Kyle Bruckmann: Oboe
Ernst Karel: Trumpet/analog synthesizer
Audrey Chen: Cello/voice/electronics
Alessandro Bosetti: Soprano saxophone/electronics
This performance is the premier of a combination of two duo projects: Bruckmann/Karel as EKG and Bosetti/Chen as themselves.
Oboist and electronic musician Kyle Bruckmann is a fixture in the underground experimentla music scene. While teaching and freelancing extensively as a classical musician, he has collaborated regularly with creative improvisers and sound artists, including Jim Baker, Fred Lonberg-Holm, Jeb Bishop, Michael Zerang, Guillermo Gregorio, Scott Rosenberg, Bob Marsh, and Olivia Block. Ongoing affiliations include EKG, and electro acoustic duo with Ernst Karel, and the experimental punk monstrosity Lozenge.
Ernst Karel plays trumpet and/or analog modular electronics and has recently relocated from Berlin to Boston. Since abandoning classical trumpet in early adulthood, he has explored ways of expanding the vocabulary of the trumpet both acoustically and electronically. In addition to his work as a performer and composer, he is also involved in creating sound installations and works for radio.
Audrey Chen’s work focuses on the combination and layering of traditional and extended techniques. A large component of her music is improvised and her approach to this is often extremely personal and visceral. Her performance work incorporates sound, movement and simple visual/sculptural concepts. Chen performs solo and in collaboration with a wide number of musicians and dancers. She is currently based in Baltimore where she is a member of the red room and high zero collective, an on-going series and festival devoted to experimental music.
Composer, saxophonist and sound artist, Alessandro Bosetti works on the musicality of spoken words and unusual aspects of spoken communication and produced text-sound compositions featured in live performances, radio broadcastings and published recordings. In his work he moves on the line between sound anthropology and composition often including relation, translation and misunderstanding in the creative process. Field research and interviews often build the basis for his abstract compositions. As a saxophonist he has developed an original instrumental language that incorporates extended techniques, noises, and a strong influence from electronic music.