Andrea Parkins is a sound artist, composer and electroacoustic improviser who engages with interactive electronics as compositional and performative process. Known for her pioneering gestural/textural approach on her electronically-processed accordion, amplified objects, and selfdesigned virtual sound-processing instruments, she create sonic fields of lush harmonics and sculpted electronic feedback, punctuated by moments of gap and rift.

Parkins performs and records as a solo artist, and has collaborated with artists such as Magda Mayas, Tony Buck, Frank Gratkowski, Matthew Ostrowski, David Watson, Stephen Vitiello, Nels Cline, Rova Saxophone Quartet, and choreographer Vera Mantero, among many others. Her projects encompass multi-diffusion site-based installations; electroacoustic solo and ensemble pieces; electronic sound compositions; and sound design for contemporary dance, experimental film, and intermedia performance. Her work has been presented at the Whitney Museum of American Art, The Kitchen, Issue Project Room, Experimental Intermedia, Kunsthalle Basel, Museet for Samtidskunst (Roskilde), Musée d’Art Moderne et Contemporain (Strasbourg), Q-02 (Brussels), Mexico City’s 1st International Sound Art Festival, vs. Interpretation (Prague), Music Unlimited, NEXT in Bratislava, and Cyberfest in St. Petersberg, among others. On an ongoing basis, Parkins develops her primary project, a series of interactive works inspired by Rube Goldberg’s circuitous machines.

Parkins’ recordings have been published by Important Records, Atavistic, and Creative Sources. In 2016, XI Records will release Parkins’ long-form electroacoustic composition, “Two Rooms from the Memory Palace,” on a double CD, and her duo with NYC-based drummer Brian Chase will receive its debut release on Confront Recordings. Her work has received support from American Composers Forum, French-American Cultural Exchange, Harvestworks Digital Media Arts Center (NYC), New York State Council on the Arts, Q-02 Workspace for Experimental Music and Sound Art, Wave Farm Media Arts Assistance Fund, and Frei und Hanseastadt Hamburg Kulturbehoerde
www.andreaparkins.com

Dean Roberts is one of New Zealand’s leading practitioners in the field of contemporary experimental sound and has produced a number of albums to critical acclaim. With releases on Staubgold, Mille Plateaux and Kranky Records as a multi instrumentalist he weave elements of rock, electro-acoustic, minimalism and free improvisation into unusually phrasings and extended techniques that sound equally avant-garde futuristic and hauntingly ancient, like ghost of musics past. He is an artist whose mercurial presence has manifested across the full spectrum of avant-praxis kicking off with his early NZ rock-informed improv/drone group Thela in the 90s (Ecstatic Peace) and work under the White Winged Moth alias. He performed and recorded regularly as a member of Tower Recordings (with Matt Valentine Erica Elder, Tim Barnes, PG Six and others) during the late 90's in NYC. His later group Autistic Daughters (with Werner Dafeldecker, Martin Brandlmayr, Chris Abrahams and producer Valerio Tricoli ) are majestic examples of the possibility of detourned songform.

His 1999 album “The Black Moths Play the Grand Cinema” was described by the Wire Magazine as “A tremendous achievement where everything fits, less of an attempt to blend genres than a demonstration of how for the truly imaginative, genres remain utterly meaningless.” He has worked extensively in the USA and Europe collaborating with many artists in Experimental music from, Otomo Yoshide, Phill Niblock, Tower Recordings, Mike Cooper, et al.

Featured in 2009 in the Wire Magazine’s "Seismic Performances" 30 Concerts that Shook the Planet, writer Jon Dale described his performance as “affecting a complete transformation of both the instrument and the performance space itself, ritualizing the interaction between guitar and voice and forcing himself through the barriers of his material with an intensity I had previously only witnessed on rare occasions. He pulled songs apart, losing himself in repetitions and sometimes effecting brute force on his guitar to wrench near-violent clusters of notes from the instrument. This was one of those rare occasions where you observe a performer lost in their world yet maintaining absolute control over their material…"
 

Eliad Wagner is a performer, sound artist and composer, and lecturer. A classically trained musician, holding academic degrees in physics and sound, his activities explore the meeting point of composition and improvisation while addressing thoughts on synthesis, sound technology, autonomous processes, alternative scoring and live performance. By working with process and interference, Wagner examines the human natural relation with technology and specifically, the way it manifests in sound. In 2012 Wagner relocated to Berlin, where he currently lives and works, where he is an active member of the city’s improvisation sound scene.

Wagner’s work has includes solo recordings, group improvisation, sound installations and compositions for soloists, sound systems and ensembles. It been published by Metropolis records [US], Digital Kranky [DE], c.sides [DE/IL], Must Die [UK], Wachsender Prozess [DE], Ensemble Phoenix [CH] and concrete plastic [UK]. Among others, his music has been presented at STEIM, Computer Music Journal (MIT press), UDK, Haus der Kulturen der Welt, Rotterdam International film festival, TU Berlin and the Danish Royal academy of music in Aarhus.
www.eliadwagner.com