aTHeNa BLue is the brain child of electronica grand dame Jan Pulsford who toured with such pop legends as the Thompson Twins and Cyndi Lauper as well as writing/programming and producing many of Lauper's CDs. Jan Pulsford honed her musical skills in London amidst the electronic and hair revolution of the 80s. She crafted her keyboard playing, programming and composing skills writing jingles, library music and scores for independent films. Her unique quirky brand of electronic orchestration was soon in demand and her music won awards at the New York Film Festival.
After a succession of sessions and tours with artists ranging from the Buggles to Bananarama she joined the Thompson Twins and toured the world as their keyboard player. The "Future Days" Tour brought Jan to the USA where she eventually settled building her own studio English Valley Music in the woods of Tennessee.
Her production company Madame la Pulse Productions developed many independent artists including Felicia Collins who went on to become the guitarist for Late Night with David Letterman alongside Kat Dyson and Sir Jam who both became members of Prince's musical entourage.
Jan's indie label Collecting Dust " was one of the first online labels during the frenzied internet revolution of the 90s and released CDs by artists Nigel Pulsford, guitar player with multi platinum 90s rock band Bush and Grammy nominated Dulcimer legend the late David Schnaufer.
She spent most of the nineties working as Cyndi Lauper's co-writer, producer and touring musical director. Touring the world together, their partnership spawned some of Lauper's most artistic and critically acclaimed work. Over twenty songs were released on Cyndi's albums "12 Deadly Cyns" ,"Sisters of Avalon", "Merry Xmas" and "Shine" with the singles, "Come on Home", "You don't know" and "Cleo and Joe" becoming remix hits in the clubs.
As a songwriter she has written for Cyndi Lauper, Steps, Darlene Love, Happy Charles and even wrote the "prestigious/infamous" UK Song for Europe with over twenty albums of music for film and TV released.
The millennium saw Jan jumping feet first into a new century of technology whilst coming full circle meeting the "new" term "electronica". She became a beta tester for Logic Audio's Rocket Network where she met legendary sax player Chico Freeman. The two have written an impressive amount of music including scoring for the Audrey Tatou film "At the End", music for "The Leaders" and "Guataca" They are currently writing the Great American Songbook Part 3.
Azimuth Visuals is the artistic partnership of Greg and Hong Waltzer. They create video performance art to accompany musical events. Using a combination of computer-generated abstract images, animations, Greg's artwork, Hong's nature photography and video clips, these images are processed and mixed in real time by various effects software and video hardware. The intent is to provide a colorful and dynamic visual experience that is inspired by and complements the music.
Burning Artist(s) Sale
Burning Artist(s) Sale is the moniker for the variety of artistic and musical endeavors by Kevin Haller. Alter egos include Killer Haven, a grizzled rocker that prefers to stay in his bunker making music videos.
KVpop writes catchy hooks, but is too afraid to let friends or colleagues help him put finishing touches on his compositions. K love writes music intended for dance clubs old and new. Still in development is eleK troniK, an ambient & experimental sound sculptor. Burning Artist occasionally performs as a solo artist, but prefers the dynamic of group interaction.
Recent musical involvment has been with GFE and a re-united Amalgamated Cliff Divers. Burning Artist is proud to have played at EYEDRUM's First Thursday Open Improv for the last seven years. Past bands have included 21st Century DISK, Random Violets, Bonobo, DISK, 64k, Harper Fragment, Empty V, MASTERCOW, and TOAST.
Richard Devine is an Atlanta-based electronic musician. He is recognized for producing a layered and heavily processed sound, combining influences from old and modern electronic music. Devine largely records for the Miami-based Schematic Records. As a result of praise of his music from Autechre as well as a remix of Aphex Twin's Come To Daddy, Devine recorded an album for Warp Records which was jointly released by Schematic and Warp.
Devine first started using computers for composition around 1993. Don Hassler, an instructor at the Atlanta College of Art, got him interested in computer synthesis, introducing Devine to CSound and other powerful computer-based applications. Devine claims he coded a couple FFT applications in SuperCollider, an environment and programming language for real-time audio synthesis. “It’s interesting, because you’re doing things to sound that just aren’t physically possible.”
