"Though the point of reference for many remains the iconic band Henry Cow, which he co-founded in 1968 and which broke up more than 30 years ago, Fred Frith has never really stood still for an instant.

In bands such as Art Bears, Massacre, Skeleton Crew, Keep the Dog, Tense Serenity, the Fred Frith Guitar Quartet, Eye to Ear, and most recently Cosa Brava, he has always held true to his roots in rock and folk music, while exploring influences that range from the literary works of Eduardo Galeano to the art installations of Cornelia Parker.

The release of the seminal Guitar Solos in 1974 enabled him to simultaneously carve out a place for himself in the international improvised music scene, not only as an acclaimed solo performer but in the company of artists as diverse as Han Bennink, Chris Cutler, Jean-Pierre Drouet, Evelyn Glennie, Ikue Mori, Louis Sclavis, Stevie Wishart, Wu Fei, Camel Zekri, John Zorn, and scores of others.

He has also developed a personal compositional language in works written for Arditti Quartet, Asko Ensemble, Bang on a Can All-Stars, Ensemble Modern, Concerto Köln, and ROVA Sax Quartet, for example. Fred has been active as a composer for dance since the early 1980s, working with choreographers Bebe Miller, François Verret, and especially long-time collaborator and friend Amanda Miller, with whom he has created a compelling body of work over the last twenty years.

His film soundtracks (for award-winning films like Thomas Riedelsheimer's Rivers and Tides and Touch the Sound, Peter Mettler's Gambling, Gods, and LSD, and Deborah Kaufman and Alan Snitow's Thirst, to name a few) won him a lifetime achievement award from Prague's "Music on Film, Film on Music" Festival (MOFFOM) in 2007. The following year he received Italy's Demetrio Stratos Prize (previously given to Diamanda Galas and Meredith Monk) for his life's work in experimental music, and in 2010 was awarded an honorary doctorate from the University of Huddersfield in his home county of Yorkshire.

Fred currently teaches in the Music Department at Mills College in Oakland, California (renowned for over fifty years as the epicenter of the American experimental tradition), and in the Musik Akademie in Basel, Switzerland."

"Lars Gustav Gabriel Hollmer (21 July 1948 - 25 December 2008) was a Swedish accordionist, keyboardist and composer, whose work drew on music ranging from Nordic folk tunes to progressive rock. He has been a member and/or founder of over half a dozen groups, most of whose work has been recorded at The Chickenhouse, his well outfitted home studio in his hometown of Uppsala. His work with the band Samla Mammas Manna, in the late 1960s and early 1970s and up to 2002, when the re-formed group played at the two-day ProgDay festival in North Carolina, was and is considered progressive rock. However, he is most centrally an empathetic and generous collaborator: whether as a member of Accordion Tribe, while working with the experimental guitarist Fred Frith, or while spending several months with Japanese jazz players, he seems to find a style that brings his partners to the fore while remaining identifiably himself. Though his work is little known in the United States, he won a Swedish Grammis award in 1999 for his record Andetag. He has also composed extensively for Swedish film, as well as for theatre and dance productions. Consistent elements of his music throughout his career included use of irregular time signatures (often changing several times within a piece), a daring sense of improvisation (particularly vocal improvisation that utilized nonsense syllables), and used complex polyrhythms.

Hollmer died in December 2008 of cancer, aged 60. He is buried in Berthåga Cemetery in Uppsala."

"Chris Cutler started messing about with banjo, guitar and trumpet at school, settling for drums and playing shadows and other instrumental covers in his first band in 1963. Subsequently he played in R'n'B and Soul Bands, winding up in 1967 playing in London's psychedelic clubs. At the start of the seventies, with Dave Stewart, he co-founded The Ottawa Music Co, a 22 piece Rock composer's orchestra, eventually joining British experimental group Henry Cow with whom he toured, recorded and worked in dance and theatre projects until it's demise in 1978. In 1977 Henry Cow, The Mike Westbrook Orchestra and Frankie Armstrong formed a big-band and toured around Europe. After Henry Cow, Cutler went on to co-found a series of mixed national groups Art Bears, News from Babel, Cassiber, The (ec) Nudes, P53 and The Science Group. He was a permanent member of American bands Pere Ubu, Hail and The Wooden Birds and now works sporadically with John Rose, Fred Frith, Zeena Parkins, Iancu Dumitrescu, Peter Blegvad and Stevan Tickmayer.

