Joshua Groffman’s music draws on experiments in time and form, a background as a performer of rock, jazz, and art music, and a strong sense of the specificity of place. His works have been performed by groups including the American Composers Orchestra, Ensemble Laboratorium, Aspen Contemporary Ensemble, New York New Music Collective, Delaware Valley Chorale, Duo 231, Indiana University Contemporary Vocal Ensemble, and the Cornell University Chamber Singers, and selected for performance at the Aspen Music Festival, June in Buffalo, SEAMUS National Conference, Florida State University New Music Festival, Cal State Fullerton New Music Festival, the CUNY POP! Conference, Midwest Composers Symposium, and the 60×60 VoxNovus East Coast Mix.  Projects for 2014-2015 include a position as composer-in-residence with Ars Musica Chorale, a new work for soprano Lucy Dhegrae, and Vertigo Rounds, a multi-composer setting of Psalm 119.

Groffman graduated magna cum laude from Cornell University in 2007, where he completed double majors in music and history. While at Cornell, he studied composition with Roberto Sierra and Steven Stucky and piano with Xak Bjerken and Malcolm Bilson. Groffman holds Doctor of Music and Master of Music degrees from the Indiana University Jacobs School of Music, where he studied composition with Sven-David Sandström, P.Q. Phan, Claude Baker, Aaron Travers, and Don Freund and computer music with Jeffrey Hass and John Gibson. He has served on the faculty at Sarah Lawrence College and the John J. Cali School of Music at Montclair State University, and as an Associate and Coordinating Instructor in the theory department at the Jacobs School of Music. Originally from upstate New York, he is also founder of One Quiet Plunge, a group devoted to the promotion and performance of new music in the Hudson Valley.

Sortsø is a duo consisting of the siblings Joshua Lindemann (producer, songwriter and composer) and Celine Lindemann (singer and songwriter). 
Joshua Lindemann is well known for his part in the electronic project Bak & Lindemann and therefor contributes with a dark, minimalistic and electronic sound. In relation with his sister, who brings a softer touch to the music, it becomes a mix of pop, electronica and trip hop.

Born and raised in Miami, Joshua D has spent over a decade traversing the globe, infecting dancefloors with his signature blend of heavy drums and Latin flair. Named one of JustCircuit's "Best Up-and-Coming DJs" in their 2014 Awards, he quickly proved that recognition well-deserved—performing at the historic 25th anniversary of Jeffrey Sanker's White Party Palm Springs and the inaugural 1LIFE Festival alongside Paulo, Tony Moran, Chus + Ceballos, and Robbie Rivera.

Those who experience his sets are struck by his ability to weave together seamless musical journeys—deep, intense, dark, and tribal. From his residency at LA's legendary Circus Disco to headlining Masterbeat events, Joshua D has shared stages with circuit royalty including Paulo, Tony Moran, Manny Lehman, Hector Fonseca, Isaac Escalante, Joe Gauthreaux, Tom Stephan, Pagano, DJ Escape, Ana Paula, Oscar Velazquez, DJ Aron, Alex Cohen, Luis Perez, Twisted Dee, Brett Henrichsen, and Rodolfo Bravat.

His international reach spans continents—from the Velocity Festival in Seoul, South Korea to Profile at Dublin's Academy, UNITED Afterhours in Vancouver, and events across the Philippines. Cities like London, Shanghai, Bangkok, and Mexico City have all felt the pulse of his tribal-tech sound.

When the world shut down in 2020, Joshua D pivoted to the virtual stage, bringing the circuit community together through innovative livestream events. He headlined Back2WERK alongside Paulo and Tom Stephan benefiting The Trevor Project, performed at Ascend Online supporting the TGI Justice Project, and even crossed borders digitally for Manila's HoeVID-19 Fiesta—proving that great music transcends physical boundaries.

