music takes them. There is always the risk of a creative ‘train wreck,” but the members of Brainstatik thrive on taking their music to the edge every time they perform.
Wyman Brantley is a sound artist working primarily in electro-acoustic improvisation. His live work is a multi-instrumental combination of electronics, software instruments/processing, field recordings, and guitar.
Randy Brown is a composer/performer from Dayton, Ohio. His music is influenced by Jazz, Ambient, World, and the Classics. Performing across the USA for over 20 years on saxophone and other woodwind instruments, he now focuses on creating music with software and various electronic instruments, such as the Eigenharp and EWI. In addition to composing in his home studio and performing solo, Randy enjoys collaborating with others in creating new music.
Todd received his training in classical percussion at West Virginia University, studying with Phil Faini and Dave Satterfield. While at WVU in the mid 90’s, Todd took lessons in electronic music and FM synthesis with Gil Trythall – lessons and experiences that still inform his music today. In 2008, Todd embarked on a quest to release ten solo album-length recordings in ten years. Six years and six releases later, Todd is finding an innovative and critically-acclaimed compositional voice utilizing electro-acoustic percussion, guitar, and hardware synths and effects, combined with many years spent as a touring rock drummer. John Collinge of Progression Magazine rated Campbell’s 2010 release “Translation” 12 out of 12 stars, observing that Todd’s “prolific and complex contributions on drums, cymbals and percussion lend depth and resonance to his incredible array of electronic applications,” creating “uncharted forays into sonic alchemy that probably surprised their creator as much as the listener.” John Patrick reviewed Todd’s 2011 release “Pathology,” noting that he “sounds like Sandy Nelson, Mitch Mitchell, and Art Blakey touring Sandoz laboratory, imbibing the product, then being turned loose in a studio full of synthesizers, plus acoustic and triggered percussion!” Todd’s solo performances invite you to experience a predictably unpredictable foray into a sonic bricolage, incorporating masterful drumming and avant-whacked synth wizardry that holds a curious treat somewhere in the depths.
Collaboration led by Todd Campbell
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.
Robert Dorschel is a multi-instrumentalist from Syracuse, NY. He has been diddling in sound for better than three decades, with the intention to produce various incantations of noise and music. His current style focuses on ambient pieces, arpeggiation and constructed rhythm, while incorporating some live looping and organic grit. Robert’s solo performance for EM2013 will be the last in his "Out of Character" series, which is an exercise in dark ambient themes, low frequencies, arpy stuff, Zen Tambours, and a tendency to resolve the tonic.
Collaboration of Robert Dorschel and Neil Alexander
dRachEmUsiK is the solo project of award winning electronic musician, sound designer and producer Charles Shriner. Charles has been a full time musician for 40 years. During that time he has worked as an arranger, session player and instrumentalist touring with numerous internationally known performers. He has been the guiding force in many projects including The Genes, Mr. Presto, dRachEmUsiK and Faux Pas Quartet. Over time he has produced artists in diverse genres including jazz, techno-industrial, classical, country, hip hop, and everything in-between. As a composer and sound designer he has created the music and sound design for world-class museum installations and planetarium shows in addition to work for film, video, dance troupes, and theater. About ten years ago Charles began focusing exclusively on his personal compositions and performances, primarily as the solo project "dRachEmUsiK" and later to include "Faux Pas Quartet". Both projects have been well received by critics and listeners. Additionally he is the owner of MCSD Studio and NetLabel. He has a strong interest in promoting community and opportunity for experimental musicians. One way he has done that is to be a co-founder and driving force of the Indiana Electro-Music Group - an off shoot of the main electro-music.com community- now in its fourth year. He hosts and performs a weekly streaming radio show and podcast "Music from last Thursday" on radio.electro-music.com featuring the musicians of the Faux Pas Quartet with frequent guest performers and composers. An additional passion is helping musicians develop skills and abilities as improvisational performers. Charles has created a series of day-long workshops on free-form improvisation which incorporate his training and facilitation skills in Jungian based experiential emotional work.
Duet for Theremin and Lap
Duet for Theremin and Lap Steel is Scott Burland (theremin) and Frank Schultz (lap steel) from Atlanta, GA. They have performed as an improvising/performing duo since 2006. Their music has been described as "deeply moving and highly inventive" and "like smokestack lightning rolling through the subconscious". Their latest CD, "collaborations", chronicles a recording tour they undertook in 2011, and features their improvisations with The Shaking Ray Levis, Andrew Weathers, Helena Espvall, Richard Lainhart and Bill Brovold. After performing at the festival, they'll embark on a brief northeastern tour which will include performances in Philadelphia, NYC (Spectrum and Joe's Pub-with the NY Theremin Society), New Haven and Boston.
This collaboration features three Eigenharp players: Paul Harriman, Geert Bevin and Randy Brown.
