Robert Aiki Aubrey Lowe (New York NY)

Robert Aiki Aubrey Lowe (b. 1975) is an artist and multi instrumentalist that works with voice in the realm of spontaneous music often under the moniker of Lichens. Most recently, creating patch pieces with modular synthesizer and singing to them has been a focus of live performance and recordings.

Quality of sound through the marriage of synthesis coupled with voice has allowed for a heightened physicality in the way of ecstatic music, both in a live setting and recorded. The sensitivity of analogue modular systems echoes the organic nature of vocal expression which in this case is meant to put forth a trancelike state. To usher in Deep Listening through sound and feeling. Losing one's self in sound while being acutely self aware.

By way of a recent meeting and collaboration with artist Patrick Smith, Robert has begun to utilize projections with live performances. The current video piece is called "Clouds" which is a vector driven animation made by Patrick Smith.

Through collaboration Robert has worked with Ben Russell, Ben Rivers, Rose Lazar, Hisham Akira Bharoocha, Tarek Atoui, Ben Vida, Mark Borthwick, Lucky Dragons, Alan Licht, Michael Zerang, Doug Aitken, Patrick Smith, Monica Baptista, Lee Ranaldo, White/Light, Kevin Martin, Chris Johanson, Tyondai Braxton, David Scott Stone, Genesis P-Orridge and Rose Kallal, as well as many others.


Martin Rodriguez (Montreal QC)

Influenced by environmental sounds, Martín Rodríguez draws a connection between the instinctive sonic communication occurring in nature and how human beings harness sound for their means of expression to create soundscapes which are living, listening, and engaging in the present.

As the son of a Mexican immigrant and Polish-American, identity has always played a central role to Rodriguez’s artistic explorations. Projects such as Open La Puerta (2013) explore fragmented memories of his heritage; and after a surgery from a brain tumor left him temporarily paralyzed Rodríguez developed Cabezón (2014) as a direct reaction to his diagnosis. During this period he also began exploring new ways to play his guitar as a coping mechanism, which led to Radio Therapy (2015).

Radio Therapy (2015) The fog of chemo and numbness of radiation. The brain surgery. Paralysis. The seizure that exposed it all. The sterile sounds of the hospital. One must find a way to heal. Radio Therapy expresses these sentiments by transforming the brutal sounds of Rodriguez’s MRI into a meditation on the healing process of his recovery from a cancerous brain tumor, creating both a soothing and battling ambiance of recovery & remission. Radio Therapy is produced by harnessing radio frequencies alongside a transmission of Rodriguez’s MRI brain scan through a transducer that is attached to a standalone guitar.The transducer forces the whole body of the guitar to vibrate. The resulting sound is a blend of musical notes, and scanned AM radio frequencies resonating through the body of the guitar and passing through a chain of manipulated sound effects. The artist wishes to thanks the Conseil des arts et des lettres du Québec for its support to this project.


Ora Clementi - crys cole (Winnipeg MB) + James Rushford (Australia)

Ora Clementi is the duo of Canadian sound artist crys cole and Australian composer-performer James Rushford. Formed in 2013, their collaboration is a unique investigation into liminal performance states, with a focus on text and speech as preconscious thought processes. Central to cole and Rushford's duo are questions surrounding interpretation, the function of memory, semiotics, and the syntactical discipline of sound within both listener and performer. Utilizing various musical approaches in unorthodox and disorienting ways, their work incorporates field recordings, electronics, contact mics, various wind and keyboard instruments, percussion and voice. Using movement, conceptual performance practice and both amplified and acoustic sound, Ora Clementi play with subtleties of sensory perception, invoking a dreamlike context that hovers between musical performance and pure abstraction.

