Matt Chaumont is literally a Master of Time and Space, having received his MA Time and Space from the Academy of Fine Arts in Helsinki, Finland. However, before that he began his practice andreceived a BA of Fine Arts at the University of Western Sydney. He is now located in Melbourne and is studying science at Monash University. He has performed and exhibited his work all over the world, including in Sydney, Melbourne, Perth, Helsinki, New York, Istanbul, Aarhus, Hamburg, Stockholm, Tallinn, and the arctic circle. He likes to experiment and uses low frequencies and the fundamental properties of a varying array of objects and places in his work.


Dale Gorfinkel is an improviser, instrument [re]designer, and builder of automated sound sculptures. Much of his work is based on his experimental approach to the vibraphone. He creates wondrous sonorities using continuous bowed inventions on aluminium bars, swinging tin resonators, bouncing ping-pong balls that create random rhythms. It is joyous and thoughtful work that continually questions the social and cultural dynamics making sound.


Arek Gulbenkoglu is a musician that has been playing on the Australian scene for years. He has played at numerous Australian experimental music festivals including regular performances at What is Music? as well as and the NOW now. He has also released two records with Dworzec, an album with Green Beret and solo albums on the impermanent recordings and Document labels.


Ben Byrne is an artist, musician, curator, researcher, tutor and writer whose work traverses musical performance and improvisation, installation, composition, radiophonics and sound theory.


Alex White is a laptop musician from Sydney, Australia who seeks to create music that teeters on the brink of complete chaos whilst retaining barely discernible fragments of form and melody utilising computer based feedback systems including frequency and playback head modulation of digital files. These complex systems produce chaotic and noisy material that Alex then manipulates into a semblance of form and order. The results are complex drones and hung oscillations which fold in on themselves. Alex co-directed Electrofringe in 2007 and 2008, the Sydney leg of Liquid Architecture in 2008 and Serial Space in 2009 and 2010, and currently co-organises the Sydney music series High Reflection. Alex is the Digital Radio Project Assistant at the Community Broadcasting Association of Australia.


Ivan Lisyak is a musician from the Blue Mountains who currently resides in Sydney. His solo performances and recordings on guitar and stomp boxes strip rock ‘n’ roll bare. He is involved in numerous projects, including postindie soul band The Paper Scissors, new wave sludgecore exponents Machine Death and noiserock outfit Strangers v Strangers.


Working with minimal means Matt Earle creates radically stripped back sound, improvised composition with blank media, exploring many devices including samplers, mixers, turntables & tapedecks. ‘But… more recently I have picked up the guitar.’ Based in Australia, Matt is currently playing in the groups Xwave, Stasis Duo, xnobbqx, Sun of the Seventh Sister and a solo project called Muura.


Born 1960, New York, USA. Composition, installations, percussion, electronics. Based in Zürich, Switzerland. Exhibitions and concerts in museums, galleries, art spaces, festivals and clubs throughout Europe, North and South America, Australia, Egypt, Hong Kong, India, Israel, Japan, Korea, Lebanon, Malaysia, Mexico, New Zealand, Russia, Singapore, Turkey and South Africa.


Adam Sussmann works with simple electronics and guitar utilizing extended techniques and practices that engage the listener into concentrated spaces of highly attuned listening. He is best known for his work as Stasis Duo with Matt Earle. He also regularly collaborates with other musicians interested in new improvised music & has recently been composing both fixed & indeterminate scores.


born Bulli, Australia 22/1/57

An emphasis on spontaneity, site-specific practice and collaboration has been central to his work. He sees no clear distinctions between his roles as instrumentalist, improviser and composer. He has played throughout Australia, Europe, Japan and the US with artists such as Maggie Nichols, Kari Rønnekleiv, Stevie Wishart, Sidsel Endresen, Thembi Soddell, Natasha Anderson, Monika Brooks, Clare Cooper, Tess de Quincy, Ami Yoshida, Amanda Stewart, Ikue Mori, Sachiko M, and Annette Krebs.


$am Pettigrew is a red bearded grizzly bear whose main weapon of choice is a tree (double bass), often augmented with a bow, a vibrator and metal poles. With this arsenal he dissects music/s, devours it/them, and spits it/them back out in a flurry of squeaky noise, drone, percussive whacks and silence. When not in bear mode, $am is a Co-Director of The NOW now, a co-conveyor of the Splinter Orchestra, a milk drinking performance artist, a bike tinker-er, and a coffee wanker/barista. To date $am has played music with a wide variety of artists form both the music world and the performance/dance scenes. $am currently resides in Marrickville, Sydney, where he has a room filled with cd’s.