This collaboration, conducted by Andrew Koenig, will present an orchestrated group improvisation.
Finite Element is a synth-based solo project created by Rich Kennicutt from Binghamton, NY. Finite Element blends dark ambient, lush soundscapes, and multi-layered sequences influenced by Berlin School artists Klaus Schulze, Tangerine Dream, and Michael Hoenig, as well as classical, minimalist, and rock elements. Rich's integrated MIDI-based system utilizes sample-based and analog modeling synthesizers, FX processors, multiple MIDI controllers, and a Manakin Electronic Schrittmacher sequencer designed in collaboration with Klaus Schulze. This year's performance features two more sample pieces from a concept CD entitled "House of Cards". Rich has also engineered and produced CDs for multi-instrumentalist and composer Eric Ross ("Music for Theremin" and "Boulevard d'Reconstructie") and has played rock, blues, and jazz keyboards for several Binghamton area bands.
My name is Morgan Patrick Dunn. I have been composing electronic music for several years. My music involves complex percussion, abstract sounds, and breakneck speeds. It could be described as glitch/IDM. I will be performing under the name "Four Eyes".
Fringe Element is Jose Murcia, Mike Victor, James Lacey and Greg Waltzer. As an ensemble their goal is to explore the use of electronics to create organic, expressive music. All of their music is created in the moment, often boisterous and unrestrained. The spontaneous and interactive nature of their collaboration creates a style that is uniquely vibrant, diverse, and evolving. The chemistry between these musicians is always evident as they travel through unpredictable transitions and flowing soundscapes. Although they touch on conventional themes, they are continually drawn back to the fringe.
Fringe Element has been a fixture at the electro-music festivals, appearing regularly since the first year (2005).
Vadim Ehrlich, originally from the Soviet Union, now lives in Germany. He is a frequent participant in the electro-music streaming concerts.
Aaron Todd is from the Philadelphia area and has been composing electronic music for five years under the name Genetique. Recently, he has performed at Electro-Music and Event Horizon. A major part of Aaron's music is live manipulation and deformation of rhythmic elements. Many of his themes evoke the feeling of travel by the use of textures that slowly evolve throughout the song. Aaron utilizes both hardware and software instruments, and tends to write music in a minor key that does not conform to a particular genre. His influences include Aphex Twin, Autechre, Tipper, Cex, and Com Truise.
Laura Todd and her son Aaron are part of a musical family that jammed together as early as 1994. They will do a collaborative set that will blend Aaron's crisp, complex arrangements and Laura's mystical ambience.
Paul Harriman has been playing music since the early 1970s. A classically trained pianist and brass player, Paul started working with synthesizers and electro-acoustic instruments beginning in 1974, building a synthesizer from Electro-Notes schematics by the time he was 16. Through the 1980s and 1990s Paul was running a studio, composing music for theatrical productions, and sitting in studio sessions in Burlington, Vermont. Now resident in London, UK, he still maintains a private studio and is a regular contributor to radio shows on Electro-Music.Com's internet radio station, as well as helping with running the site (where he is known as EdisonRex). Paul played a 2 hour bi-weekly live performance show which was called Edison's Ephemera on that station from 2009 to 2011. He began playing the Eigenharp in 2010, and has been performing solo with that instrument and an Akai EWI in both the US and UK as well as doing live Internet broadcasting and projects. Paul is especially interested in the interplay of environmental backgrounds to music and the natural sympathy of ambient sound to accompaniment, especially with rhythmical backgrounds.
The Dual Looping Soundscape Guitars and electronics of Mike Hunter (Ombient, Mayakara, Brainstatik) & Harrison McKay (Tangent Project). Impromptu collision of otherworldly tones mixes with repetitive shapes, shimmering slabs of sound and unexpected dissonance.
Hylantown is the VJ project of multimedia artist Leo Hylan (Sight of Sound).
Andrew Koenig is a computer scientist and (originally) acoustic musician who has come to electro-music through the classical, rock, and folk worlds. He started playing recorder as a child and guitar and bass as a teenager, and studied music theory in college. He is a member of an early-music ensemble (www.earlymusicplayers.org) and a folk/country band(www.storynsong.com/musictown). His music often starts with traditional melodies and musical forms, which he then twists around, such as by using a looper to help sing an Elizabethan round, writing what sounds like a polka in 7/8 time, or using a sampler to build a drum kit from the sounds of doors closing and flatware jangling.
