Performers listed alphabetically by first name.
Experimental sound forms and familiar evocations with guitar. (Manchester NH)
Marc Edwards (born July 23, 1949) is a free jazz drummer who has played and recorded with artists such as Cecil Taylor, Charles Gayle, and David S. Ware. His influences include Charlie Parker and Buddy Rich. He is currently playing with a project with Weasel Walter, and with his own group, Marc Edwards Slipstream Time Travel, an afrofuturistic free jazz ensemble. Many of his solo works have a science fiction theme. He also plays in the band Cellular Chaos, his first foray into rock drumming. (New York NY) (Wikipedia)
Freelance software developer, community admin of a bigger German musician community, poet, artist, performer and DIY kid. He is interested in many things, but his love is performing and jamming. He focuses mainly on two fields: experimental improvisation and futuristic dance music using samplers, synthesizers, flutes and clarinets. (DE)
Mario-Enrique Paoli worked in theater and studied guitar and music theory from an early age. At 7 years old he becomes a member of Children’s Theater of Puerto RicoCo., and also works with other theater companies. In his teens he starts working ‘behind the scenes’ in tech and production assistance.During his high school years Paoli apprenticed and assisted set and special effects designer Julio Biaggi, and music/sound studio owner, producer, designer, engineer, Felix H. Rivera, at Studio-H. Studied music theory and harmony with Dr. Neli Justicia, classic guitar with Juan Sorroche, and improvisation with Robert DeVore.
Later in the late 70’s and 80’s electronic music with Robert Ceeyly at BEEP (Boston Electronic Experimental Project) and electro-acoustic arranging and composition with Albert Mayr (Music of Times and Tides).In 1977 he moves to Boston to continue his musical studies in arranging and composition, film scoring and guitar at Berklee College of Music. In 1981 he was invited to join Mobius Theater Inc. under the direction of Marilyn Arsem (later named Mobius Performing Group, now Mobius Artist Group). He worked with the company until 1990. While at Mobius he produced, designed and directed 7 original experimental music-theater works and collaborated and co-produced dozens of works with the company and with national and international performance artists. (Newark NJ)
Mark Cetilia is a sound / media artist working at the nexus of analog and digital technologies. Exploring the possibilities of generative systems in art, design, and sound practice, his work is an exercise in carefully controlled chaos. He is a member of the media art group Redux, recipients of a Creative Capital grant in Emerging Fields, and the electroacoustic ensemble Mem1, described by The Grove Dictionary of American Music as “a complex cybernetic entity” whose “evolving, custom-built systems are as important an aspect of the duo’s achievements as their ever-innovative sound.” (Providence RI) http://mark.cetilia.org Cetilia holds a Ph.D (Computer Music + Multimedia) from Brown University, and an MFA (Digital + Media) from the Rhode Island School of Design, where he teaches classes on art, technology and sound. His work has been screened / installed at the ICA (London), Oboro (Montréal), and O’ (Milan); he has performed widely at venues including Café OTO (London), STEIM (Amsterdam), Los Angeles Contemporary Exhibitions, and Roulette (NYC). His sound works have been published by Interval, Radical Matters, Dragon’s Eye, and Estuary Ltd., which he runs with my partner Laura. (Providence RI)
Dwinell has the most rarefied pedigree, though his music offers much more than snob appeal. He’s one of the founding guitarists of Bright, who’ve been known for building Caligari-like castles of sound since their 1994 inception. Dwinell and Joe and Paul LaBrecque began the group as a foursome led by their electric-guitar improvisations — big, clashing-and-meshing sheets of sound (at their best creating the kind of wasps’ nests of overtones that were once stock-in-trade for the guitar composer Glenn Branca and for Sonic Youth) teamed with the unpredictable discipline of krautrockers Can and Faust. Sometimes the results were transcendent — LSD for the ears. Sometimes they were gnawing, gristly, and dissonant. Either way, they were always interesting. (Brooklyn NY) (Boston Phoenix)
Since forming in Boston in 2012, BANG! BROS. have established themselves as trailblazing exponents of a fried strain of free jazz / noise improvisation built on the unpredictable live input of hands on drum machines and electronics. Big BANG! Theory lands on Hausu Mountain as a two-part set of tapes that follow 2016’s Food For Thoth (HAUSMO43), joining a catalog of nearly two dozen cassette releases and two LPs released on mainstay freak label Feeding Tube – one of which documented the band’s legendary (and still woefully under-acknowledged) world-record-breaking whirlwind of twelve shows in twelve different towns on 12/12/2012. The core duo of machine manglers Arkm Foam (based in Wendell, MA) and Mark Johnson (living in Brooklyn) evolves into some deranged conception of a jazz trio with the presence of saxophonist Andy Allen (ex-Guerilla Toss), whose horn alternately tethers BANG! BROS.’ freewheeling percussive jams to earth and sends them blasting off into overloaded climaxes of maniacal skronk. Animated as much by the mutant properties of their electronics as by the seemingly boundless extent of their physical dexterity, BANG! BROS. lay out their own unique incarnation of “free” music whose every moment bears the evidence of hands-on input, but whose composite sounds spiral off into unknown zones far beyond the corners of the extended DIY noise universe. (Brooklyn NY)