Devine also uses Native Instruments (NI) software. His favorite NI applications are Reaktor and Absynth. Reaktor is a very powerful modular system, similar in many respects to classic modular synthesizer systems but also capable of performing low-level DSP sound processing. Devine has also designed sound patches for NI’s Absynth. He has also scored commercials for Nike and Touchstone Pictures, and engineered and performed his own music worldwide.
During the past three years, Richard Devine has remixed top Warp artists like Aphex Twin and Mike Patton (Faith No More). He has released 4 full-length albums on Schematic, Warp, Asphodel, and Sublight records and has performed his own ear-tearing music mayhem worldwide. Based from Atlanta, Georgia he has done film score work for Touchstone Pictures (with John Hues & Kyle Cooper). He has also collaborated with BT (Brian Transeau on movie "Surveillance" Directed by Adam Rifkin, Wieden & Kennedy, AKQA Inc., and have done sound mangling/programming for Trent Reznor of Nine Inch Nails, composed and designed commercials for the Nike Shoe Company and worked with various companies doing sound design for Audi, Ford, Scion, LandRover, Peugeot, Dodge, HBO, Nestle, Nike Japan, McDonald's, Spike Television network and XBOX (Halo2 for Microsoft Gamming Division http://www.halo2.com. He has also worked with Konami gaming division for the Dance-Dance Revolution game. And currently now for Sony Play station PS3 (Infected) for Dawn of the Dead. He has also recently completed all the sound design for the new xbox360. http://www.xbox360.com
In conjunction with TV and film work Richard also has done programming and sound design work with major audio companies. His work has been featured and endorsed on new software and hardware titles from many innovative companies such as Apple Computers, Allen & Heath, Ecler DJ Mixers, Digidesign Eventide, Izotope, Access Virus, Native Instruments, Korg, Clavia Nord, Alesis, Ableton Live, Apple Computers, Openlabs, Universal Audio, Hartmann Neuron synthesizers, Stanton Magnetics DJ Company, and M-Audio Division.
Jeannie Allen is Earthgirl, whose music grows from sounds and feelings on our planet, plus some imagined ones. A lone car driving by late at night, far away thunder, the tapping of rain, and the swirls of falling stars.
Jeannie has been inspired by new music created every day and by the musical roots of Vince Clarke, Yaz, Erasure, Tangerine Dream, Stereolab, Portishead, Moby, Brian Eno, ELO, Lou Reed, Syd Barrett, Bob Marley, Peter Tosh, The Police, and Mozart, to name a few.
Earthgirl music combines ambient, experimental and found sounds to create sonic soundscapes, that have attracted the the attention of fans, musicians, and record labels around the globe. When the debut album "Vibrations in Space" is released in 2008, all profits will go for global warming relief in developing countries.
BillFox is one of the most influential people in the world electronic community. A tireless promoter of the genre in the Northeastern United States, he runs three radio broadcasts of electronic and modern progressive music on two radio stations, which can be heard on streaming Internet radio at WMUH and WDIY. His home page is soundscapes.us/bill.
A multi-instrumentalist who's equally at home on guitar, bass, saxophone, and keyboards, he has lent his talents to the Ricochet Dreams albums as well as to a collaboration with world-famous space musician VidnaObmana, and he plays in a number of musical groups in eastern Pennsylvania, including Xeroid Entity, who performed at several recent electro-music festivals.
Bill uses electric guitar and Hawaiian lap steel being treated by electronic processing to create otherworldly tones and makes use of looping echo devices to accompany himself and build up thick textures of guitar music, in addition to synthesizer.
Fringe Element is a quartet of electronic musicians that have been playing together since January of 2003. Their goal is to explore the use of electronics to create organic, expressive music. All of their music is created in the moment, combining experimental and conventional structures. The spontaneous and interactive nature of their collaboration creates a style that is uniquely vibrant, diverse, and evolving.
The members of Fringe Element are Michael Victor, Greg Waltzer, Jose Murcia and James Lacey. In various combinations they have performed in the Philadelphia and New Jersey area, as well as other locations around the U.S. Their two CDs, Rampant Biology and Organic Chemistry are available at electro-music.com.