Currently Roland Kuit is teaching modular synthesis and composition. He has written books about modular synthesis, research and sound design. His latest book is the "Laboratory of Patching; Illustrated Compendium of Modular Synthesis". These books have been received with great enthusiasm internationally. Roland Kuit received his first piano and recorder lessons at the age of six. Fascinated by the phenomenon of 'sound' he made his first improvisations. The tape recorder at home was not only used to record these sessions but also all kinds of noises. He started playing the flute at the age of eleven. One year later he was accepted at the Royal Conservatory in The Hague. His teachers were Mirjam Nastasi and Marijke Bakker. After playing Baroque music, his interest went via Debussy, Fauré to the modern composers like Escher, van Dijk, Fukushima. Roland wanted to widen his scope and he explored jazz and pop music. Electronic music crossed his path. At that moment Roland made a decisive step in his career by subscribing at the prestigious Institute of Sonology in the Netherlands, one of longest-running research and production hubs on the European electroacoustic music scene. With great enthusiasm Roland studied analogue modular sound design and composition with Jaap Vink and Frits Weiland. Roland attended lectures about VOSIM given by Werner Kaegi and Stan Tempelaars as well as Fortran IV music from Gottfried M. Koenig (1981-1985). Roland took the opportunity to study and explore interactive composition and acoustics at the IRCAM, Paris. Kaija Saariaho and Philippe Manoury were his teachers (2000).
While I have a day job that I love, my second passion in life is to make experimental music. While perhaps not appealing to a wider audience, I am trying to break away from trying to fit into any particular genre although I do look to the early composers of electronic music for inspiration. I am hoping that my own experiment might inspire others to break away from the endless cliches of modern electronic music and once again put creativity on the forefront. My latest project is calked "Fire Giver". It is a musical portral of Mary Shelley's "Frankenstein - The New Promethius". Not the movie but the book which is nothing like the movie. I continue to be inspired by many electronic artists but I do have a special appreciation of early electronic artists who did so much with so little and often involved tedius work to get a good result.
Modulator ESP uses synths, samples and looping to produce improvised electronic sound paintings. These are like soundtracks for the imagination and encompass ambient, berlin school sequencing, drone, noise and space music.
Modus Ponens is a modal improv collaboration led by Greg Waltzer. The ensemble will feature Brian and Gordon Good (winds), Ted Johnson (synthesizers), and Todd Campbell (percussion).
Howard Moscovitz has been involved in electronic music since 1967 when he started making tape music using a short wave radio as a sound source. Never satisfied with commercially available musical instruments, Howard began designing his own while studying with Robert Ashley at Mills College. After working with his mentor, Stanley Lunetta, designing some of the very first digital synthesizers, Howard worked with Donald Buchla on the infamous Electric Symphony Orchestra which gave its one and only performance in 1974 at Berkeley, California. He has designed several unique electronic instruments, including signal processors and sequencers. Some of these were manufactured by Electronic Music Associates in the 1970's, and are highly desired today among collectors. In 2003 Howard founded electro-music.com as an interactive web site dedicated to furthering the art of electronic music.
MusicMan11712 (aka Dr. Steve) is Steve Weinstock (mild-mannered High School Special Ed. Office Clerk by day). He has dabbled with various aspects of electronic music for years, including work with tape manipulation, 555 timers, the Moog, the Synclavier, assembly language midi programming (Commodore 64 and 8086/8088-based computers). He currently uses some combination of midi controllers and routers, sound modules, and software (sequencers, patch editors, softsynths, custom ChucK midi processing scripts, etc.) to create electro ambient experimental music sometimes laced with beats. Steve has had an active presence streaming live sets via radio.electro-music.com (seasonal on-line festivals, guest performances on Atmosphera and Adventures in Sound, as well as performing and/or mixing international internet-based latency jams on electro-music.com's Open Port). Steve's performance at EM2013 will be based around midi controllers (primarily midi keyboards with sliders and knobs) tapping into the power of synth engines found in older synth gear and will be representative of the current state of his real-time performance modality using layering techniques.
Michael O'Bannon is a visual artist, programmer, and psychologist based in Atlanta, Georgia. He specializes in improvised mixes of video imagery in concert with live electronic music performers. He has collaborated on visuals for electro-music festivals and other music events in the southeast and midwest. His work pursues the ephemeral phantasms lurking in transition zones between abstraction and representational experience.
Oneironaut is an artistically based music project founded by Ryan and Sarah Rock of Saranac, NY. “Occult Fascinations” is an album that draws you into a hypnotic dream-like world that evokes visions of psychedelic soundscapes bordering on realms of the unheard. Using a method entirely of their own conception, Oneironaut takes bits and pieces of musical histories past to create a new sound that is best described as a complex type of loop-centric rhythm based ambient music. “Occult Fascination” has a plethora of instruments used, from electric guitars to 4-string Irish tenor banjo and also includes a wide range of genre influenced riffs, from Progressive and Death Metal to Jazz, Bluegrass, Funk, and Folk; illustrating Ryan’s unique playing style and exceptional musicianship.
onewayness is Adam Holquist, an experimental electronic musician from Erie, Pennsylvania. He uses hardware and software synths, spoken word and field recordings, and a variety of acoustic and electric instruments to create atmospheric compositions which draw influence from vintage Berlin-school electronic music, minimalism, post-rock, and contemporary electronic 'listening music'.