I perform mostly improvised music on unpredictable electronic instruments of my own design, many of which are capable improvisers themselves. (Rochester NY)
Drummer and percussionist for more than 30 years. Sculpts a minimalist sound from silence to feedback based on natural frequencies and acoustic improvisation. His outsider minimalist aesthetic summons an archaic paganism. (Montpellier FR)
Drums. (New Paltz NY)
I research cultural histories and create inter-media environments for these extant forms. I am musician who performs improvised and creative music, and hybrids of jazz, rock, punk, funk and psychedelia. Through the process of listening, and then choosing what to play, I am ‘’editing in real time.” As a studio artist, I can use the skill of editing to make aesthetic decisions. I distill thematic interests into conceptual and abstract inter-media installation, performance and 2d and 3d objects. The end result of my visual and inter-media artistic production must have clarity of intention. The goal in both music performance and in visual art/installation is for the audience to disregard their presumed assumptions and then interpret and evaluate what they witness. (New York NY)
Trombone. (Minneapolis MN)
Composer, improviser, and community organizer interested in accessibility within contemporary music and the healing potentials of music improvisation. In 2017 he established the Adaptive Instrument Ensemble (AIE), a community based practice focused on expanding the improvising community (across abilities, demographics, geographies) and exploring embodied modes of music making. (San Francisco CA)
Matt Samolis has been working in sonic and visual mediums since 1987. He began studying flute, and later composition and tenor banjo.
Matt Wellins (b. 1983) is a musician, originally from Pittsburgh, PA. His work is largely based in analog circuitry, the snafus of live performance, and a general ambivalence toward commercial equipment. His research interests include the private loft theater of 1970s New York, cybernetic system organization, and the ZBS Artist-in-Residency program. He has released music on What the…? Records and presented work at Anthology Film Archives (with Sarah Halpern) and the Experimental Media and Performing Arts Center in Troy, NY. (Nyack NY)
…plays percussion and electronics, and has performed throughout the US, Canada, and Europe. He has appeared on CNN, VH1, and CBS TV.
I am a friendly space wizard. I play sacred drone (or ritual dark ambient if you want something more hashtagable). My influences are Elaine Radigue and Sunn O))) and the sound when you stand in just the right spot in the freezer aisle at Stop & Shop. (Providence RI)
Homemade and chaotic electronics (Hudson NY)
Boston-based improvisor who has worked in a variety of rock, noise, electronic and improv settings. Though originally identifying as a percussionist, since 2000 he has performed with Buchla electronic instruments. His recorded work as Ghost Grass recalls mid-century electronic experimentation as often as more modern improvised approaches. As a collaborator and organizer, he is closely associated with the experimental movement community and has performed with Sara June (as Lord and June) since 2006. From 1995-1997, Max played drums in avant rock ensemble Bitchhiker, with guitarists Peter Beck and Scott West. From 1998-2000, he collaborated with the well known Boston noise musician Karlheinz as Lord & Karlheinz, terrorizing audiences across the city but leaving few recorded documents. After splitting with Karlheinz he made many powerbook-oriented experiments, working with early versions of Reaktor, max-msp and similar computer music tools. From 2001-2005 he worked out of Wire Sounds, a studio that he built in South Boston and populated with analog synthesizers and antiquated recording equipment. At Wire Sounds he built a large modular synthesizer system, created many tape-based pieces, and recorded various bits and pieces of the Boston rock underground. Some of his work from this time is documented on the CD Electronic Music 2000-2005. After 2006, Max refocused much of his work into contexts not exclusively musical, and began a long, fruitful collaboration with movement artist Sara June. As Lord and June, they work as an improvisational group, on large-scale conceptual projects, and in collaboration with many other members of the experimental movement community. In 2009, he became a member of the Mobius Artists Group, a 37-year old artists’ collaborative supporting experimental work in all time-based media. Through Mobius, he has supported performance-based artwork and begun working more with installation-based sound works. He continues to record and perform as Ghost Grass, in which his primary instrument is the Buchla Electric Music Box. (Somerville MA)