More information is available at the web site:
Tony Gerber/Cypress Rosewood
Tony Gerber was mesmerized by electronic music in 1971, after playing with an SWTP theremin and hearing the classic "Switched on Bach". Like many young synthesizer explorers during the 70s he built his own PAIA synth when he was 14 years old. However, guitar is his main instrument, but he became a multi-instrumentalist over the years with an emphasis on synth sound creation.
In 1986, he founded the performance collective Space for Music which spawned multimedia performances combining film, video, dance, and electronic music. Space For Music was turned into a website in 1996 and then into a record label in 2000 (spaceformusic.com). In 1997, he founded the well-known space music group, Spacecraft, with fellow synth lover and musician, John Rose, after solo releases on the Lektronic Soundscapes label.
Combining his solo releases and SPACECRAFT recordings there are over 20 CDs available. Some of these recordings are with fellow City Skies performer and friend, Giles Reaves. Gerber has been a driving force in the art and space music arena during his 25 year stay in Nashville, TN. Tony is quite active in Second Life as the space music performer Cypress Rosewood (cypressrosewood.com). His own web site is http://spaceformusic.com/tonygerber
Many of Gerber's recorded works are the result of live performances, many of which take place in planetariums or outside, under the stars themselves. Several of Gerber's performances have been broadcast live on public radio in Tennessee, Kentucky, and Indiana and the subsequent recordings have received airplay on syndicated shows like Echoes and Musical Starstreams. A pioneer in the use of computers for creating music and graphics, Gerber has also consulted with Apple Computer and has given many speeches on art and technology. An accomplished visual artist and craftsman working with both computers and wood, Gerber has enjoyed exhibits sponsored by the prestigious Cheekwood Gallery in Nashville and the Visual Artists Alliance of Nashville.
David Herpich/Emerald Adrift
Emerald Adrift is a nom de plume of composer and electronic musician David Herpich. Eclectic yet unified, the music of Emerald Adrift explores the unusual confluences of melodic synth-pop with avant-garde abstraction, meditative ambiances with propulsive rhythms, and purely electronic timbres with otherworldly manipulations of sounds from everyday life.
An interest in diverse synthesis technologies has led to the use of various commercial and academic computer-based applications, numerous additive, wavetable, FM, and analogue keyboards, and vintage rarities such as the E-mu and ARP 2500 modular systems. Throughout it all, Emerald Adrift has maintained a consistent approach to sonic expression which defies any obvious genre categorization.
David Herpich holds degrees in music theory and composition from the University of Kansas, and completed his master's degree in contemporary composition as a recipient of the University Graduate Fellowship Award at the University of South Florida in Tampa. At both institutions, he focused his studies on electronic music, working under Michael Timpson, Paul Reller, and Edward Mattila. In addition, Herpich has written award-winning works for acoustic ensembles, scored theatre, dance, and film productions, and lectured on the music of Karlheinz Stockhausen.
Klimchak loves opposites. That may explain why he's played with bands as diverse as disco diva RuPaul and avant hipster Bruce Hampton. "I think of music as a crazy-quilt of different styles and patterns. I'm the thread that holds the whole mess together," says the Atlanta-based composer and percussionist. "I love the clash of colors and opposing patterns. That's where the music comes alive."
On his new solo CD, The Beat and The Buzz, he works the difference between electronic and acoustic music styles. Electrobeat buzzes clash with soulful hand drumming. An urban funk groove explodes into a hoedown of jaw harp and handclaps. Tuvan throat singing provides a sound bed for a flowering samba ensemble featuring the pig-like grunting of the Brazilian Cuica. This could be the loops of sample-hungry turntable collagists and laptop-toting poindexters. But it's not. One of the important qualities of Klimchak's music is that he plays it all himself. "I don't have anything against buying and using samples and loops of other people's music. For what I'm doing it's easier and quicker just to record myself playing the instrument."
Of course that is easy for Klimchak to say, since he owns and plays literally hundreds of instruments. "I've been collecting sound-makers since the late 1970's. When I have some free time, I usually sit down and learn to play a new flute or percussion instrument." It could be an early electronic instrument like the sci-fi staple, the theremin or a low-tech rawhide frame drum from the Middle East. It's all grist for the sound-mill. "In the modern world of Ebay and the internet, locating exotic instruments for cheap and getting instructions on playing them is a lot easier than it used to be."