Joo Won Park
Joo Won Park wants to make everyday sound beautiful and strange so that everyday becomes beautiful and strange. He performs with toys, kitchenware, vegetables, umbrellas, and other nonmusical objects by digitally processing their sounds. He also makes compositions using field recordings, sine waves, and any other sources that he can record or synthesize. Joo Won draws inspirations from listening to Maryland swamps, Philadelphia skyscrapers, his 4-year-old son's play, and other soundscapes surrounding him.
Project ruori is an art-automation coalescence superimposing structure upon interstellar dust densely connected to the post-communist groove. We steal holiday favorites, beepy-beepy noises, surreal visuals, NO RICHARD WAGNER WHATSOEVER, and, here and there, a few cordless green ideas, to harass observers with an electrifying sensory trauma. (It's easier than it looks.)
Ken Palmer uses the name PYXL8R for his solo musical projects when not performing with his band, Brainstatik. Each song begins life as a spontaneous burst of synthesizer-based long-form improvisation, which is slowly morphed and massaged into a full piece. For his Electro-Music performance, Ken will be accompanied by his son Kyle on synths and iPad. Atmospheric, otherworldly, and always dense with unusual sonic textures, all PYXL8R compositions are performed live with no backing tracks. A collection of more than 50 PYXL8R songs can be listened to and downloaded for free at:
Since setting up his home studio in 2001, Ted Johnson has collaborated with a number of musicians in the Triangle area of North Carolina. These groups – which have included Groove Stream Attractor, National Holographic, Tesla Recoils, and Flash Forward – combine ambient electronica, space music, and nu jazz. Red Pyramid -- his Egyptronica collaboration with Mohamed Ragab -- played the 2013 Triangle Music Festival. Ted currently plays synthesizers and synth guitar with Jamie McMenamy in Dreamphonic. In addition to releasing 15 albums, Dreamphonic recently performed at the 2013 Asheville Electro-Music Festival. Under the name Random FX, Ted will be presenting his “Tribute to the Classic Science Fiction Movies.” Using a variety of hardware synthesizers and sound effect devices, Random FX creates haunting soundscapes that evoke scenes from Forbidden Planet, The Day the Earth Stood Still, and 2001 - a Space Odyssey.
RoDoJeDe is a long-distance collaboration originating at EM2010 when Robert Dorschel and Jeremy dePrisco first met and realized they had a number of things in common musically and philosophically. When not suffering from Gear Acquisition Syndrome (G.A.S.) or searching for the perfect looper device/MIDI controller, Robert and Jeremy make some pretty cool sounds, and when they combine their efforts, things can get interesting - if a bit unpredictable. For EM2013 RoDoJeDe will perform an un-composed work that will surprise everyone, including themselves.
Kip Rosser is considered one of the most accomplished thereminists playing today, performing his solo concerts and collaborating with musicians around the world. In the early 2000s, his original compositions repeatedly won first place in the Avant Garde and Electronic categories on Spellbound, Cygnus Radio’s theremin program. In 2006, he was officially endorsed by Moog Music, Inc. and selected to demonstrate the therapeutic applications for their theremins at the annual American Music Therapy Association convention. He is currently a board member and teaching artist for Musicopia, bringing music programs to underserved schools throughout the Philadelphia area. Rosser is also on the musician's roster of MUNY (Music Under New York), so watch for him in the Manhattan subway. Most recently, he is featured in the new book, the Noise Beneath the Apple, author Heather Jacks's compendium of Manhattan street musicians. In addition, he has just finished recording theremin tracks for composer Dane Walker's score of the new film, Scientists in the Woods. And as usual, here at Electro-Music, who knows what the @#$%!? he's going to do this time?
Karin studied Art history in Utrecht University The netherlands - specialization ‘Architecture'. She is the co-editor of a list of works of the Rotterdam utilitarian architect Michiel Brinkman. In her photography Karin is seeking for the truthfulness and boldness which she finds especially in utilitarian architecture and industrial heritage. Karin was invited by Roland Kuit for her visual contribution. Their shared sense of aesthetics has led to the creation of: ‘form follows function’.
Jeremy dePrisco (aka Shivasongster) is a Bloomsburg, PA producer and songwriter who has released several collections of original music in the Folk-rock genre, drawing also from Blues and Progressive Rock. Jeremy grew up listening to Echoes and Hearts of Space and the signals beaming from his father’s ham radio bench in the attic. After being a closet sound experimentalist for 15+ years, Jeremy has embraced his electro side via the Shivasongster moniker and since 2010 has been attending, presenting and performing at EM. When he is not making strange noises that drive his wife and friends crazy, Jeremy enjoys reading Sufi poetry, watching Stephen Colbert, biking and growing hot peppers. Be sure to try some of his Habanero Jam! Jeremy is the host of Signals with Shivasongster at radio.electro-music.com
Shueh-li was a student of electronic music while studying classical piano at the Elder Conservatorium in Australia (her birthplace), with interactive multimedia techniques as her area of research. Curiosity and perversity got involved in the selection of instruments she would formally pursue. The theremin? “... is not just a piece of history. It forces me to be disciplined and humble. We often have quarrels over who’s right, like lovers do!” As one observes her petite frame flit from stitching the theremin into a beat pattern, slipping in a synth bass to bolster softsynth designs, producing sometimes poignant lyrics, other times a luscious instrumental, one realizes that her desire to embrace her foreign expressions is the central theme.