Other lasting collaborations have included Aqsak Maboul (Belgium), Lussier/Derome and Les Quatre Guitaristes (Canada), The Kalahari Surfers (Africa), Perfect Trouble (Germany), Between (Sweden), N.O.R.M.A., (Italy), Telectu (Portugal), Mieku Shimuzu (Japan),The Hyperion Ensemble (Romania), The Film Music Orchestra, 'Oh Moscow', Gong, The Work and Towering Inferno (UK), The Residents (USA), and stateless Tense Serenity and Mirror Man. There have also been countless improvisational groupings and solo performances. Recent projects include Radio pieces with Lutz Glandien and Shelly Hirsch, Live Soundtrack for Carl Dreher's Vampyr (with Italians Musci and Venosta), his Timescales project and work with David Thomas and Linda Thompson.

He also founded and runs the independent label and distribution service ReR/Recommended and, until 1991, the East European specialist label Points East. He is editor of the New Music magazine Unfiled and author of the theoretical book File Under Popular as well as of numerous articles and papers published in 14 languages. He lectures intermittently on theoretical and music related topics. He has appeared on more than 100 recordings."

"Catherine Jauniaux is a Belgian avant-garde singer. She has been described as a "one-woman-orchestra", a "human sampler", and "one of the best kept secrets in the world of improvised music". Her solo album, Fluvial (1983) is regarded as one of her most accomplished works. She was married to the late American experimental cellist and composer Tom Cora.

Catherine Jauniaux began her career as an actress in Belgium at the age of 15. During the late 1970s and early 1980s, she sang with several experimental rock groups, including Aksak Maboul and The Work. In 1983 she teamed up with The Work's Tim Hodgkinson (ex-Henry Cow) in London to record her first solo album, Fluvial. Jauniaux and Hodgkinson wrote most of the tracks for the album, which are "imagined folk songs" that include elements of "contemporary art song, African singing, Native American legends, and alien nursery rhymes". The album centres on Jauniaux's voice with additional instrumentation by Hodgkinson, Bill Gilonis (The Work), Lindsay Cooper (ex-Henry Cow) and Georgie Born (ex-Henry Cow). AllMusic rated the album as "highly recommended, especially to fans of unusual female vocal art."

In the early 1990s, Jauniaux moved to New York City, where she became part of the Downtown music scene, performing with a number of musicians, including Fred Frith, Tom Cora, Marc Ribot, Zeena Parkins, Butch Morris and Ikue Mori. Jauniaux founded the duo Vibraslaps with Ikue Mori and later married Tom Cora. In 1995 Jauniaux and Cora moved to Southern France where she continued performing with various European musicians, including Louis Sclavis, Heiner Goebbels, Otomo Yoshihide and Christian Marclay. Cora died in 1998.

Jauniaux works regularly with artists in the field of dance and film, and sang in Heiner Goebbels's opera, Roemische Hunde in Frankfurt in 1991. She is inspired by traditional music, both real and imagined, and her performances mix seriousness and humour. She explores sound, emotion, melody and abstraction, and her vocal improvisations range from "traditional French chansons to breathy folk to Dadaistic glossolalia"."

"Over the course of some three decades, visionary bassist-producer Bill Laswell has been one of the most prolific and restlessly creative forces in contemporary music. A sound conceptualist who has always been a step ahead of the curve, he has put his inimitable stamp on nearly 3,000 recording projects by such artists as Mick Jagger, Yoko Ono, Iggy Pop, Laurie Anderson, Brian Eno, Bootsy Collins, Nine Inch Nails, Motorhead, Peter Gabriel, Blur, The Ramones, George Clinton, Pharaoh Sanders, The Dalai Lama, Matisyahu, Angelique Kidjo, DJ Krush, RAMM:ΣLL:ZΣΣ, Sting, The Last Poets, Afrika Bambaataa, Julian Schnabel, Whitney Houston, Manu Dibango, Fela Kuti and most notably Herbie Hancock, who collaborated with Laswell for the pivotal 1983 smash-hit single "Rock-It" which introduced scratching to the mainstream, inspired a generation of turntablists and gave the great jazz pianist instant street credibility among the burgeoning hip-hop cognoscenti.