Klimchak has been working exclusively in this style since the mid-eighties. Between stints with RuPaul, Hampton, and his two bass-vocal-percussion band, Fab Area, he began working on solo works for modern dance and theater. He uses his knowledge of exotic instruments and the sounds they make to provide a live underscore theater productions. Many of his recent works have been at the Georgia Shakespeare Festival. He has written and performed scores for the plays: Othello, Henry IV, Hamlet, Tartuffe, A Midsummer Night's Dream and Cymbeline. In addition, he's done scores for Shakespeare's Coriolanus at Shakespeare Santa Cruz, a live score for No Exit at Le Neon Theater in Washington, DC (nominated for a Helen Hayes Award for best sound design), and a live score for Malinche performed at the Bovenzaal Stadsschouwburg in Amsterdam.
Klimchak's dance work is equally important to his style. His recent work includes scores for Jane Comfort ("Three Bagatelles for the Righteous, excerpt (Election Update 2004)", performed in NYC at the Joyce Theater by Jane Comfort and Co in September) and Jawole Willa Jo Zollar of Urban Bush Women ("Are We Democracy?", performed in November at Emory University's Schwartz Center for the Performing Arts). He regularly composes for faculty and guest choreographers at Emory University.
Based in Northeast Tennessee, Mahoney and Peck cut their teeth as a trio with The Amaranth Signal, working their way up through the ranks to receive several favorable reviews as well as airplay on radio stations worldwide. In 2005 Mahoney and Peck emerged as a duo gaining invitations to perform at both the Electro-Music.com Festival in Philidelphia, PA. and the Midwest Electronic Music Symposium held in Indianapolis, IN.
Incorporating both analog and digital synthesizers, software based instruments, and theremin to weave deep space and dark ambient soundscapes to sculpt austere visions derived from sound. Forming an even, balanced union of shape- shifting rhythm patterns and melodic transformations, the music is ambivalent yet accessible; weaving in and out of the subterranean, they have forged a sound that is truly genre defying. Their work is formed out of a balance between dark ambient soundscapes and spare sequencer figures.
This unique sound and vision have enabled them to share the stage with Amy X Neuburg, Mark Jenkins and Orbital Decay as well as appear on various compilation albums and have the opportunity to collaborate with other like-minded electronic music enigmas.
The latest CD from Mahoney and Peck, "The Gallery of Subtle Smiles" continues to show the evolving soundworks and audible explorations of this genre defying duo. The Gallery of Subtle Smiles offers much to the listener. Weaving dark tapestries of sound coupled with progressive melodies and rhythms that evoke deep emotinal response. To pass it off as merely ambient music is far to easy as "Gallery" is properly more related to modal jazz then anything perceived as electronic.
"Blending vastly deep spacemusic overtones with sharp, melodic sequencer work, Mahoney and Peck craft a voyage that is by turns exhilarating and contemplative. And each track—each leg of the journey—is a stunningly realized electronic landscape constructed from the chemistry between the duo. I find myself at a genuine loss to try to describe the tracks in and of themselves, the elements are so rich and the music so immersive. The back-and-forth between Peck's washes and Mahoney's sequence work in the far-ranging opener, "Flight of the Nexxus Swan"; the mechanically rhythmic sensbilities of "Cosmic Visitation"; the dark intensity of "Follow the Swarm"; and the hypnotic pulse and flow of "Tin Cans and Tiny Cables." On this one, words are inadequate. It's simply amazing and just has to be experienced. Over and over. And over." - John Shanahan, Hypnagogue
Mike Metlay has been creating his own brand of darkly humorous electronic music for nearly 30 years. Mike rose to prominence in the world of electronic music via the nascent Internet; in the pre-Web era, his frequent treatises on all things electronic and musical led to the formation of Team Metlay, a 'hypergroup' of musicians from around the world who corresponded on the Net and came together once every two years (from 1990 to 1998) to record music. The three resulting albums are all still available on Mike's Atomic City imprint.
From out of the ashes of Team Metlay came mindSpiral, a series of one-off collaborations between Mike and his friends in the electronic-music community that have spawned live planetarium performances, online concerts, CDs, and more.
Mike's forays into community-building resulted in the Different Skies electronic music festival, an annual gathering of musicians in Arcosanti, AZ, to compose and perform new music -- now in its sixth year and a direct inspiration for City Skies.