Sight of Sound is Leo Hylan. Leo Hylan is a Multimedia Artist, Photographer, Filmmaker, Video Artist (Installation and VJ), and Electronic Musician from the Baltimore / Washington area. He received his B.F.A. in New Media from The School of the Art Institute of Chicago, a Master's in Art Education and is pursuing a second Masters in Digital Arts from Goucher College. Sight of Sound is simply put- Electronic Music. The music is influenced from artists that vary from Boards of Canada to Nine Inch Nails. The visual experience is influenced by artists that vary from Stan Brahkage to David Lynch. The music is highly influenced by the moving image and his performances incorporate video as a key element.
“You are close to silence, Silence with a capital S. You are in tune with silence, the deepest sound of them all. Every sound, therefore, that you make, (…) has a meaning, an ineffability, a significance. You are listening, Listening with a capital L. You hear what everyone else is doing; you do whatever is necessary, which is usually as little as possible. It has nothing to do with self-expression: it has to do with a group mind.” – R. Fripp
‘Sound of Listening’ is the 2nd annual attempt at building a group mind, from individual minds curated and assembled by Adam Holquist (onewayness).
Mark D Hoffman - Fort Wayne, IN
Presenter, performer, composer, teacher, and circuit bending artist. Originally from the suburbs of Chicago, IL where I grew up and performed in over a dozen rock and blues bands during my early years. Now, I combine my background in song writing and singing with new sounds formed by circuit bending kid's toys and interjecting the bleeps, glitches, buzzes and drones into my melodic music. Each song is composed around a concept in life or a strong feeling. The songs cover a wide range from soft, slow and peaceful to harder faster up-beat techno.
Gordon Good is a Staff Software Engineer at VMware in Palo Alto, CA, where he develops software to manage virtual networks. He holds undergraduate degrees in Computer Engineering and Trombone Performance/Music Education from the University of Michigan. Before becoming a full-time software engineer, Gordon was a trombonist with the Saginaw Symphony, and freelanced with ensembles in the Detroit area, including the Midland Symphony Orchestra, the Toledo Symphony, the Detroit Chamber Winds, and the Detroit Symphony. As a member of the University of Michigan Symphony Band, he was a performer at the La Scala Opera premiere of Samstag, the second work in Karlheinz Stockhausen's Licht opera cycle, and performs on the Deutsche Grammophon recording of that work.
Brian Good has played various woodwinds since the fourth grade. After winning "Superior" ratings at various solo and ensemble contests in high school, he spent his college years playing with the MIT Festival Jazz Ensemble under Herb Pomeroy. He was awarded "Outstanding Soloist" awards at a number of college jazz festivals, and has performed at venues across the country and abroad, notably the Montreux Jazz Festival. He currently performs with the North Coast Jazz Collective, as well as with a variety of jazz and avant garde ensembles. He also participates in occasional collaborations with musicians from the Detroit Symphony and the Detroit Chamber Winds.His current arsenal includes soprano and tenor saxophones (often processed), clarinet, the Electronic Wind Instrument, and whatever interesting electronic contraptions his brother Gordon concocts. He has a day job working as a physicist at the NASA Glenn Research Center.
Symmetry has traversed the full gamut of electronic musical expression since it was founded 35 years ago by Jose Murcia (a.k.a. JEM) and John Rivera (a.k.a. J.R.). It began with experimental Musique Concrete using tape recorders, radios, found sounds, home-made and circuit-bent electronic gadgets, continued with 80's style Synth Pop using elements of Rock, Jazz, Classical and New Age via consumer electronic keyboards and synthesizers, and more recently doing live mixes of Ambient Electronica, EDM and World Music using loopers, sequencers, samplers and MP3s (no laptops or iPads). During Electro-Music 2011 , they performed a tribute inspired by the music of Klaus Schulze, Jean-Michel Jarre, Pink Floyd and ELP. Currently, they're working on a tribute CD inspired by the music of Kraftwerk, Ultravox, Depeche Mode and Grandmaster Flash. The band has three different permutations which consist either of a solo, duo or trio featuring guest musicians. In the past, Symmetry has been joined by Sisco Kid (from Beat Street), Tim Lofgren (from Velva), Daniel Vose (The Last to Sleep), James Lacey (of Mutation Vector), Charles Shriner (dRachEmUsiK), Ken Palmer (PYXL8R), Steve Mokris (of Project Ruori), Leo Hylan (Hylantown), and Greg Waltzer (of Azimuth Visuals). This year, Symmetry will be joined by Michael O'Bannon on visuals.
