Katt Hernandez - violin [Sweden]
Joe Burgio - movement [Somerville MA]
Dave Gross - sax [Dorchester MA]
Morgan Evans-Weiler - violin [Somerville MA]
Matt Samolis - flute [Boston MA]
Walter Wright - AVSynth [Lowell MA]
Dei Xhrist - voice, electronics [Manchester NH]
Wilson Shook [Seattle WA]
KATT HERNANDEZ moved to Stockholm in 2010. She works with many projects and musicians in Sweden, including The Schematics, Klas Nevrin Ensemble, Daniel M Karlsson, Yun Kan 10, ExpEAR, Sten Sandell, David Stackenäs, Lisa-Lotte Norelius, Mats Erlandsson, Mattias Risberg, Joe Williamson, Alexander Zethsson, Julia Strzalek, Henrik Ohlson, Finn Loxbo and many others. Katt's violin playing is focused primarily on freely improvised music, drawing a firey array of electronic-like sounds and keening melodies from her unaltered, acoustic violin. She also works extensively with microtonality, drawn from a study of a mixture of sources, including traditional folk and sacred musics of the Middle East, Turkey, and Eastern Europe, variated odd-ball old Americana, work with modular synthesizers and the Maneri/Sims 72 pitch system. Playing with as wide and unexpected a variety of other performers as possible is tantamount to her sonic and spiritual pursuits.
In 2014 she earned a Masters degree in Electroacoustic Composition from Kung. Musikhögskolan (the Royal Music Academy of Sweden), and is now pursuing a Phd in Music at Lund University.Katt worked as a producer for four years, siting on the board of F.R.I.M., working as an assistant producer at Fylkingen and working on the Sound of Stockholm festival. She is also a 13 year veteran of the new, improvised and experimental music scenes in Boston, Philadelphia, Baltimore, and New York, both as a performer and an organizer. She has performed and recorded with a vast array of musicians, dancers, visual artists, film makers and performance artists in venues ranging from underground urban art spaces to ivy league concert halls.
WILSON SHOOK makes music like a moth fluttering at a street light. Graceful, frantic, persistent and sometimes tragic, it is music absorbed of its own inscrutable purpose. It finds serenity in immediacy, escape in acts of radical presence.
It is here, and then it is not.
Wilson performs frequently as a soloist; less frequently as a collaborator or interpretor of other fabulous artists in the worlds of Free Improv/Free Jazz/Noise/Other/etc. He also helps to organize Seattle’s Gallery 1412 collective.