crys cole is a Canadian sound artist working in composition, improvised performance and sound installation. Generating subtle and imperfect sounds through simple gestures, she creates textural works that continuously retune the ear. Delicately seeking to both reveal, and obscure the intricacy of seemingly mundane sounds and sources. cole has exhibited and performed throughout Canada, Europe, Japan, Australia, the USA and Thailand. She has ongoing collaborations with James Rushford (AU) (as Ora Clementi) and Oren Ambarchi (AU). She has also worked with Keith Rowe, Lance Austin Olsen, Jamie Drouin, Mathieu Ruhlmann, Tetuzi Akiyama, Seiji Morimoto, Anthea Caddy, echo ho, Tim Olive and many more. Her work has been published on labels Black Truffle (AU), Penultimate Press (UK), Touch (UK), MeGO (AT), caduc. (CA), Bocian (PL), Another Timbre (UK) and Infrequency editions (CA/DE).

James Rushford is an Australian composer-performer, currently based in Los Angeles. His work is drawn from a familiarity with specific concrète, improvised, avant-garde and collagist languages. Currently, his work deals with the aesthetic concept of musical shadow. His music has been published by Pogus (US),  Prisma (Norway), Bocian (Poland), Penultimate Press (UK), Black Truffle (AUS) and KYE (US). James recently completed a Doctor of Musical Arts at the California Institute of the Arts.



Adam Basanta (Montreal QC)

My work investigates perception – and listening in particular – as an active, participatory, multi-modal activity which is distributed throughout a variety of human and non-human agencies. By interrogating points of intersection between the conceptual and sensorial, the psychological and psychophysical, as well as conscious, bodily and mechanical dimensions of the listening experience, I aim to draw the viewer’s awareness towards undiscovered facets of their own listening.

In my recent work, I exclusively use objects from the world of commercial sound reproduction technologies. Disrupting their technical and economic functions, thus nullifying their potential as instruments of mass communication, these objects are transformed into sculptural sound- producing centerpieces. Through the use and subtle perversion of communication technologies, I aim to reveal their material agencies as prosthetic technologies-of-listening, while in turn allow reflection on the material agency of our own bodily "technologies" of listening.

Arranging these objects into three-dimensional reconfigured listening situations, I create spaces for aesthetic and conceptual contemplation of sound, listening, sonic technologies, and the manners in which these elements are at constant interplay.

Adam Basanta (b. 1985) is a Montreal-based sound artist, composer, and performer of experimental music. His work traverses sound installations, electroacoustic and instrumental composition, site-specific interventions, and laptop performance. Across disciplines and media, he interrogates intersections between conceptual and sensorial dimensions of listening, instabilities of instrumentality, and means with which site and space can be articulated.

His sound installations have recently been presented in North America and Europe in galleries and institutions including Carroll/Fletcher Gallery (London), National Art Centre (Tokyo), American Medium Gallery (NYC), New Media Gallery (CAN), Serralves Museum (POR), Edith-Russ-Haus fur Mediakunst (GER), Vitra Design Museum (GER), Laboral (ESP), Gallery B-312 (Montreal), Fonderie Darling (Montreal), Titanik Gallery (FIN), The Center for Contemporary Arts Santa Fe (USA), and BIAN 2014 Digital Art Bienale (Montreal). His installations have been awarded in the Prix Ars Electronica 2013 (honourable mention, Hybrid Art category), the 2014 Edith-Russ-Haus Awards for Emerging Media Artists, and the Excellence prize in the 2015 Japan Media Arts Festival. His work has been positively reviewed in publications such as Artforum, Hyperallergic, ETC Media, Neural magazine, Musicworks, Creator's Project, The New York Times, and the Wall Street Journal.

His experimental concert music has been presented worldwide, including appearances in the MATA Festival (NY), Gaudeamus Musicweek (NL), CTM Festival (GER), Akousma Festival (CAN), and Mutek Festival (CAN), and have been awarded multiple national and international prizes, including Metamorphoses 2010 (Belgium) and the Grand Prize in the SOCAN Foundation Awards for Young Composers (Canada). Recently, his music has been released on Kohlenstoff Records (Montreal), Farmacia901 (Italy), and Cassauna (USA).