Tamul wants to ignite awareness and action on our part. He feels our souls contain the fuels needed to involve ourselves with the problems and concerns of this world, although usually we do not utilize these fuels. We become so insulated that we do not notice the events taking place around us. The seeds of destruction take root without intervention. Situations become critical and explode around us before we use our fuel and act on a problem. We must not be people on the world, not in it - having no conscious sympathy or relationship to anything about them - undiffused, separate, and rigidly alone like marbles of polished stone, touching but separate. Tamul wants to spark the essence that fuels our humanity and common sense. His music will be challenging for most people. If the audience comes expecting merely to be entertained, they will be surprised. His music explores the art of arranging sounds in unique and challenging ways. Tamul notes that any art is a spin-off on tradition. Tamul prefers taking music to the edge.
Thin Air is Steve Bowman. I play electronic music. Not "beats," but adventurous spacemusic with a jam-band sensibility. Sounds range from ambient and dreamy to raucous noise. Harmonies from atonal to modal. Melodies, chromatic angularity to singable themes. Sometimes all in the same composition. If you listen carefully you'll detect my bias for 20th Century classical music. Electronic sounds colored with atonality. Compositions with noise, a la Subotnick, Stockhausen, Messiaen, Ligeti. Ligeti is my favorite modern composer. Unlike many electronic acts, I don't just do free jams. My pieces are composed, with themes and structure. They have beginnings, middles, ends, are in separate keys (or modulate) and unfold discernable musical ideas. But they are not scored note by note (been there, done that). As in jazz, or jam bands, each instance of a piece is different, capturing the energy of the moment. I'm a pianist and I originate almost everything you hear live, from a synth keyboard, then apply arpeggiators, delays, effects, and loopers. Lots of looping. I rarely use sequencers, drum machines or backing tracks. Music is sound and I make sound I like. I do love all the fantastic sounds that modern circuitry can generate. But I also love medieval masses, string quartets, and Bach. The sounds I make are filtered through 50 years of listening, a degree in Music from Harvard, more Grateful Dead shows than I can count, and 20 years of playing spacemusic with Art Cohen (as the duo Delicate Monster). Listen to Thin Air. Afterwards tell me how you would describe what you hear. My hope: the sounds are good enough to be called, simply, “music.”
Before forming Xeroid Entity with Greg Waltzer, Howard Moscovitz and Bill Fox were already playing together under the name Subspace. The duo was put on hiatus since they were playing exclusively as Xeroid Entity. But in early 2010, Howard and Bill realized that they had made a resurgence as a duo. Meanwhile, the old band name had been plastered all over the internet by other acts. So using a new name, Howard and Bill returned to the spotlight with (mostly) weekly internet broadcasts called Chez Mosc, originating from Howard's living room. In Twyndyllyngs, Howard and Bill maintain their predilection for improvisation. One never knows in what direction the music will go. Ambient, noise, sequencer, looping, Classical, Moog Modular, Rock... These are just some of the tools and influences to be crafted into the emotion of the moment.
Most of my work is performed on the spot with little preparation. One could describe it as a work in the moment or impromptu . ( impro-(ve)-mptu ) The only preparations are with mental readiness. I believe this to be true experimentalism. My love of sound gives me a freedom I am best at expressing in this way. I have been interested in and involved with with electronic music experimentation since the early 1970's. Some of my early recordings were played on The University Of Pennsylvania's radio station WXPN 88.5 or 88.9 at that time ERP Experimental Radio Project show in the late 1970's early 1980's. Three airchecks of WXPN Philadelphia when they were at 88.9 FM Can be found here http://www.angelfire.com/nj2/piratejim/memorabilia.html These 1980 - 82 clips are before the following destructive process. Unbeknownst to me at first until I was made aware of it on New Year's Eve 1980 by my brother who had been listening and heard the personnel giving their New Year resolutions over a background of what was a cassette tape I donated earlier that year, I continued to record at home in my bedroom with a Gemini tape echo / electro Harmonix mini synthesizer, Super Space Drum, Casiotone MT31 ,and VL tone. Having to sell off most of my gear due to financial hardship, I continue to create with a Macbook, Native Instruments Soft synths, and hardware processing i.e. korg kaoss pads and IOS apps. I would be grateful to hear your opinion of my performance. Come hear and judge for yourself .