Recently Mike's mindSpiral collaborations and his solo work (as Metlay!) have found their way onto the Internet in a new form, with live streaming concerts on Stillstream.com (which will be broadcasting the entire City Skies program for listeners who can't be there in person) and on Second Life, where he's known as Spiral Sands.
At City Skies 2008, Mike will be performing with the Different Skies All-Stars, helping Jim Combs, John Rossi III, and Giles Reaves re-create the improvisational magic of that festival, and will be guesting with Fringe Element in place of the sadly absent James Lacey. Be ready for anything.
Howard Moscovitz has been involved in electronic music since 1967 when he started making tape music using a short wave radio as a sound source. He received his Bachelors of Music degree with a major in Theory and Composition in 1970 at Jacksonville University. Jacksonville was one of the first colleges to have one of the new Moog Modular Synthesizers.
In 1969 he studied Musique Concete with Samuel Dolan at the Royal Conservatory of Music in Toronto. Howard went on to study with Robert Ashley at The Mills College Center of Contemporary Music in Oakland, California. There, he received a Masters of Fine Arts degree in 1972. He also studied Computer Music at Stanford University with Leland Smith, John Chowning, and Jean Claude Risset.
Never satisfied with commercially available musical instruments, Howard began designing his own while still a grad student at Mill College. After working with his mentor, Stanley Lunetta, designing some of the very first digital synthesizers, Howard worked with Donald Buchla on the infamous Electric Symphony Orchestra which gave its one and only performance in 1974 at Berkeley, California. He has designed several unique electronic instruments, including signal processors and sequencers. Some of these were manufactured by Electronic Music Associates in the 1970's, and are highly desired today among collectors.
Howard earned a Masters in Electrical Engineering degree at the University of California at Berkeley in 1981 and moved to Pennsylvania to work at Bell Laboratories. There, he was on the design team which developed the first Digital Signal Processor (DSP) chip. These chips are now found at the heart of virtually every electronic musical instrument or signal processor in use today.
Howard is now devoting his time to composing and music performance. In 2003 he founded electro-music.com an interactive web site dedicated to furthering the art of electronic music. electro-music.com was received a Growing With Technology award from Cisco Systems in 2005. Howard has been the co-chair of two international electro-music conferences held in Philadelphia in June of 2005, 2006, and 2007.
His music has been performed extensively in the United States, Canada and Europe. He has won several awards for his music, including the Elizabeth Crowley Mills Award for Excellence in Music Composition. Aside from synthesizers, Howard plays the Piano and the Banjo. He is a member of the electronic chamber music group Xeroid-Entity.
Random Rabbit v3.0
Just six months after their debut of sorts at Bazzaar in Atlanta, Random Rabbit finds themselves sharing stages with the likes of the Phil Lesh, The Flaming Lips, The Brazillian Girls, Thievery Corporation, The GreensKeepers and Bassnectar to name a few. The Echo Project was a huge leap for the Rabbits and they took full advantage giving the crowd a taste of things to come.
Adam Herbert began his musical career as a guitarist, and has since expanded his arsenal to include bass and keys. His acoustic background represents a vital piece of Random Rabbit’s signature sound. Adam’s dreamy yet playfully aggressive approach to his instruments has aided in developing a style of music that is still in the process of being invented. His affinity for alternate guitar tunings and unusual time signatures are a product of over a decade of dedication to his craft, as well as his years of involvement in the Atlanta music scene.
Andrew Provine became emersed in music at the age of 5 playing the piano. For years he maintained a strict program of two hour practices a day. Throughout middle school he began learning the guitar which has been his primary instrument for the last 14 1/2 years. In the late 90's Provine became very interested in electronic music and taught himself how to mix records. Frequenting weekend "rave" parties he made many close friends throughout the Atlanta music scene. Provine is an FAA commercially and seaplane rated pilot and in 2002 befriended well-known house music producer and pilot Chris Brann. Brann and Provine composed numerous songs and in August of 2004 Provine decided to get a computer and try his hand at production.
The focus of Random Rabbit's music, says Charlie Pazinets is the emotional punch. With electronica, he believes, that is the core drive of the music. To make people want to dance, you have to make them feel like it. To urge them to chill out with chillout, the artist must chill the listener. “Music is a way to transcribe human emotion,” Charlie P insists. “It's a way to capture an emotion and save it for later.”
