Murcof is the performing and recording name of Mexican electronica artist Fernando Corona. Born in 1970 in Tijuana, Mexico. From 1999 to 2002 he was for a member of the Tijuana-based Nortec Collective of electronic musicians and artists under the Terrestre project name. Since 2006 Corona lives in Barcelona, Spain.

Murcof's music is sparse, minimalist, electronica. Many of his compositions are founded on abstract, glitchy, sometimes complex electronic percussion, derived mostly from minimal techno, dub, glitch, industrial music and IDM, and are often aligned around a 4/4 beat.. Harmonic and melodic influences come from classical music (modern classical music, musique concrète, holy minimalism, micropolyphony, baroque music, etc.), ambient music, drone music, berlin school synthesizer music, ethnic music and free improvisation.

Christian Fennesz (born 25 December 1962) is an Austrian producer and guitarist active in electronic music since the 1990s, often credited simply by his last name. His work utilizes guitar and laptop computers to blend melody with treated samples and glitch production.[2] He lives and works in Vienna, and currently records on the UK label Touch.

Fennesz first received widespread recognition for his 2001 album Endless Summer, released on the Austrian label Mego. He has collaborated with a number of artists, including Ryuichi Sakamoto, Jim O'Rourke, Ulver, David Sylvian, and King Midas Sound.

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Abul Mogard is an alter-ego created by Guido Zen, an Italian musician currently based in Rome. Abul has released several albums and performed at festivals such as Berlin Atonal, Flow Festival in Finland, Festival (((INTERFERENCES))) at Centre Wallonie Bruxelles in Paris and many others. He also performed at SouthBank Centre in London in collaboration with the Scottish Dance Theatre.

He has remixed Carl Craig, Fovea Hex with Brian Eno, Cindytalk and Massimo Pupillo as Becoming Animals among others. His music has been used on Ridley Scott‘s “The Last Duel” trailer, various feature films and art installations.

In 2021 he produced the soundtrack for Duncan Whitley’s film “Phoenix City 2021” commissioned by the Coventry Biennial (UK). In 2022 he released his new solo work “In a Few Places Along the River”, described by Zen as “ “the result of experimentation with familiar and less familiar instruments available to me in the studio between 2019 and 2022.”

Lately he released a collaborative work with Ivan Pavlov aka COH “COH meets Abul Mogard“. Stemming from a chance meeting at a Slovenian festival in 2019, CoH & Abul Mogard’s maiden collaboration focuses stunning new perspectives on the artist’s respective, fiercely singular and widely adored bodies of work. Ivan Pavlov’s CoH, deeply respected for intensely curious original solo work, and in SoiSong with Psychic TV/Coil’s Peter Christophersen, here renders a vital, grayscale fluorescence from Guido Zen’s lushly romantic Buchla 200 and Serge Modular scapes, painted to tape between Stockholm’s EMS studio and at home, under his Abul Mogard nom de synth.

Many of his concerts are accompanied by live projections by visual artist Marja de Sanctis.

Abul Mogard is an alter-ego created by Guido Zen, an Italian musician currently based in Rome. Abul has released several albums and performed at festivals such as Berlin Atonal, Flow Festival in Finland, Festival (((INTERFERENCES))) at Centre Wallonie Bruxelles in Paris and many others. He also performed at SouthBank Centre in London in collaboration with the Scottish Dance Theatre.

He has remixed Carl Craig, Fovea Hex with Brian Eno, Cindytalk and Massimo Pupillo as Becoming Animals among others. His music has been used on Ridley Scott‘s “The Last Duel” trailer, various feature films and art installations.

In 2021 he produced the soundtrack for Duncan Whitley’s film “Phoenix City 2021” commissioned by the Coventry Biennial (UK). In 2022 he released his new solo work “In a Few Places Along the River”, described by Zen as “ “the result of experimentation with familiar and less familiar instruments available to me in the studio between 2019 and 2022.”

Lately he released a collaborative work with Ivan Pavlov aka COH “COH meets Abul Mogard“. Stemming from a chance meeting at a Slovenian festival in 2019, CoH & Abul Mogard’s maiden collaboration focuses stunning new perspectives on the artist’s respective, fiercely singular and widely adored bodies of work. Ivan Pavlov’s CoH, deeply respected for intensely curious original solo work, and in SoiSong with Psychic TV/Coil’s Peter Christophersen, here renders a vital, grayscale fluorescence from Guido Zen’s lushly romantic Buchla 200 and Serge Modular scapes, painted to tape between Stockholm’s EMS studio and at home, under his Abul Mogard nom de synth.

Many of his concerts are accompanied by live projections by visual artist Marja de Sanctis.

Roger Eno is a British composer and musician whose distinctive style as a recording artist has attracted a cult following. Last year he made his debut on Deutsche Grammophon with Mixing Colours, his first duo album with his brother, Brian, which was released to great acclaim.