My music can be described as 'melodic ambient". Although I use synths and gadgets, my main focus is composition...creating interesting riffs, chord changes and sounds. The mood is uptempo, yet contemplative and mystical. My main musical influences have been Psychedelic and Progressive Rock. Many of my visuals are based on hand-drawn art, and they are reminiscent of psychedelic album art and light shows. In July, two of my music videos were shown at a Philadelphia festival in honor of visionary inventor Nikola Tesla.
xeroid entity is constantly exploring new musical territory by going beyond the barriers of standard conventions while still drawing upon classical influences. Their music ranges from light and whimsical to dark and aggressive, often within the same piece. Much of it is ambient in nature; without a discernible beat. When they do play rhythmically based music, there are often complex counter rhythms giving the music a poly-rhythmic flavor. The results can be subtle and spacey without being boring, noisy without being harsh, dynamic yet continuous. The members of xeroid entity are Howard Moscovitz, Bill Fox, and Greg Waltzer. Combined they have more than 100 years of experience making electronic music. They all program their own sounds, and refuse to be bound by conventional scales or rhythms. The parts are freely improvised, though they occasionally have structures based on the concerto forms of Mozart and Bach. This allows for maximum expressiveness and interaction between group members, while avoiding predictability.
This collaboration features music created by mixers with no audio inputs (other than feedback loops), combined with effects. Led by Dale Parson (Acoustic Interloper).
Seminars and Workshops
Demonstration – Randy Brown
Randy Brown will present a demonstration of two Eigenharp models, the mid-sized and sporty Tau and the sleek and compact Pico. Capabilities of all Eigenharps will be discussed, including the EigenD software suite, as well as some of the unique characteristics of the instruments themselves.
Space/Shaping Reflections – Roland Kuit
Modular strategies in shaping reflections and space
Stereo, pseudo stereo, ambiophonics, phase inversion, sample delay, feedback, delay networks, hybrid forms, reverberation, granular reverberation and delays, delay taps, switchable spaces, shifting frequencies, resonators, building pre-set resonators, delay matrixes, building resonator matrixes, Doppler FX, creating swirls, physical modelling, pseudo Karplus-Strong, phase-lock loop and Karplus-Strong, Creating tubes as instruments.
Using the Teensy
Microcontroller as a MIDI Controller – Gordon Good
The availability of inexpensive microcontrollers like the Arduino, as well as more powerful systems like the Raspberry Pi and Beaglebone, has opened up new possibilities for electronic music DIY hardware. My favorite controller to work is the Teensy series from PJRC. It's inexpensive, very small and embeddable, compatible with the Arduino software, and supports USB over MIDI, making it an ideal platform for MIDI controllers. In this workshop, we'll use the Teensy 3.0 and a pair of Wii Nunchuck accessories to build a set of air drums that use the accelerometers in the Nunchuck. We'll assemble the circuit on a breadboard, then upload firmware that I'll provide. Participants should bring a laptop and a digital audio workstation with a drum kit patch (Windows, Mac, and Linux laptops will all work). For those participants with programming experience with C or C++, it'll also be possible to modify the firmware to perform other functions, such as sending continuous controller data in response to the Nunchuck's position. I'll provide five complete setups (microcontroller, breadboard, micro-USB cable, Wii Nunchucks, and jumper wires. We'll work in teams of two, so the workshop will be limited to 10 participants. After the workshop, the kits will be available for free on a first-come first-served basis to any participant who promises to make a new instrument controller and share a blog post about it.
The Moog Guitar – John Morley
and Ableton – Aaron Todd
The Launchpad is a simple, cheap, and extremely useful controller for use in live performances. In this seminar you will be introduced to the Launchpad's basic operation and explore its more advanced features. Then you will see some creative uses of the controller when combined with features in Ableton Live 9 to enhance performances.
Introduction to SuperCollider
– Joo Won Park
SuperCollider is one of the most powerful and versatile sound synthesis freeware available for electronic music composers. It is a tool to understand fundamental digital signal processing techniques as well as a platform to experiment with new compositional and synthesis ideas. SuperCollider can be used to build interactive performance systems and generate algorithmic compositions. This workshop/demo will help you get started with SC. I'll explain the fundamentals. We'll make some sounds together. To get the maximum benefit from the workshop, please download SuperCollider at www.audiosynth.com to your laptop. The program is available for PC, Mac, and Linux.
Free Form Improvisation
Workshop – Charles Shriner
As musicians we engage in intentional non-verbal communication on a regular basis. When performing a solo improvisation - while we may play off audience cues - we are, for all practical purposes, giving a musical monologue. In a collaborative free form improvisation we move into a direct, spontaneous dialog with other musicians. We are responsible for listening and responding in ways that communicate, engage and inspire each other and the audience. The intention of this workshop is to examine some of the ways we can carry on spontaneous, meaningful musical conversations with each other in the absence of traditional musical structures. During the workshop we will be doing exercises, making music and discussing various techniques to promote musical communication including: creating a cohesive ensemble, active listening and interpretation, identifying and using motifs, emotional intimacy, purpose of ego, opportunities from the unconscious. While it's not mandatory, participants are encouraged to bring a simple instrument - electronic or acoustic - on which they are reasonably proficient. If you are unable to bring an instrument, I invite you to consider the human body and voice as acoustic instruments ;-) . Most importantly, bring and an open heart and mind.
