Jeff Carey

Jeff Carey makes synthetic noise music with an physically controlled software based instrument of his own development called ctrlKey. His music is abstract and sculptural, full of shapes and gesture, colored by noise bursts, percussive glitches and shifting resonance. In recent work, he has incorporated lighting projection to explore the space between visceral and the external embodiment of sound. He builds physically controllable custom software synthesis instruments and is interested in exploring immediate and flexible sound production with virtuosity in electronic music.

"He's acting on raw instinct here - he refuses the clinical approach to programming software or composing music, and strives to throw himself bodily at his machines, replacing all mechanical moving parts with human flesh, blood, and bone. In pursuit of this all-organic goal, virtually everything else is jettisoned, starting with recognizable notes or melody." – Sound Projector magazine editor Ed Pinsent

He is an active member of Baltimore's music scene. He organizes local concerts for touring electronic musicians and is a co-curator of the High Zero Festival for improvised and experimental music and for the Diffusion Festival for electronic multichannel music.

Index[off], released on July 3rd is only available via https://jeffcarey.bandcamp.com/album/index-off

website: http://jeffcarey.foundation-one.org

merch: https://jeffcarey.bandcamp.com

Evicshen

Victoria Shen is an experimental music performer and sound artist whose work features analog modular synthesizers (Flower Electronics), amplified objects, and invented instruments, the resulting music eschews conventions in harmony and rhythm in favor of extreme textures and gestural tones.

website: https://www.instagram.com/evicshen/

merch: evicshen.bandcamp.com

Thomas Dimuzio

San Francisco-based Thomas Dimuzio is one of those unsung artistic figures whose influence and abilities have substantially outstripped his visibility. Composer, collaborator, experimental electronic musician, multi-instrumentalist, improvisor, sound designer and mastering engineer - Dimuzio has been busy doing his thing(s) since the late 1980's, but is still only known to a small circle of electronic music enthusiasts. A true sonic alchemist who can seemingly create music events out of almost anything, Dimuzio's listed sound sources on his various releases include everything from "modified 10 speed bicycle" and "resonating water pipe" to short-wave radios, field recordings, loops, samplers and even normal instruments such as clarinet and trumpet. And while his wide range of musical interests make it impossible to pin a label on him, Dimuzio clearly has an insider's knowledge of older experimental musical forms such as musique concrete and electroacoustic, as well as more current dark ambient, noise and post-techno styles.

website: http://www.thomasdimuzio.com/

merch: https://thomasdimuzio.bandcamp.com

Lucas Abela

What's been described by David Rees in The New York Times as sounding like "One moment you hear John Coltrane playing a volcano, the next you hear a string section being squeezed through a toothpaste tube" is in fact the utterly unique music of Lucas Abela aka Justice Yeldham, a maverick improviser who performs on shards of broken glass. Since its invention in 2003, the glass has evolved from a means to create free-noise cacophonies into a rudimentary instrument that produces an organic form of outsider electronica. Due to the volatility of the material combined with the ecstatic nature of early performances (that tended to end in bloodshed) the instrument has been somewhat maligned as a shtick by some who wrongly assumed the show is merely screaming into glass. These assumptions couldn’t be further from the truth, as in fact as an instrument the glass is incredibly versatile and acoustically most of the vocal techniques employed are barely audible. Behind the amplified din, closer observation reveals the shards are played somewhat like a bellow-less saxophone, vibrating lips subtly transmitting micro-sonic vibrations into the pane. This single source of audio then feeds into an array of parallel effects chains giving the music the illusion of ghostly accompaniment (wrongly ascribed to backing tapes / looping pedals) that together forms dense layers of anomalous music.

website: http://dualplover.com/abela/

merch: https://granpa.bandcamp.com/

Sigtryggur Berg Sigmarsson is an visual, sound and performance artist born in Akureyri, Iceland in 1977. He studied Sonology at the Royal Conservatory Den Haag, Holland in 1997 to 1998, and received MFA at Fachochshcule fur bilende kunst Hannover, Germany in 2004. Sigmarsson exhibits his paintings & drawings internationally but is probably most known for his energetic performances at a wide array of venues. His approach is that of the trembling artist, struggling to make sense and direction out of a creative impulse. Regardless of the medium, there is a continuous search for order and chaos throughout his body of work. With his series of drawings Sigmarsson distorts the normal, daily life by drawing very common objects in an abstract way. For some time he has been releasing solo recordings with albums on Trente Oiseaux, ERS, Helen Scarsdale, Fire Inc., Hanson Records, Bawag Contemporary Vienna, Korm Plastics, Bottrop Boy, Ultra Eczema and De Player.

website: https://www.discogs.com/artist/66157-Sigtryggur-Berg-Sigmarsson

Rubber-O-Cement

Coalescing into a specific burning vision in 1994 Rubber (() Cement was put together as a direct idea for a super science future that will happen. The next technological breakthroughs are realized in a zero-tech way with the emulation of the unrealized 'next step' with the actual "vision" existing in the present (picture a cargo cult with stats on NASA industries).

Historically Rubber (() Cement came out of a few shows: one in L.A. with Speculum Fight, and a Japan tour where there was going to be 10 tape release, all at once, with stacks of comics, action figures, trading cards all from the closing of "Comics and Cosmos" who filled up their sales bins with nickle items. Wanting to redistribute this mega closeout overseas with easy scientic visual medium *and a tape, Rubber (() Cement persists years later. This is particular live visual assemblage is the antithesis of nescient paint-sperm masterpieces smaller than most microbe canvases (note mid point close up for petri-shuttle) played out on a Los Angeles sound stage by '95. The off camera Motherboard Superiors are crossed themselves in a solid state soldered light source pattern giving an aura of "first omega book prophecy" to the ManOSores (off timeline, unbeliever, and inadvertently) powering the onstage stint. Ogre-exposed ocular nerves to interpret with rapt persuasion moves what is described as "dramatical". It really is up to you to "read" the signs and gestures here to your audio reception-mix. This presentation is coming in contact with a visual bleach blanded ketone solvent that your loose sockets are watching while the individual mouse clicker, would spray paint the entire facial/chest area with an acetone cleaner for maximum excitement-fury inner brain counter attack at any moment during a live escapade.