As a producer, Joshua D has released official remixes on Audio4Play and Nick Harvey Music, including his remix of Hector Fonseca's "Bump" and Cherie Lily's "Body." His original tracks, remixes, and edits have been championed by Alexander, Steven Redant, Rodolfo Bravat, and Casey Alva in clubs worldwide. His Dirty Sessions Podcast—available on Apple Podcasts, Spotify, and SoundCloud—continues to deliver his signature tribal-tech sound to listeners across the globe.

Bak & Lindemann is a danish electronic music duo consisting of Bastian Bak and Joshua Lindemann.

The music is a fusion between deep progressive house and dark and dusty electronica.

Their inspiration is influenced by names such as Lulu Rouge, Minilogue, Quantec and Swayzak. 

// CONTACT // BOOKING:
■ baklindemann@gmail.com

// GIGS:

■ 17/05-14 Forbrændingen | Småt brændbart @ Albertslund, DK

■ 07/06-14 KB18 | RECONSTRUCT @ Copenhagen, DK

■ 13/09-14 KB18 | RECONSTRUCT @ Copenhagen, DK

■ 28/02-15 Sonic College | Sonic Event #5 @ Haderslev, DK

■ 13/03-15 Double Rainbow @ Aarhus, DK

■ 01/05-15 Double Rainbow @ Aarhus, DK

■ 30/10-15 Månen | Stajsværk #2 @ Haderslev, DK

■ 12/02-16 Double Rainbow @ Aarhus, DK

■ 13/08-16 UHØRT @ Copenhagen, DK

Submit booking, licensing, and label correspondence to keston@audiocookbook.org

John C.S. Keston is an award winning composer of electronic, experimental, and instrumental music. His work embraces the chaotic ambiguities of environmental and sensorial influences providing context within unpredictable or everyday events. His unconventional compositions convey a spirit of discovery and exploration through the use of graphic scores, chance and generative techniques, analog and digital synthesis, experimental sound design, signal processing, and acoustic piano. His compositions parallel indeterminate improvisation activating what remains immutable within traditional forms of notation driven music. Performers are empowered to use their phonomnesis, or sonic imaginations, to contribute to the work.

His music appears in The Jeffrey Dahmer Files (2012) and he composed the music for the short Familiar Pavement (2015) presented at the MNKINO Film Score Fest. He has appeared on more than a dozen albums including two solo albums on Unearthed Music. His latest release, Isosceles (2016) has drawn comparisons to the Stranger Things soundtrack. In 2011 he won the Minnesota Emerging Composers Award for electronic musicians. In 2013 he won the Jerome Fund for New Music for his project documenting binaural duets with the Singing Ringing Tree in the UK. 

John has performed and exhibited original work at Northern Spark, an all night arts festival with over 200,000 attendees (MN); the Weisman Art Museum (MN); the Montreal Jazz Festival; the Walker Art Center; the Burnet Gallery (MN); the In/Out Festival of Digital Performance (NYC); the Eyeo Festival (MN); INST-INT (MN); Echofluxx (Prague); WMC (Miami); and Moogfest (NC). In addition, Keston has worked with Atmosphere, Jon Davis, Martin Dosh, Peter Hennig, Joshua Herbst, Cody McKinney, Graham O'Brien, Adam Svec, and Nils Westdal to name a few. John resides in Minneapolis where he is a professor of creative multimedia at the University of St. Thomas and founded the widely read sound design resource  <a href="http://audiocookbook.org" rel="nofollow" target="_blank">AudioCoobook.org</a> where he shares sounds and writes about his unique approach to composition, production, and performance.

Bio:

Zach Layton is a multi-instrumentalist, composer, curator, improviser, teacher and video artist based in Brooklyn. His work investigates unconscious autonomic musical impulses via improvisation and indeterminacy. Using an EEG, which monitors brainwave signal in realtime, he is able to sonify and visualize this stream of unconscious data. His music involves a combination of digital and analog processes, field recordings, 17-string electric bass, and electric guitar played in non-standard tunings.