Laswell's sense of creative daring as a producer was further demonstrated on several recordings that have kept him on the cutting edge, including Afrika Bambaataa's collaboration with John Lydon (aka Johnny Rotten of Sex Pistols fame) on World Destruction and PiL's Album (which brought together an unlikely pairing of drumming greats Ginger Baker and Tony Williams, synth-pop pioneer Ryuichi Sakamoto of Yellow Magic Orchestra fame and rising guitar star Steve Vai). His spoken word collaborations with William S. Burroughs and expatriate writer-composer Paul Bowles have gone against the grain of music industry trends while his radical remixes (or re-constructions) of landmark recordings by Miles Davis (Panthalassa), Carlos Santana (Divine Light), Bob Marley (Dreams of Freedom) and a vast scan of dub-related and atmospheric ambient projects have gone on to further defined Laswell's presence as a revolutionary ikonoklast.

Bill Laswell has helped in generating several innovative recording labels such as Celluloid, Subharmonic, Black Arc, and Innerhythmic. Along with Chris Blackwell, founder of Island Records (Bob Marley and U2), he established the AXIOM label in 1989. M.O.D. Technologies, his most recent imprint is releasing projects by Method Of Defiance, Lee "Scratch" Perry, PRAXIS, Garrison Hawk with Sly & Robbie, Bernie Worrell, The Process (with Red Hot Chili Peppers' drummer Chad Smith and pianist Jon Baptiste) and progressive/futuristic music from Ethiopia (CDs/DVDs).

As a player, Laswell's bass lines resound with rare authority on groundbreaking projects by Tabla Beat Science (with Zakir Hussain and Ustad Sultan Khan), his avant-funk band Material, the apocalyptic assault of Last Exit (with Sonny Sharrock), his progressive dub effected Method of Defiance and the throbbingly intense power trios, Massacre (with Fred Frith and Charles Hayward), Painkiller (with John Zorn and Mick Harris), Praxis (with Buckethead and Brain), Blixt (with Raoul Bjorkenheim and Morgan Agren) and the latest (2014) Bladerunner (with John Zorna and Slayer drummer Dave Lombardo).

Laswell's artistic reach has consistently extended to the continent of Africa, creating ground-breaking, evolutionary snd controversial recording projects in Morocco, Senegal, Mali, Gambia and most recently, Ethiopia where he has established a base for developing new as well as legendary artists, just as he did in the South Bronx some 30 years ago.

A veteran of 300 plus journeys to Japan, where he has worked with everyone from The Gagaku Orchestra (Japan's ancient music, only played for emperors for 1500 years), to avant-jazz, rock, hip-hop and DJ culture. An eternal musical renegade, Bill Laswell has always played by his own rules."

"Jean Derome. Born Montréal, Québec, 1955. esidence: Montréal, Québec. Composer, Performer (saxophones (alto, baritone, soprano), flutes (flute, bass flute, piccolo, alto flute, recorders), keyboards, small wind instruments (ocarinas, jew's harp, game calls, toys...), percussion, invented instruments, voice)

One of the most active and eclectic musicians on the Canadian creative music scene, Jean Derome has managed to earn the recognition of a larger public, a rare feat in that field. Thanks to his large-scale musique actuelle projects, his compositions, his work as an improviser, his jazz groups and his music for the screen and the stage, Derome ranks as a major creative force, in Québec and abroad. He is experienced and innovative on both saxophone and flute, and his unique writing style cannot be mistaken for anyone else's. Sensitive and powerful, his music often features a funny strike that makes its complex nature more inviting.

Ever since Nébu (one of Québec's first avant-garde jazz groups) in the early '70s, Derome has been consistently renewing and diversifying his approach of composition. He impressed audience and critics first with the flute, then with the saxophone, as a lead character in the musique actuelle underground. He took part to the various artists' collectives looking for new ways to express themselves freely, without esthetic or social constraints, including the Ensemble de musique improvisée de Montréal. Later, in the early '80s, he co-founded Ambiances Magnétiques, a collective and record label that raised his profile at home and introduced his name to the outside world. Among his numerous projects, let us mention the duos Les Granules, Nous perçons les oreilles and Plinc! Plonc!, the dynamic group Jean Derome et les Dangereux Zhoms, and the large-scale projects Confitures de gagaku, Je me souviens - Hommage à Georges Perec and Canot-camping. Most of these projects are based on a unique form of synergy between composition, structured improvisation and genuine creative madness, all this articulated with unmatched playfulness. In 1992, Derome became the second artist to be presented with the Freddie Stone Award (bassist Lisle Ellis was the first).

Besides improvising on a regular basis with Ambiances Magnétiques' members and appearing in their projects, Derome has also shared the stage with several musicians of international stature, among others Fred Frith, Lars Hollmer, Louis Sclavis and Han Bennink. He performs regularly all over Canada, in the US and in Europe. He received a Prix Opus in 2001 for his exposure abroad.

