𝔶𝔬𝔲 𝔥𝔞𝔳𝔢 𝔞 𝔫𝔢𝔴 𝔥𝔶𝔭𝔢𝔯-𝔪𝔢𝔪𝔬𝔯𝔶 is about hyperreality manifest in the form of digital memory, and the ways in which memory is distributed, transformed, and modified through virtual space. It seeks to imagine the sounds of a cybernetically mutated digital fragment of the past that has taken on a ghost-like life of its own. ‘I’ll Never Smile Again’ (1940) by Ruth Lowe is a song about memory itself. It functions in this piece as a sort of metaphor for the way the past shapeshifts through different electronic media and is deconstructed, decontextualized and distributed through virtual spheres.

Ilana Waniuk - violin
Michael Jones - percussions
Robbie Bui - cello 
Matthew Henson - double bass 
Nikolas Vudu - mastering engineer

𝔥𝔶𝔭𝔢𝔯-𝔪𝔢𝔪𝔬𝔯𝔶 for amplified ensemble and electronics

booking and info: lestempsbarbares@gmail.com

Lucien Danzeisen is a composer and artist.

von Impro, noise und den Futurist_innen über zeitgenössisch-komponierte 
(elektro-)akustische Kammermusik, Solostücke und Orchesterwerke bis zu Klangkunst, happenings, mixed media Installationen und experimentellem
low-fi Techno

*:✧˖(ෆ˘͈ ᵕ˘͈)(˘͈ᵕ ˘͈ෆ)✧˖°:

Through cyclical, everyday mundanities like cooking a next meal or answering a phone call from a loved one, we weave webs of positions towards ourselves and others that inevitably collide, creating the structure and flow of our lives. The significance of these ordinary moments often slips past our awareness, though in these moments’ constancy they do more to shape and represent our lives than the scarcer, high-intensity milestones that we look forward to or that stick out in our memory.

My intermedia sound installations and staged music theater works transport participants to dramatized recreations of these small moments. I use combinations of music and field recordings, video and lighting, performance and narrative, as well as site-specificity and audience interactivity to plunder these moments’ emotional depths, expose their intimacies, and elevate their meanings within our lives.

Contemporary Music Composer and Jazz Arranger from Lisbon, Portugal.

Composer from Puerto Rico who enjoys rhythmic music, sparkly textures, and dem-bow.

www.christianquinonesmusic.com

genre-fluid musicking
composer|multimedia artist|sound artist
www.esswhiteley.com
https://liilasounds.bandcamp.com/

Nathaniel Haering is deeply interested in the use of live electronics to expand the artistic capabilities of traditional instruments and augment their timbral horizons while enriching their expressive and improvisational possibilities. This perspective is also highly influential and represented in the gestural power and extended sound worlds of his purely acoustic work. He has collaborated with and had works performed by Grammy® Award-winning Vietnamese performer and composer Vân Ánh Võ, Trio Accanto, Ensemble Mise-En, Mivos Quartet, Wild Up, and members of WasteLAnd, Ensemble Ipse, Ensemble Dal Niente, the International Contemporary Ensemble, and the LA Phil. Winner of the 2019 ASCAP/SEAMUS Student Award, the 2019 PRIX CIME Residency Prize, and the Mixed Media Award of Distinction from MA/IN festival in Matera, Italy, Nathaniel’s work can be found on flux, vol. 33 as well as multiple volumes of Music from SEAMUS. His pieces have recently been featured at the International Computer Music Conference in Shanghai, Seoul, and NYC; the Toronto International Electroacoustic Symposium in Toronto; Noisefloor Festival at Staffordshire University, UK; VIPA in Valencia, Spain; WOCMAT in HsinChu City, Taiwan; SONIC MATTER in Zürich, Switzerland; and at numerous other international venues. Nathaniel completed a Ph.D. in Music Composition at the University of California San Diego and is a Lecturer in Composition & Technology and Theory at the University of Wisconsin - Milwaukee.

𝔥𝔶𝔭𝔢𝔯-𝔪𝔢𝔪𝔬𝔯𝔶 for amplified ensemble and electronics

Ess Whiteley