Eno was born in the Suffolk market town of Woodbridge. He became immersed in music at school and bought a battered upright piano with money earned every Saturday as a butcher’s boy. His musical education continued at Colchester Institute School of Music. After a brief interlude playing jazz piano in private clubs in London, he returned to East Anglia.

As well as first collaborating with his brother Brian and Daniel Lanois in 1983 on Apollo: Atmospheres and Soundtracks, he has made over a dozen solo albums and other collaborative pieces with the likes of Peter Hammill, The Orb and his first “band”, the ambient supergroup Channel Light Vessel, whose line-up included Laraaji, Kate St. John, Bill Nelson and Japanese cellist Mayumi Tachibana. He’s also teamed up as a session musician and band member with artists as diverse as The Orb, Lou Reed, Jarvis Cocker and Beck, and not to mention his three-year stint as Musical Director for Tim Robbins and his band, The Rogues Gallery.

Known as a solo composer in both theatre and film, Roger scored Trevor Nunn’s highly acclaimed production of Harold Pinter’s Betrayal at London’s National Theatre and, more recently, Nick Hornby’s Emmy winning TV series State of the Union directed by Stephen Frears. Beyond that he has contributed music to many film soundtracks over the years.

Roger Eno lives in a small town on the border of Suffolk and Norfolk. Those two rural counties, with their quiet lanes, medieval churches and waterways, have given focus and intensity to the natural introspection of his music. He has described his creative process as one of “decomposing”- improvising in his studio early in the morning to later strip away all excess from the result to reveal the essence of the piece. His approach to the world has been likened to that of a visitor to a flea market, that nothing should be ignored, that the curious can be all too easily overlooked…

Marc Ribot’s four months with jazz organ legend Brother Jack McDuff were his first ever with an internationally touring artist. Their 1979 itinerary included Ribot’s first concerts in Europe, and his only to date in Gary, Indiana and Rochester, NY. Although the two never recorded together (due to artistic differences that became apparent in Ribot’s later work…Brother Jack reportedly spent much of their stage time fixing Ribot with what sidemusicians referred to as his “death ray”), Ribot never lost his affection for McDuff’s music and the Hammond organ dominated Soul Jazz scene from which it emerged. Says Ribot: “McDuff's US audiences—the so-called ‘Chitlin Circuit’— were just the hippest in the world: sophisticated about the music, definitely…but also demanding the deepest soul while rewarding restraint in its expression. What this brought out in the musicians was every bit as intense as the music taking shape at CBGBs at the time. In fact, I always felt the two scenes had something in common, and I’ve been trying to express exactly what ever since."

Fellow Jazz-Bin, Greg Lewis, is not only one of the greatest virtuosos of the Hammond b3 organ alive, but perhaps the only one willing and able to haul a real Hammond b3 and Leslie speaker cabinet to live gigs in NYC! Says Ribot: “Greg is NYC’s best kept secret. He can tell a story on the Hammond like nobody else." Rounded out with a TBA guest drummer, The Jazz-Bins use deep grooves and over the top improvisation to channel the spirits of Newark’s Key Club Sparky J’s Lounge, and NYC’s CBGB’s c/a 1977 into a quest for punk/soul salvation. The Jazz-Bins go— not exactly ‘ancient’, but ‘back’— to the future, to tap into a scene that never really existed (but should have, will, and does whenever people drop their preconceptions about ‘genre’ long enough to feel the groove), and a vibe that never really stopped. Dig it!

Marc Ribot, guitar, voice
Greg Lewis, hammond B3
tbc, drums

Born 1965 in Karl-Marx-Stadt he is part of an artist generation who works intensively in the transitional area between music, art and science. With a strong adherence to reductionism he leads his sound experiments into the field of electronic music creating his own code of signs, acoustics and visual symbols.

NOTON is a label founded in 1994 by Carsten Nicolai as a small imprint becoming active in 1996 with the release of noto “spin” record. In the same year the collaboration with RasterMusic begun and by 1999 the two labels merged into Raster-Noton.

By 2017 NOTON starts working independently releasing all back catalogue of Alva Noto and currently planning future releases. Diverse musical projects include remarkable collaborations with Ryuichi Sakamoto, Ryoji Ikeda (cyclo), Blixa Bargeld or Mika Vainio. Nicolai toured extensively as Alva Noto through Europe, Asia, South America and the US. Among others, he performed at the Solomon R. Guggenheim Museum in New York, the San Francisco Museum of Modern Art, Centre Pompidou in Paris and Tate Modern in London. Most recently Nicolai scored the music for Alejandro González Iñárritu’s newest film, 'The Revenant’ which has been nominated for a Golden Globe, BAFTA, Grammy and Critics Choice Award.

His musical œuvre echoes in his work as a visual artist. Carsten Nicolai seeks to overcome the separation of the sensory perceptions of man by making scientific phenomenons like sound and light frequencies perceivable for both eyes and ears. His installations have a minimalistic aesthetic that by its elegance and consistency is highly intriguing. After his participation in important international exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown worldwide in extensive solo and group exhibitions.