Born in Sydney, Australia in 1983. Double bassist and composer.

Mike has been working in the fields of jazz, improvised, and composed music as a performer, collaborator and organiser since 2002. He performs as a soloist, and with a number of collaborative projects which include duo with Jim Denley (Blip), duo with Sam Pettigrew (Misty’s Gym), trio with Chris Abrahams & James Waples (Roil), and trio with Jon Rose & Clayton Thomas (Strike).

Mike holds an active interest in developing, extending and refining technical possibilities for the double bass. He is exploring the multiple layers which these techniques produce, and is investigating how these techniques, sustained over particular durations, create their own sonic atmosphere, giving form to a piece of music. There is a constant relationship between the action, the sound of the action itself, and the sounds that are created as a result of the action – existing independent from the action.


Peter Blamey is a Sydney-based artist who has been doing performances and making works for quite a while now, and looks like continuing to do so for the foreseeable future. His practice largely revolves around notions of what might be called ‘open electronics’ and explores connectivity, ecology, feedback and re-use, and also electricity and energy in a more general sense. Much of Peter’s current work uses recovered electronic components (such as discarded computer mother boards and old copper wire) that are re-deployed in simple open, short, and long-circuit formations to produce sounds and also used as readymade materials for installation works.

Peter also researches and writes about sound, both in the arts and in general. He was once a director of Pelt gallery in Sydney, plays drums in Your Intestines and also in Desert Luck, and that’s about it.

For more information head here.


Since his involvement with the Clifton Hill Community Music Centre in the late 1970s, Ernie Althoff’s work as a performer, builder of kinetic sound installations and experimental instrument builder has helped to fuel Melbourne’s fertile contemporary music environment. From simple beginnings with toys, found objects and cassette recorders, his examinations into texture, timbres and societal context rapidly gained breadth and sophistication, leading to grants and funded residencies, media broadcasts, releases through various labels, and kinetic acoustic sound installations in major art galleries.


Born in Kuala Lumpur, 1985.

Lived in Sydney for a long time.
Makes music using the trombone, performance, text and scores.
Tries to make music that is both minimal and sensual.


The beguiling, chameleonic saxophone has possessed Rosalind Hall for most of her life.  As she has grown, she has made it her mission to extricate the horn from her trainings, to unearth the inner vibrations of the saxophone body and to elicit from it the sonic microcosms of her mind.  She has made reeds from different materials and found extensions and vibrating objects for the bell that alter and extend the playing techniques to create unpredictabilities that necessitate playing and responding in the moment.  Improvisation is the guiding force behind her music, experimentation and redefinition a driving goal and collaboration with people and spaces a transcendental joy.


Ur 1st Luv make limited edition sound art products for the modern world.


Ilia is a musician from Saint-Petersburg, Russia. He works in the direction of improvised, noise and electroacoustic music. He collaborates with musicians who work in other genres (from hardcore and metal to academic contemporary music); with dancers and painters; with theater. Ilia practices an experimental approach of sound extraction on alto saxophone with objects, uses laptop, electric-guitar and other instruments. Also he is a founder of Intonema label ( Organizer of events in Russia, co-organizer of the Teni Zvuka festival in Saint-Petersburg, writer of Contemporary Music magazine ( Ilia had played with such musicians as Keith Rowe, Alfredo Costa Monteiro, David Stackenäs, Radu Malfatti, Lucio Capece, Birgit Ulher, Ignaz Schick, Jonas Kocher, Gaudenz Badrutt, Arturas Bumšteinas, Thomas Buckner, Jack Wright, Andrew Drury, Alexei Borisov, Kurt Liedwart and many others. Released his works on labels Mikroton (Russia), Copy For Your Records (USA), Ilse (USA), Intonema (Russia), QuasiPop (Ukraine), 1000fussler (Germany) and others.


His unrelenting explorations of non-idiomatic improvisation using trumpets, clarinet, vibrating speakers, diy electronics etc., made him one of the most active experimental musicians in Prague these days. His most intensive collaboration arose from meeting with American musician/composer George Cremaschi (doublebass, electronics) with whom they established Prague Improvisation Orchestra, Los Amargados duo, an international dance-visual-music project Arthuur etc.