Mia Friedman is a virtuosic fiddler and singer as well as a composer and educator. Her song “Across the Water” won the 2010 John Lennon Songwriting Contest in the folk category, and she was the 2006 New Hampshire Highland Games Scottish Fiddle Champion. She is largely influenced by American roots music and old-time Appalachian traditions, and blends this with contemporary music in her compositions. Mia plays with Hollow Deck—a duo of tape collage, vocals, and woodwinds—and avant-garde rock band, Creative Healing. She teaches at the Community Music School of Springfield, and leads elementary and high school string programs in five public schools in Springfield, MA. She is the orchestra teacher at The Hartsbrook Waldorf School, has a private studio of fiddle students, leads adult music classes, and teaches at many traditional fiddle music camps during the summer. Mia graduated from New England Conservatory in 2012 where she studied with Anthony Coleman, Carla Kihlstedt, and Hankus Netsky. (Westfield MA)
Austrian contemporary violist, improvisor, and composer of Czech, Jewish and French family background. Comprehensively educated in classical music from an early age on, she opened up the traditional understanding of the violin as solo and ensemble instrument towards improvisation, experimental music, and sound art. She has collaborated with a string of exciting artists from around the world, such as Robin Rimbaud, Pauline Oliveros, Electric Indigo, Dälek, Lydia Saffronkeira, Phill Niblock, John Zorn, John Russell Maggie Nichols and Audrey Chen. Mia has given concerts and performances at many festivals throughout Europe, America and Asia, 3-time winner of the Prix Ars Electronica, guest of the DAAD’s international artists’ programme in Berlin and the Fulbright Commission in New York. She is currently artistic director of Phonofemme Festival Vienna and Klanghaus Untergreith. Lydia Lunch describes Mia’s work as “visceral, cerebral and sensual. A gorgeous, haunting sound which employs classical interpretation and experimental improvisation to transcend musical genres, creating a sonic surround uniquely her own. She inhabits a sonic universe lush with soul cleansing vibrancy.” (Vienna AT)
Belltonesuicide. Tags: experimental noise drone electronic harsh noise. (Phoenix AZ)
Ozarks original Michael Hoerman has two poetry chapbooks, Bad Rotten (2004) and Disoriented Fascination (2018). Some of his more than 100 published poems first appeared in the Arkansas Literary Forum, Big Muddy, Chiron Review, Eureka Literary Magazine, Marathon Literary Review, Potomac Review, and The Rockhurst Review. Poems also appeared in anthologies from Lavender Ink, No-Tell Books, Rattlecat Press, Red Hen Press, Redneck Press, and Soft Skull Press. Michael joined the first National Poetry Slam teams from Arkansas and Missouri. He was the recipient of residencies from Sedona Summer Colony and Spiva Center for the Arts, with three nominations for the Pushcart Prize. He won a Massachusetts Poetry Fellowship from the Massachusetts Cultural Council in 2004. (Fayetteville AR)
Michael Larocca plays drums, percussion, electronics, and also composes both acoustic and electroacoustic music. He’s also a painter and poet. (Trumbull CT)
I’m 16 and I am starting out in the scene. I run a political noise project (floweryspeech) and I use a mix of pedals and circuit bent toys to create sounds not necessarily harsh but still experimental/improv. (Brookline MA)
Michael Peters is the author of the sound-imaging poem featured in Vaast Bin (Calamari Press, 2007) and other assorted language art and sound works. As certain as he is uncertain of access to “the real,” he frequently tests and probes that periphery in the guise of a poet, a visual poet, a fictioneer, and a musician in a variety of old and new media.
Experimental guitarist, electroacoustic composer. (West Newton MA)
The man, the myth, the legend wrapped in a mystery, inside an enigma. (Tyngsboro MA)
(Phnom Pen KH)
Miss Olivia Kennett
Mitchel K Ahern / Mitchelka
Mitchel Ahern will be performing on the Harrow, a bowed/percussive instrument made of a blade from a disc harrow (farm equipment), mounted to a cello-like body and bowed, drummed, squeaked and otherwise manipulated. He is a visual and performing artist working in letterpress, fabric, performance art and invented instruments. He’s currently working on “Serf’s Up!” and performs solo and with the Viae Ensemble. He exhibits and performs at many galleries and clubs, including the DeCordova Museum and Sculpture Park, 119 Gallery, Atlantic Works Gallery, Galatea, Marblehead Arts, Brush Gallery, The Middle East, The Rat, the Knitting Factory, Figment, the Wonder Valley Festival, the INTER-ACTIONS project of the Fort Point Theater Channel on Boston Common and the Channel Center Garage. (Lynn MA)
Morgan Evans-Weiler is a Boston based artist, composer, curator and educator. His work ranges from sound installation and music composition to drawing and video. He has shown his work and presented his music throughout the United States and Europe. He is the founder of the New England based experimental group, Ordinary Affects, who have worked with composers such as Eva-Maria Houben, Christian Wolff, Michael Pisaro and Jürg Frey. Along with composer Jed Speare, he founded the Standing Waves concert and book series in 2016.
His music has been published on the Another Timbre, Weighter, Suppadeneum and Rhizome(S) labels. He can also be heard as performer on the Elsewhere and Ftarri labels.
Evans-Weiler has performed at the High Zero Festival in Baltimore, Jordan Hall, Issue Project Room, MIT List Visual Art Center and numerous other venues. (Boston MA)