Lately, jazz circles have been praising his undisputable qualities as a jazzman, thanks to the Thelonious Monk tribute project Évidence, the Normand Guilbeault Ensemble (whose Mingus Erectus CD is devoted to Charles Mingus' music), and the much-lauded Derome Guilbeault Tanguay Trio.

Although Jean Derome writes tirelessly for his own projects, he is much in demand in the fields of film, theatre and dance. A short list of this side of his work would have to include his numerous scores for the National Film Board of Canada (NFB), especially for films by John Walker, Jacques Leduc, Fernand Bélanger and animated films by Pierre Hébert, Michèle Cournoyer and Jean Detheux; his incidental music for Théâtre UBU, Théâtre de Quat'Sous and Théâtre du Nouveau Monde; not forgetting his work with several top choreographers, including Louise Bédard, Andrew de Lotbinière Harwood, Daniel Soulières and Ginette Laurin. Other music ensembles have commissioned works from him, including Tuyo, Bradyworks, the Hard Rubber Orchestra from Vancouver and Fanfare Pourpour. Incidentally, Derome is the musical director of the latter.

Over thirty years of music and 70 record credits later, Jean Derome still has sleeves bursting with tricks."

"Charles Hayward (born 1951) is an English drummer and was a founding member of the experimental rock groups This Heat and Camberwell Now. He also played with Mal Dean's Amazing Band, Dolphin Logic, and gigged and recorded with Phil Manzanera in the group Quiet Sun project as well as a short stint with Gong. He was a session musician on The Raincoats' second album, Odyshape, and on one occasion played drums for the anarchist punk band Crass. Since the late 1980s, Hayward has released several solo projects and participated in various collaborations, most notably Massacre with Bill Laswell and Fred Frith.

In 1976, Hayward and fellow Charles Bullen began practising with bassist Gareth Williams under the name This Heat. They began to experiment with tape loops, found sounds and keyboards on several sessions (recorded from 1976 to 1978, but not released until 1979). Finally, in 1979, This Heat released their self-titled debut album. 1981's Deceit marked the final new album from This Heat, Williams leaving just after its release. While Bullen began working as a studio engineer, Hayward did sessions for Lora Logic, The Raincoats and Everything but the Girl before forming Camberwell Now with bassist Trefor Goronwy and tape manipulator Stephen Rickard. The trio released 2 eps Meridian, Greenfingers and 1 album The Ghost Trade through the Swiss Recommended label. When Camberwell Now disbanded in 1987 Hayward embarked on a solo career which has continued to the present day. He debuted with Survive the Gesture (1987), Skew-whiff (1989) Switch on War (1991) and My Secret Alphabet (with Nick Doyne-Ditmas) in 1993. 3 live albums recorded in Japan followed in the late 1990s (released on Japanese label Locus Solus). In 2003 Abracadabra Information was released and 2011 saw the release of ONE BIG ATOM In 1998, he joined Massacre with Fred Frith and Bill Laswell.

Throughout the 1990s up to the present he has initiated a large number of events and performances, including the series Accidents + Emergencies at the Albany Theatre in Deptford, Out of Body Orchestra, music made from the sound of the new LABAN dance centre being built which was choreographed for the official opening, music for a circus (part of the National Theatre's 'Art of Regeneration' initiative), the full-on installation/performance Anti-Clockwise (with Ashleigh Marsh and David Aylward) for multiple strobes, maze structure of diverse textures, 2 drummers, synthesizers and your nervous system. Recent developments include the CONTINUITY evenings as part of Camberwell Arts. Over the past ten years Hayward has developed these attitudes and insights into a wide range of soundwork, both collaboratively and as a solo artist/performer. These include: 30 MINUTE SNARE DRUM ROLL, Zigzag+Swirl, a solo song set at the drums using a system of controlled chance electronics, beginanywhere a set of songs centred around the piano, collaborations with Laura Cannell, Thurston Moore, Keiji Haino amongst many others. Recent work with the Islington Mill crew in the project Anonymous Bash has led to new work with many younger players, including Harmergeddon, DATA QUACK and projects for an array of new record labels including Samarbeta, Care in the Community and Unknown Gods. He also releases material on his own label CONTINUITY..... His long term relationship with the Albany continues with a twice yearly series of performances, workshops and installation, sound is sound is sound which he curates on behalf of Lewisham Arthouse."

