Born in Nagasaki, Japan in 1957, percussionist SEIJIRO MURAYAMA has lived and worked France since 1999. Over the last 20+ years he has performed with such musicians as Fred Frith, Lionel Marchetti, Tom Cora, Keiji Haino , Jean-Luc Guionnet, and KK Null. Murayama has also collaborated with the philosopher Jean-Luc Nancy, the video artist Olivier Gallon, the choreographer Catherine Diverrès, the painter François Bidault, and the writer, Nicolas Vatimbella.
His approach is based on a lot of attention to the space and the place, to the energy of the audience and the quality of silence in various ways.He is interested in making continuum, microscopic sounds and in how we can ‘vitalize delicately’ the space with sound.
GREG KELLEY began studying the trumpet at age 10. He attended the Peabody Conservatory of Music in Baltimore, where in addition to studying the Conservatory curriculum, he also immersed himself in a deep study of avant-garde and experimental music, eventually coming to the conclusion that his musical focus fell outside of the academic sphere. After his studies, Kelley moved back to his native Massachusetts, quickly insinuated himself into the local avant-garde circles and soon commenced a period of intense travel and collaboration, bringing him across the United States, throughout Europe, Japan and South America.
He has appeared on over 60 albums and despite a more limited travel schedule, he still manages to play in a number of groups including Nmperign, Heathen Shame, the undr quartet and the BSC, among others. Other collaborators have included Jandek, Keiji Haino, Donald Miller (Borbetomagus), Anthony Braxton, Kevin Drumm, Christian Wolff, Pauline Oliveros, Joe McPhee and Lionel Marchetti. In addition to playing the trumpet, Kelley has also recorded music using electronics and musique concrete elements, sometimes utilizing trumpet based sound sources, other times not.
VIC RAWLINGS (cello/ electronics) employs a still, unstable sound language that features visceral excess and extreme austerity. He uses an amplified cello augmented with extensive and invasive preparations of his design, based on Baroque-era instruments. He uses a vocabulary of extended techniques, approaching near-total abstraction from the cello. He also uses and continually develops a modular electronic instrument with a highly unstable interface, acoustically realized by arrays of exposed speaker elements. His writings on instrumentation and contemporary music education appear in Leonardo Music Journal and Intransitive Magazine. His curricula focus on listening, sound, and electroacoustic phenomena. He presents in settings ranging from Ivy-League Universities to juvenile detention facilities, including a village in Yucatan, Mexico. Visiting artist/ teaching residencies have included Oberlin, MIT, Harvard, UC Berkeley, UC Davis, Princeton, Dartmouth, Wesleyan, among many others.