Loré Lixenberg

Lore Lixenberg has evolved a practice based on voice, that has three major features. Firstly, exploring extended vocal techniques and hyper-extensions of the voice (‘BIRD’ and ‘THE BIRD STUDIES’, pieces, that explore language and syntax through birdsong) Secondly, drawing on socially engaged practices (PRET A CHANTER, THE VOICE PARTY) and thirdly, exploring digital technologies and apps for their operatic dramatic potential creating a new form - the APP-ERA, (SINGLR, VOXCOIN, IDENTITY THEFT). Incorporating comedy into her compositions applying bel canto singing into physical theatre, comedy and free-improvisation  she works with Simon Munnery, Richard Thomas, Stewart Lee and  Complicite (McBurney). She has performed internationally on concert platforms and galleries, opera houses, in operas and has collaborated on experimental installations and vocal performances with experimental composers visual and sound artists like Acquaviva, STELARC, Bruce Mclean, ORLAN, Georgina Starr, Imogen Sidworthy and David Toop. Her stuff has been shown at at The Hamburger Bahnhof , Galerie Nord Berlin, Ikon Gallery UK, The Armory NY, Emily Harvey Foundation NY among others. She published an artist book ‚Memory Maps’, monographic CD ‘The afternoon of a phone’ (£@B). She started THE VOICE PARTY standing in British election of 2019 and will satnd again in 2024. Her vinyl release NANCARROW KARAOKE, a record of Nancarrow piano rolls she transcribed for her own voice multi-tracked is on the De Player label. 

Federico Reuben

Federico Reuben is a composer, sound artist and live-electronics performer. His work includes compositions for acoustic, electroacoustic, and mixed ensembles, laptop improvisations, computer-mediated performances, fixed media, hybrid works, installations, collaborations and computer programs. As a laptop improviser he has performed with improvisers such as Elliott Sharp, John Edwards, Steve Noble, Mark Sanders, London Improvisers Orchestra, Tony Marsh, Alekander Kolkowski, Ingrid Laubrock, Alexander Hawkins, Dominic Lash and Rachel Musson. He is also co-founder of netlabel and artist collective squib-box with Adam de la Cour and Neil Luck. He is Associate Professor at the University of York where he carries out interdisciplinary and practice research in music and music technology. Recent research projects include an AHRC-funded network ‘Datasounds, Datasets and Datasense: Unboxing the hidden layers between musical data, knowledge and creativity’ and the establishment of the Music AI and Interactivity Lab at the School of Arts and Creative Technologies.

https://www.federicoreuben.com/

Ben Richter

Ben Richter is an experimental composer, accordionist, and director of Ghost Ensemble. Inspired by nonhuman consciousness, Richter’s compositions orient toward new orders of magnitude in musical parameters to auralize the vast and infinitesimal timescales we do not experience in everyday life, marking humanity’s transient yet vital role within the immensity of geologic time. As the founding Artistic and Executive Director of Ghost Ensemble, Ben also creates innovative new work with a diverse host of experimental performer-composers. The ensemble’s debut LP We Who Walk Again features music by Pauline Oliveros and Sky Macklay alongside Ben’s Wind People, described as “a multifaceted texture that evokes the primeval” (Meg Wilhoite) and “cloudy, mysterious, and dark ... Beckettian in its slow spread” (Brian Olewnick). As a solo performer, Ben explores the extended microtonal and timbral potential of the accordion; immersive just-intonation accordion work Panthalassa: Dream Music of the Once and Future Ocean was hailed by Stephen Smoliar as “likely to offer a profound impact on the very nature of listening.” A student of Pauline Oliveros and teacher of Deep Listening, Ben Richter holds a DMA from CalArts and serves as music/sound curator of UMass-Amherst’s Futuring Lab.

Erin Robinson

Erin Robinson is a multimedia artist, experimental musician and PhD Researcher from London. Her work primarily involves the design of interactive installations, where she takes a participatory approach to evolving visual-scapes, but also takes form in fixed media, sound art, free improvisation, live visuals and immersive experiences. Her work critically engages with the concepts of posthumanism and postmodernism, exploring notions of authenticity and existence in the digital anthropocene by blurring lines between organic and non-organic entities, reality and virtuality, self and otherness. She is a founding member of SubPhonics, an experimental music and sound art collective based in London. Recent works include ‘Flora_Synthetica’, shown at Peckham Digital 2024, and ‘Pluriversal Perspectives: Moss’, shown at the South London Botanical Institute and Conference for Designing Interactive Systems (Copenhagen) 2024.

www.instagram.com/bluemonday.exe