"René Lussier (born April 15, 1957) is a musician based in Quebec, Canada. He is a composer, guitarist, bass guitarist, percussionist, bass clarinetist, and singer. Lussier has collaborated with such figures as Fred Frith, Chris Cutler, Jean Derome and Robert M. Lepage. His work, which combines elements from all major genres, is often referred to within the discourse of New Music, or Musiques Actuelles, in French.

Born in Montreal, Lussier began his musical career in 1973 in Chambly as part of the progressive rock group Arpège. From 1976 to 1980, he was a member of the Montreal folk-progressive group Conventum, led by André Duchesne. Lussier was also a member of the groups Quatour de l'Emmieux and les Reins, Nébu and La G.U.M in the late 1970s and early 1980s. In 1986 he joined Duchesne's Les 4 Guitaristes de l'Apocalypso-Bar.

He began doing soundtrack work in 1979, via a collaboration with Duchesne on the music for a short film called Tanobe. Lussier has written or co-written the scores to more than 35 films, including Chronique d'un génocide annoncé, a documentary by Danièle Lacourse and Yvan Patry about the Rwandan genocide.

Lussier played guitar for the popular singer Pauline Julien between 1982 and 1984, though he also worked on esoteric music that blurred distinctions between progressive rock, jazz, improvisation, modern composition, and circus music. His first solo album, Fin du travail (version I), was released in 1983 and consolidated his reputation as a quirky, humorous and talented guitarist-composer. He has collaborated extensively with Derome and Lepage and has recorded as a member of the Fred Frith Guitar Quartet. Lussier is featured prominently in Step Across the Border (1990), a documentary feature film by Nicolas Humbert and Werner Penzel about the work and travels of Frith. Lussier was also a member of Frith's band Keep the Dog (1989-1991).

In 1983, Lussier co-founded the Ambiances Magnétiques record label and recording collective with Derome, Lepage and Duchesne, and produced an extensive body of work in this environment. His best known work, Le trésor de la langue (1989), was created during this period. The album interspersed music with taped recordings of Quebec residents discussing the importance of the French language. It won the Grand Prix Paul-Gilson award in 1989.

In the late 1990s, Lussier recorded two albums for solo guitar and a pair of collaborations with Martin Tétreault which reflected an interest in the history of musique concrète and electroacoustic music composition and theory."

"Robert "Bob" Ostertag (born April 19, 1957 in Albuquerque, New Mexico, United States) is an experimental sound artist, political activist and writer based in San Francisco. He has written three books, collaborated with a number of musicians, and has released twelve solo albums.

Fred Frith called Ostertag his "guru", and Robert Fripp once described him as "the only guy on synthesizer who interests me"."

"Multi-instrumentalist/composer/improviser, Zeena Parkins, pioneer of contemporary harp practice and performance, reimagines the instrument as a "sound machine of limitless capacity." Parkins has built three versions of her one-of-a-kind electric harp and has extended the language of the acoustic harp with the inventive use of unusual playing techniques, preparations, and layers of electronic processing.

Inspired and connected to visual arts, dance, film, and history, Zeena follows a unique path in creating her compositional works. Through blending and morphing of both real and imagined instruments, crafting, recombining, and layering mangled, sliced, massaged or possibly disengaged sounds, drawing from extra-musical sources for unusual scoring and formal constructions as well as utilizing multi-speaker environments, Zeena remains in process with sound as material and music, engaged in translations of sonic states in the concert hall, the black box theater, the dance studio, the recording studio, the classroom, the cinema, the skyscraper, the ocean and the gallery. Zeena has a particularly strong commitment to making scores for dance and continues to re-evaluate the nature and issues of the body's imprint on sound and sound/music's imprint on movement.

Parkins's compositions have been commissioned by NeXtWorks Ensemble, Merce Cunningham Dance Company, Roulette Intermedium, The Eclipse Quartet, William Winant, Bang on a Can, The Whitney Museum, The Tate Modern, Montalvo Arts Center, The Donaueschinger Musiktage and Sudwestrundfunk/SWR.

Parkins has released four solo records featuring her electric and acoustic harp playing and has released her compositions and band projects on six Tzadik recordings, with a new Tzadik CD with Ikue Mori and Phantom Orchard Orchestra, Trouble in Paradise, to be released in November 2012. As a sought-after collaborator Zeena has worked with: Fred Frith, Björk, Ikue Mori, Dame Evelyn Glennie, Maja Ratkje, Hild Sofie Tafjord, John Zorn, Butch Morris, Chris Cutler, Elliott Sharp, Nels Cline, Alex Cline, William Winant, Anthony Braxton, Pauline Oliveros, Yoko Ono, Christian Marclay, Matmos, Yasunao Tone, So Percussion, Bobby Previte, Carla Kilhstedt, Tin Hat, James Fei, Kim Gordon, Lee Renaldo and Thurston Moore.