Among others Petr has played with musicians like Tiziana Bertoncini, Xavier Charles, Isabelle Duthoit, Kai Fagaschinski, Franz Hautzinger, Chris Heenan, Susanna Gartmayer, Matthew Goodheart, Irene Kepl, dd Kern, Christof Kurzmann, Thomas Lehn, Ava Mendoza, Seijiro Murayama, Ivan Palackэ, Matija Schellander, Ingrid Schmoliner, Jaroslav КЭastnэ (aka Peter Graham), Miro Tуth, Michael Zerang


Martin Kay is a sound recordist/artist/designer currently producing audio-montages and compositions that explore the intersection of architecture, psychoacoustics, social-dynamics and place. His works are constructed primarily from un-mixed and un-edited environmental sound recordings, which he captures using a mixture of straight, extended and oblique recording techniques – probing the various unheard material realities, angles and perspectives of a given sound event, as well as providing a tactile space that has surface, texture and reflection, whereby the listener is sensitised to hearing as if it were touch. Through employing a technologically limited (recording focused) work methodology, Kay is driven to find inventive recording techniques that re-contextualise my surroundings as well as inspire fresh and idiosyncratic compositional approaches pertinent to the places, situations and events he encounters.


Richard Kamerman (b. NYC, 1985) has been breaking electronics and crashing computers while trying to coax interesting and unpredictable sounds out of them for over a decade. Occasionally, he has also presented himself as a more serious composer of re-performable written music. Keywords: amplification, magnification, obfuscation, systems design, game theory, patterns, human error, accident, failure. Although a firm believer in the axiom that “one man’s trash is another man’s treasure,” he ceased collecting his instruments from piles of junk left on the curb several years ago, fearing he might bring home bedbugs. Recordings of his solo or collaborative works have been released by Erstwhile Records, Pilgrim Talk, Contour Editions, RRRecords, and Engraved Glass, among others. Kamerman has performed or had his music performed throughout the US as well as internationally in Canada, Germany, Switzerland, the United Kingdom, and Chile. He also runs the small-press music label, Copy For Your Records.


Eliad Wagner is a composer, performer, sound artist and lecturer. A classically trained musician, holding academic degrees in physics and music, his activities explore the meeting point of composition and improvisation while addressing thoughts on synthesis, music 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 music. In 2012 Wagner relocated to Berlin, where he currently lives, works and is an active member of the city’s prolific free music scene. Wagner’s work has been published by Metropolis records [US], Digital Kranky [DE], c.sides [DE/IL], Must Die [UK], Wachsender Prozess [DE] and concrete plastic [UK]. Among others, his music has been presented at STEIM, Computer Music Journal (MIT press), UDK Berlin, Haus der Kulturen der Welt, Rotterdam International film festival, TU Berlin and the Danish Royal academy of music in Aarhus.



Turntablist, sound artist, performer, composer and visual artist. In his youth he studied the saxophone and performed in free jazz and avant rock bands. At the same time he was getting obsessed with multitrack tape machines, record players and effect boxes and he started experimenting with many different instruments and sound making devices. After college he briefly studied at the Academy of Fine Arts in Munich and worked for several years as an assistant for contemporary composer Josef Anton Riedl. Since 1995 he lives & works in Berlin where he became an active and integral force of the so­called “Berlin Nouvelle Vague” and the blossoming “experimental” music scene. He has been also prolific as curator (Festival für Andere Musik, Erase & Reset, Time Shifts, TITO, Echtzeitmusiktage 2010, …) and runs the experimental music label Zarek. Schick has toured worldwide solo or with groups like Perlonex, Phosphor, Berlin Sound Connective, Nighthawk Kitchen, Tree People, Splitter Orchestra, Ilog and many more (…). He has released music on several labels like Absinth, Boomslang Records, Charhizmha, Irrah, Le Petit Mignon, Mikroton, Nexsound, Non Visual Objects, Potlatch, Staalplaat and his own imprint Zarek and collaborated with more than 150 international sonic artists ­ amongst others with Mwata Bowden, Don Cherry, Sven­Ake Johansson, Paul Lovens, Toshi Nakamura, Charlemagne Palestine, Andrea Parkins, Keith Rowe, Matthias Spahlinger or Martin Tetreault. Since 2012 he focusses on conceptual composition and experimental radio pieces. In parallel he has started several new projects with a younger generation of Berlin experimentalists (Ilog, Yemen Breakfast, Radio Nightmares, Hawking, Overdue, KUDU, …).