"Taku Unami was born in Tokyo, Japan, in 1976. He is a composer and improviser working with assorted stringed instruments, including the guitar, mandolin, and contraguitar, laptop and vibrating objects (from which he amplifies the inaudible vibrations). Despite being linked to minimal improvisation his music is hardly classifiable, being able to surprise listeners on every new release, raising unforeseen questions and forging new paths for improvisation. He is part of the group HOSE and has active collaborations with Mattin, Taku Sugimoto and Masahiko Okura. In the past he has worked with Radu Malfatti, Jean-Luc Guionnet, Klaus Filip, Masafumi Ezaki, Burkhard Stangl, Rhodri Davies and Keith Rowe, among others. Unami has also composed for film, including 'Lost My Way' (directed by Takeshi Furusawa) and 'In 1,000,000 years' (directed by Isao Okishima). He has released more than 30 records, both solo and in numerous groups and collaborations. He runs the influential label Hibari Music and co-organizes the Tokyo concert series Chamber Music Concerts with Taku Sugimoto and Masahiko Okura."

"Devin DiSanto lives in brooklyn and develops performances, actions, and audio recordings that revolve primarily around the material attributes of a sound, particularly the plurality of its signification. His projects start from the premise that space is listened for as much as seen and heard before it comes into view. It doesn't arise from the visible-readable realm but is first heard, listened to, and enacted through physical gestures and movements. He often performs solo but prefers to bind himself to collective projects bypassing the private sphere of his own interests. He seeks to emphasize determinacy rather than indeterminacy, critique rather than ambivalence, and decision rather than indecision in order to develop social relations and action oriented values capable of questioning the apparent 'neutral', 'objective', fixed, transparent, innocent or indifferent representation of a space. These sound-producing tasks don't need to generate musical sound or even produce audible sound in creating performances, but instead search for a distorting effect produced by signifying material, and the possibilities inherent in the slippage between society and language."