Awards: The Foundation for Contemporary Arts Fellowship, NYFA Music Fellowship, Meet the Composer Commission, NYSCA Composer Commission, Multi-Arts Production Fund Grant, American Music Center, BAFTA award for best interactive media with visual artist Mandy McIntosh and sound artist Kaffe Matthews, Peter S. Reed Fellowship, Mary Flagler Cary Charitable Trust Commissions, Arts International, Prix Ars Electronica Honorary Mention for Phantom Orchard in the Digital Music category.

Curatorial: Guest curator for The Music Unlimited Festival in Wels, Austria, co-curator of the Movement Research Festival: Sidewinder, in NYC and curator for a month + a week of shows at The Stone in NYC

Residencies: Civitella Ranieri Foundation Fellowship, Oxford University, Harvestworks, Steim, Paf: Performing Arts Forum, Wooda Arts Residency, Montalvo Arts Center, RPI/iEAR and The Watermill Center.

Teaching: Zeena has given lectures at Oxford and Princeton Universities and has taught at the School of the Museum of Fine Arts in Boston, Bard and Mills College. Currently, Zeena is a Distinguished Visiting Professor, at Mills College Graduate Music Department."

"Tim Hodgkinson (b. 1949) studied social anthropology at Cambridge, and co-founded the politically and musically radical group HENRY COW with Fred Frith in 1968. In addition to composing, he has a long involvement in improvisation, and came back to anthropology in the 1990's with research into music and shamanism in Siberia.

He has participated in many concerts with Iancu Dumitrescu's Hyperion Ensemble both as bass clarinetist and composer and conductor. His compositions have been interpreted in such international festivals as: Spectrum XXI (Brussels, Paris, Geneva, , Berlin, London), Huddersfield Contemporary Music Festival (U.K.) where he was a featured composer in 2007, Craiova and Ploiesti Festivals (Romania), Guarda Festival (Portugal), Cantiere Internazionale d'Arte di Montepulciano (Italy), Konfrontationen Festival (Austria), Nordlyd Festival (Norway), Musique Action (France) and the European Symposium of Experimental Music at Barcelona.

His Piece for Harp and Cello was selected for the SPNM shortlist in 2005. His composition SHHH was accepted for the IMEB electroacoustic music archive at Bourges in 2006. His piece Fragor appeared in the Martin Scorsese film Shutter Island in 2010. He has worked with Hyperion Ensemble, Talea Ensemble, Ne(X)tworks, the Bergersen String Quartet, London Sinfonietta, Insomnio Ensemble, Phoenix Ensemble, Basler Schlagzeug Trio, Nidaros Slagverkensemble, Bindou Ensemble.

As an improvising musician on reeds and lap steel guitar Tim Hodgkinson has performed all over the world with many of the most acclaimed artists in the field, and continues to be fully engaged in the celebrated Konk Pack trio with Roger Turner and Thomas Lehn. In 2009 he released KLARNT - a CD of solo clarinet improvisations.

With Ken Hyder, and Gendos Chamzyryn from Tuva, he works in the K-Space project: numerous tours of Europe and Siberia and CD releases - including INFINITY, a set of recordings that uses customised software to re-compose the music with each listening. In 2009, K-Space developed a sound-installation for the exhibition Shamans of Siberia at the Museum of Ethnology in Stuttgart.

As a writer, he has published articles and reviews on improvised music, musique concrète, spectralism, the ethnomusicology of shamanism, and the aesthetic problems of the impact of new technology on contemporary music - in, amongst others, Perspectives of New Music, Arcana, Contemporary Music Review, Musicworks, The Wire, Cambridge Anthropology, Variant, Rer Quarterly, and Resonance Magazine. His book, MUSIC AND THE MYTH OF WHOLENESS will be published by MIT in January 2016.

He has given lectures, workshops and seminars at Cagliari and Lyon Conservatoires, at the Institute of Contemporary Art, at Goldsmiths College and the School of Oriental and African Studies in London, at Istanbul, Edinburgh and Cornell Universities, and art schools in several European countries, at COMA summer school, and at the Verband für Aktuelle Musik in Hamburg where he was artist in residence in 2010."