Charles Shriner currently lives in Indianapolis, IN and has been a full time musician for 37 years and trained facilitator of Jungian based experiential emotional work for 13 years.
Using Ableton Live for
Generative Music Applications – Neil Alexander
One of the definitaions of Generative Music is "Music generated by processes that are designed and/or initiated by the composer." In this workshop I will demonstrate and discuss some of the techniques I have developed in creating Generative Music with Ableton Live software, using clip manipulation, arpeggiators, delay lines and other effects to create continuously evolving soundscapes and music that once set in motion requires little or no interaction.
and OSC Controller State Machines in ChucK – Dale Parson
"MIDI and OSC Controller State Machines in ChucK" examines how to use abstract state machines as models for control aspects of a composition in order to generate ChucK or Java code that translates raw MIDI or OSC messages from controller hardware into sequenced MIDI or OSC messages that share the structure of the composition.
with Eigenharp and Leap Motion Controller – Geert Bevin
New hardware controllers have reached a level of finesse, bandwidth and detail that opens entirely new expressive capabilities. Each aspect of a synthesized sound can now be expressed in real-time with a similar feed-back loop as traditional acoustic instruments. There's no need anymore for artificial feeling or expressiveness controls as even the most basic sound comes alive when the hardware can instantly capture movements to the width of a micron. This workshop will walk you through the challenges and opportunities of adopting the Eigenharp and the Leap Motion Controller for live playing. Geert has worked on the software for both and has explored the capabilities of the Eigenharp for years, ever since it became available.
Softsynth – Adam Holquist
DIN (DIN is Noise) is a cross-platform software synth for Windows, Mac OS, and Linux, which uses Bezier curve based waveforms and a unique graphical/textual interface to create a powerful performance instrument for complex microtonal drones and lead voices. Adam Holquist (onewayness) will use this time to demonstrate some of its features and capabilities.
Virtual Versus Real Synths – Robert Dorschel
5U Hordijk Analog Modular Synthesizer System, Hows and Whys of the
Design – Rob Hordijk
Rob Hordijk is a designer of analog electronic music instruments. He will talk a bit about what it takes to design such an instrument and of course do some demonstrations.
and Video Performance Art – Leo Hylan
In this seminar I will be discussing the key concepts and tools in providing a visual experience for live music. The seminar will cover ideas, sources, and elements for presentation as well as the tools, software, and language of the medium. If you have considered becoming a VJ, are currently a VJ or want to know how to implement video into your own show, this seminar could be helpful.
Jam Sessions Those of you that have attended electro-music festivals in the past know that the jam sessions can be one of the highlights. You don't need to sign up, or be a performing artist to participate in the jams - anyone can join! Just bring your instrument and cables to connect - there will be a PA system in the jam room. Jams can be downstairs in the rehearsal room at any time, or upstairs in the seminar room (lounge) after dinner. Jam sessions are unstructured - the music can be whatever the participants feel like playing. For those who are new to group improvisation - there is only one rule, and that is to be respectful of the other musicians. Usually that means to listen before playing, and try to play something that complements or inspires the music as it develops. Everyone wants to be heard, but don't play so loud that others can't be heard. If it's crowded, take a break and give others a chance to play. If the past is any indication, we can look forward to some fantastic, unpredictable music!
The Laptop Battle is a judged competition, where anyone is invited to participate and play a short set. It's not restricted to laptops - you can play something else but you should be able to set up and play your set in 10 minutes. The winner will be awarded a featured performance spot to close out the festival on Sunday night. The laptop battle is scheduled for 5-6pm on Saturday. You can sign up at the registration desk. You can also sign up to be a judge.
The swap meet is a chance to buy, sell, or trade your musical gear. In the back of the lounge (seminar room), there will be an area (with tables) where people can set up. Everyone is invited to participate. Please label your items with your name and the price.
Special Thanks to:
Howard Moscovitz – organizer
Greg Waltzer – organizer
Hong Waltzer – coordinator, photography
Dale Parson, Bill Manganaro, Project Ruori, John Rivera - equipment
Paul Harriman – sound engineering
Jack Hertz – T-shirt graphics
Joo Won Park, Jez Creek, Howard Mangrum, Mike Victor, Scott Patire, Aaron Todd, Charles Shriner, Geert Bevin, Randy Brown, Jack Tamul, Brian Good, Neil Alexander, Gordon Good, Rich Kennicutt - assistance
Greenkill Retreat Center
and everyone who has volunteered their time, equipment, energy and talent to help make electro-music 2013 a success!