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.

Lubomyr Melnyk (born December 22, 1948) is a composer and pianist of Ukrainian origin.

Melnyk is noted for his continuous music, a piano technique based on extremely rapid notes and complex note-series, usually with the sustain pedal held down to generate harmonic overtones and sympathetic resonances.

Melnyk lived in Paris from 1973 to 1975, supporting himself by playing for modern dance classes, most notably in conjunction with Carolyn Carlson at the Paris Opera. Many of his works were presented in conjunction with modern dance. Through his work with Carlson, he began to create continuous music for piano.

Melnyk has composed over 120 works, mostly for piano solo and double piano, and some for piano with ensemble. To explain the proper physical and mental techniques for his music, Melnyk wrote a treatise, OPEN TIME: The Art of Continuous Music (1981) and 22 Etudes, to teach the fundamental levels of his continuous technique.

Melnyk links his piano technique to his national identity.

"This music would not exist at all if I were not Ukrainian. Our distinguishing feature is that we tend to sacrifice ourselves. Ukrainians are self-sacrificing for things that are important to them".

Melnyk plays rapid sequences thanks to his ability to play up to 19 notes per second with each hand. These overtones blend or clash according to harmonic changes. Most of his music is for piano, but he has also composed chamber music and orchestral works. Of his technique, he has said:

There's an act of creation. For this act of creation to happen every day the body of the pianist, and not just the fingers, but the entire body has to be transformed. Because in order to make these very small changes and very small decisions that I make when I'm creating music, or when I playing the music, it has to happen at a faster speed of time than any other music. The mind has to control many things. So the decisions happen in another dimension than what the fingers are doing. Part of my mind controls the fingers, part of my mind controls my hand, part of my mind is controlling my entire body, part of my mind is thinking about something else, and part of my mind is combining everything. For the body to be able to reach this enormous universe, which is huge, it has to be changed. This is what continuous music is about.

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.