Zach’s work has been performed by the cleveland chamber symphony and he has performed and exhibited at the kitchen, issue project room, roulette, diapason, PS1/MoMa, anthology film archives, joe’s pub, performa, exit art, SCOPE art fair, art forum berlin, phillips de pury, new york electronic art festival, yerba buena center for the arts, eyebeam, sculpture center, millenium film workshop, st. mark’s ontological theater, bard college, dumbo arts festival, transmediale berlin, new york digital salon, miguel abreu gallery, participant gallery, monkeytown and many other spaces in new york, south america and europe. He has collaborated with Luke Dubois, Vito Acconci, Elliott Sharp, The Joshua Light Show, Jonas Mekas, Tony Conrad, Bradley Eros, Alex Waterman, Nick Hallett, Andrew Lampert, Matthew Ostrowski, Michael Evans, MV Carbon, Seth Kirby, Matthew Welch, Christine Bard, Andy Graydon, Ryan Sawyer, Matt Mottel, Bradford Reed, Emily Manzo, Patrick Hambrecht, Marissa Olsen, Angie Eng, Adam Kendall, Chika Ijima, Peter Gordon, Peter Zummo, Tristan Perich and Ray Sweeten and many other artists, filmmakers, curators, musicians and friends.

Zach is also founder of Brooklyn’s monthly experimental music series, “Darmstadt: Classics of the Avant Garde” co-curated with Nick Hallett featuring leading local and international composers and improvisers, former co-curator of the PS1 warmup music series and curator at Issue Project Room. Zach has received grants from the Netherlands America Foundation, Turbulence, the Jerome Foundation, NYFA, Experimental Television Center, LEMURplex, Free103.9 AIRtime Fellowship, the Danish Council for Visual art, the City of Copenhagen Artist in Residence Program and is a graduate of the Oberlin Conservatory and the Interactive Telecommunications Program and has taught at NYU’s Tisch School of the Arts, Bard High School Early College and Bloomfield College.

http://soundcloud.com/somnoroase-pasarele

Spectral music

The spectral approach originated in France in the early 1970s, and techniques were developed, and later refined, primarily at the Institut de Recherche et Coordination Acoustique/Musique, Paris, with the Ensemble l'Itinéraire, by composers such as Gerard Grisey and Tristan Murail. Murail has described spectral music as an aesthetic rather than a style, not so much a set of techniques as an attitude – that "music is ultimately sound evolving in time".[1] Julian Anderson indicates that a number of major composers associated with spectralism consider the term inappropriate, misleading, and reductive. More recently (2003) the Istanbul Spectral Music Conference redefined the term "spectral music" to encompass any music that foregrounds timbre as an important element of structure or musical language.

Composers

The term "spectral music" was coined by Hugues Dufourt in an article written in 1979 and first published two years later. Dufourt, a trained philosopher and composer, was the author of several important articles on spectral music.

The term was initially associated with composers of the French Ensemble l'Itinéraire, including Dufourt, Gérard Grisey, Tristan Murail, and Michael Levinas, and the German Feedback group, principally Johannes Fritsch, Mesias Maiguashca, Peter Eötvös, Claude Vivier, and Clarence Barlow. Features of spectralism are also seen independently in the contemporary work of Romanian composers Ştefan Niculescu, Horatiu Radulescu, and Iancu Dumitrescu.

Notable composers building on the spectral idea today include Julian Anderson, Ana-Maria Avram, Joshua Fineberg, Fabien Lévy, Magnus Lindberg, and Kaija Saariaho.

Origins

Early traces can be found in Hermann von Helmholtz's On the Sensations of Tone as a Physiological Basis for the Theory of Music.[6] Early in the twentieth century, Ferruccio Busoni published in 1907 "Entwurf einer neuen Ästhetik der Tonkunst" (later translated as "Sketch of a New Esthetic of Music"), describing (amongst other things) microtonal music. Along similar lines, Henry Cowell published in 1930 New Musical Resources, establishing a relation between acoustics, perception and composition.