Giles Reaves has been producing solo albums for almost two decades, starting with Wunjo in 1986.
Reaves began recording albums of soothing, ambient instrumentals because a top Nashville producer, Tony Brown, accidentally overheard him doodling late at night in a recording studio in the mid-1980s. Brown invited Reaves to record synthesized instrumentals for the MCA Master Series. The resulting albums gained some recognition among space music fans ("Wunjo" is considered a top electronic album of all time by Electronic Musicican magazine) but received little record company support or distribution.
In 1992, Steven Hill, producer of the nationally syndicated "Hearts of Space" radio program, contacted Reaves. Hill said he still received mail from fans of his show who were seeking a copy of "Wunjo". Since his record deal with MCA had expired, Reaves had a new album of material that interested Hill, and the resulting CD, "Sea of Glass", released on the Hearts of Space label has been his most successful to date, reaching #11 on the Billboard Magazine New Age Charts when it was released in 1992, and spending four months ranked among the most popular discs on the new age charts.
Reaves has yet another guise, one that has nothing to do with space music. He has become a leading engineer and co-producer (as well as drummer and keyboard session player) on the Nashville rock scene, working with such hard-hitting grunge rockers as Dessau and the Grinning Plowmen and collaborating on projects with melodic rockers Bedlam, Tom Littlefield, Bill Lloyd, Lisa Germano, Jaime Kyle, Lounge Flounders, and Afrikan Dreamland. With a diverse client list including Patty Griffin, Tim Finn, Chet Atkins, Megadeth, Chatal Kreviazuk, Derek Trucks Band, Abra Moore, John Cowan Band, Alternate Routes, Emmylou Harris, Al Cooper, Nicole Nordman, Rubyhorse and Spacecraft
His website is at http://web.mac.com/gilesreaves/Selig_Productions/Home.html and http://web.mac.com/gilesreaves/Giles_Reaves_Music/Home.html , www.spaceformusic.com/gilesreaves.html and also at www.recordingcollective.com and www.myspace.com/thefultonreavesproject
Travis Thatcher has performed as an electronic composer and musician for the last seven years, as a saxophonist for the last 15 years, and has been cutting his teeth on various experimental electronica projects in Atlanta, GA. He currently performs with recompas (with Blake Helton), Judi Chicago (whose CD was deemed the best music made in Atlanta in 2007 by Creative Loafing), and Early Modern Witch Trials (both with Ben Coleman).
Travis is an experienced computer programmer; he received a BS in Computer Science from Georgia Tech in Spring 2005 and has worked extensively in industry as well. His graduate work has been in the field of music technology, specifically in human computer interaction for live performance and interactive sonification. Concentrating on mobile applications for networked collaboration and on controller design, he has been involved with projects including: Brainwaves, a sonification installation that allows a group of players to interact with an auditory display of neural activity, Iltur, a series of musical compositions featuring a novel method of interaction between acoustic and electronic instruments with new musical controllers called Beatbugs, and Listening Machines, a concert series exploring concepts of machines listening and improvisation and musical human-machine interaction.
Following graduate school Travis has taught computer programming at the Savannah College of Art and Design (Atlanta), introductory audio courses at the Art Institute of Atlanta, and is currently a freelance programmer.
John Rossi III
John Rossi III first became involved in electronic music in 1972, and in 1973 acquired Synthi-AKS and EML-101 synthesizers and learned subtractive synthesis and sequencing.
In 1975, John teamed up with Pascal Languirand (a.k.a. TransX) and Pierre Benard to form a trio that played and recorded electronic/space music in Pascal’s studio. Session players would frequently enter the mix and by late 1975 the Zap Jam idiom was born.
In 1985, he became a member of pre-internet newsgroups and email lists that were also frequented by Mike Metlay. The two met in 1989, and soon thereafter John became a regular in Mike’s band Team Metlay, and appears on each of their 3 CD releases.
Most recently, he appeared in concert last spring with Mike and fellow Different Skies alumnus Bill Fox at Mind3Spiral. He spends his creative time developing electronic music for the DTS 5.1 format in his CrystaLogic Productions studio in Florida.