Colin Fisher (Toronto ON)

Colin Fisher is a Toronto based multi-instrumentalist/composer/improviser active within various communities and aesthetics. His solo work explores what he feels the essential power/potential of music is that exceeds classification and finds itself in listening deeply to ones biological organism and its connection to greater creation. Music has the capacity to create, to sustain life and to bring the organism back into balance/homeostasis. Colin’s collaborative work links him across various communities and localities - Not the Wind, Not the Flag is a psychedelic/ecstatic music duo with percussionist/musician Brandon Valdivia. Their decade long exploration of duo music has produced a substantial recording output as well as live performance and tour experience.

He also regularly performs with tabla player Victor Cirone, Groove/improv trio Body Help, Spiritual/free jazz duo Fake Humans with keyboardist Carl Didur (of whom he also plays in Carl’s band Zacht Automat), released a tzadik record with Many Arms, plays drums with guitarist Tristan Trump in the improvised rock duo Conventional Weapons, plays saxophone in Craig Dunsmuir’s Dun Dun Band, free jazz quartet with nyc musicians Brandon Lopez, Marc Edwards and Daniel Carter, free jazz trio with Carl Testa and Mike Pride, a nyc trio “Monas” with Kid Millions and Johnny Deblase who recently released an album and various other improvised group settings.

Colin has appeared and collaborated with Anthony Braxton, Caribou vibration ensemble, William Parker, Sabir Mateen, Rhys Chattam, Dominic Duval, Joe Mcphee, Deily Mori, Tounkara, Larajii, Jah Youssouf, The Constantines, Slim Twig, Zones, Matt “doc” Dunn and many others.


(Winnipeg MB)

Civvie is an experimental trio improvising on amplified bassoon, cello, and weaving loom. Based in Winnipeg, Civvie creates arresting soundscapes using extended techniques and digital effects, stretching the sonic possibilities of their instruments. The percussive sounds of the weaving loom are layered, its incidental cadence suggesting the pulse of an increasingly industrialized world. The bassoon and cello respond to the woven rhythms in a haunting dialogue, both concerned and hopeful for the future that unfolds. Drawn to the variability of spontaneous compositions, their musical conversations evoke a natural world under the siege of human progress.


Sarah Ouazzani (Marseille FR)

Chat-huant, 7.30min
In french, the tawny owl is also called Chat-huant. The english translation would literally be booing-cat or hooting-cat. Tawny owls, nocturnal bird of prey, don't have visible ears. They, however, hear better than men, thanks to their two asymmetrical ears. The forest. The night. Chatter. A dialogue between voice and analog synthesizer.

This piece links organic and analog sounds, human and animal shouts. The human voice slowly taking pleasure in shouting.


Visual and sound artist, living in Marseille, France. Video practice has influenced more and more of my interests leading to invisible, unspoken words, and sound as a possibility of dialogue with the unconscious. Time, slowness, displacement, myths, rituals and elements are central in my approach. I practice vocal improvisation and electroacoustic music, sometimes linking it with cinema, in performative experiences, installations and video. I study electroacoustic music at the Marseille National Conservatory and work within a collective, adapting Acustica written by Mauricio Kagel. In addition to my personal work, I conduct workshops with different participants; schools, psychiatric or social institutions, with young and older people... This is a way to share my work and to experiment ideas collectively.



Jeneen Frei Njootli (Vuntut Gwitchin BC)

Through performance, Jeneen Frei Njootli turns an ear to materials, such as caribou antlers, to sound the transmission of embedded and layered ancestral knowledge. Jeneen Frei Njootli is a Vuntut Gwitchin artist and a core member of the ReMatriate Collective and sits on the board of directors for grunt gallery in Vancouver. Frei Njootli has been based in these unceded territories of the Musqueam, the Squamish, Tsleil-Waututh and Stó:lo peoples for nearly a decade while pursuing a BFA Degree from Emily Carr University (2012) and an MFA Degree from the University of British Columbia (2017).