Proto-spectral composers include Claude Debussy, Edgard Varèse, Giacinto Scelsi, Olivier Messiaen, György Ligeti, Iannis Xenakis, and Karlheinz Stockhausen. Theoretical predecessors include some of the composers mentioned and Harry Partch, Henry Cowell, and Paul Hindemith.

Romanian folk music, as collected by Béla Bartók (1904-1918), with its acoustic scales derived directly from resonance and natural wind instruments like "buciume", "tulnice", and "cimpoi" inspired several spectral composers: Vieru, Stroe, Niculescu, Dumitrescu and Nemescu 

This music began to emerge in the 1970s both in France amongst the composers of the Groupe de l'Itinéraire, influenced by work of composers such as Maurice Ravel and Olivier Messiaen, in Germany amongst the members of the Feedback group in Cologne, and in Romania, with composers around Hyperion Ensemble, all of whom created harmonies and orchestrations based on the harmonic and inharmonic partials contained in complex sounds, such as multiple-stop organ tones, bell sounds, and bird song.

Spectral music represented an alternative to the prestige of the serialists and post-serialists as the vanguard of serious musical composition and compositional technique.

Julian Anderson considers Danish composer Per Nørgård's Voyage into the Golden Screen for chamber orchestra (1968) to be the first "properly instrumental piece of spectral composition".

A further development is the emergence of hyper-spectralism in the work of Iancu Dumitrescu and Ana-Maria Avram

Compositional technique

The "panoply of methods and techniques" used are secondary, being only "the means of achieving a sonic end". The composition of spectral music is concerned with timbral structures, especially when decisions about timbre are informed by a mathematical analysis known as a Fast Fourier Transform (FFT). FFTs can be used to provide graphs that illustrate details about the timbral structure of a sound, which might not be initially apparent to the ear. FFTs can also be used in creating sounds with computers, in order to transform the timbre of a sound in various ways, such as creating hybrid timbres through a collection of processes known as cross-synthesis, or applying a room reverberation to a sound through a process known as convolution. If the music is to be performed by live musicians (as opposed to being played electronically via computer through speakers), then these novel effects must be translated into an extended traditional notation that can be read and executed by a human being with some additional training. The fine gradations of pitch are usually rounded off to the nearest quarter-tone or even eighth-tone—dividing the octave into 24 or 48 discrete pitches, instead of the usual twelve for Western music. Temporal aspects and dynamics are subject to similarly fine controls, creating additional notational hurdles.

Formal concepts important in spectral music include process, though "significantly different from those of minimalist music" in that all musical parameters may be affected. These processes most often achieve a smooth transition through interpolation.

The Romanian spectral tradition focuses more on the study of how sound itself behaves in a 'live' environment. Sound work is not restricted to harmonic spectra but includes transitory aspects of timbre and non-harmonic musical components (e.g., rhythm, tempo, dynamics). Furthermore sound is treated phenomenologically, i.e. NOT as an object of scientific study but as a dynamic presence to be encountered in listening. This approach results in a transformational musical language in which continuous change of the material displaces the central role accorded to structure in spectralism of the 'French school'

Notable works

Characteristic spectral pieces include Gérard Grisey's Partiels, Tristan Murail's Gondwana [19], Stockhausen's Stimmung, and Jean-Claude Risset's Mutations (1969).[citation needed] John Chowning's Stria (1977),[citation needed] and Jonathan Harvey's Mortuos Plango Vivos Voco (1980),[20] are examples of electronic pieces that embrace spectral techniques. The timbral and spectral explorations of the Romanian school are represented by Iancu Dumitrescu's Cogito/Trompe l'Oeil, Ioachimescu's Concerto for Trombone, Contrabass, and Orchestra, Horatiu Radulescu's Clepsydra and Octavian Nemescu's Quinde cimor tuoram.


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