Rachel Grimes is a pianist, composer, and arranger based in Kentucky. She has toured the US, Europe and Asia as a solo pianist, and as a collaborator with chamber ensembles such as Portland Cello Project, astrïd, Cicada, Amsterdam Sinfonietta trio, and Orchestra Kandinskij. Rachel has performed her compositions at some of the world’s most diverse music festivals including All Tomorrow’s Parties (curated by Shellac), P Festival in Taiwan, CrossLinx in Netherlands, Approximation Festival in Germany and Big Ears in Knoxville, TN. Her solo releases include The Clearing (Temporary Residence – May 2015), Book of Leaves, Marion County 1938, and Compound Leaves as well as contributions to the albums of many fellow artists like Watter, Christopher Tignor, Seluah, Nathan Salsburg and the Frames. She is a member of Louisville rock band King’s Daughters & Sons (Chemikal Underground) and a founding member of the ground-breaking indie-rock chamber ensemble Rachel’s, with whom she toured and released six albums (Quarterstick / Touch & Go).

While pursuing her love of a broad range of music, she has collaborated with many other artists, musicians and filmmakers. Her recordings have been licensed to numerous film and TV works internationally including the Showtime documentary Listen to Me Marlon, feature film Actress, HBO series Witness, Gasland and Gasland II (HBO), Last Days Here (9:13 Pictures), and Academy Award and Golden Globe winner La Grande Bellezza (Indigo Films). Currently in development is RC Radio Hour, a theatrical collaboration with Chris Wells, writer, actor and founder of The Secret City. Recent commissions include: a quartet for the Portland Cello Project; a new suite with Julia Kent for cello and piano for the installation Doppelgänger by London artist Peter Liversidge; a rendition of the national anthem for Smithsonian Magazine; a set of arrangements for the SITI Company of New York with the music of George and Ira Gershwin for SATB chorus, solo voices, strings, woodwinds, brass, percussion and piano. She has contributed scoring, research, and recordings for multi-media installations for Donna Lawrence Productions (Museum of World Religions, Kentucky Show!, National Infantry Museum, New York Historical Society).

Her latest album, The Clearing is out now on the esteemed Temporary Residence label.





Taylor Deupree is the founder of 12k, an independent record label based in the rural area north of New York City. Started in 1997, 12k has pioneered a form of experimental ambient music involving delicate hybrids of digital technology and acoustic instrumentation. In its 17 years of existence, 12k has released over 100 albums from an international roster of artists and has become one of the most respected small sound-art labels in the world for this captivating and minimalist niche of electronic music.

Deupree is an accomplished sound artist whose recordings, rich with abstract atmospherics, have appeared on numerous record labels, and well as in site-specific installations at such institutions as the ICC (Tokyo, Japan) and the Yamaguchi Center for Arts and Media (Yamaguchi, Japan). He started out, in the 1990s, making new noises that edged outward toward the fringes of techno, and in time he found his own path to follow. His music today emphasizes a hybrid of natural sounds and technological mediation. It’s marked by a deep attention to stillness, to an almost desperate near-silence. His passion for the studio as a recording instrument is paramount in his work, but there is no hint of digital idolatry. If anything, his music shows a marked attention to the aesthetics of error and the imperfect beauty of nature, to the short circuits not only in technological systems but in human perception.

And though there is an aura of insularity to Deupree’s work, he is a prolific collaborator, having collaborated with the likes of Ryuichi Sakamoto, David Sylvian, Stephan Mathieu, Stephen Vitiello, Christopher Willits, Kenneth Kirschner, Frank Bretschneider, Richard Chartier, Savvas Ysatis, Tetsu Inoue and others.

Deupree dedicates as much time to other people’s music as he does to his own. In 1997 he founded the record label 12k, which since then has released over 100 recordings by some of the most accomplished musicians and modern sound artists of our time. Many share with Deupree an interest in stark minimalism, but the label has also found room for, located a common ground with, the acoustic avant-garde, the instrumental derivations of post-rock, and the synthetic extremes of techno.

And collectively, the cover jackets to the 12k album releases have served as an ongoing exhibit of Deupree’s photography, its lofi aesthetic, with an emphasis on damage and wear and antiquated tech, closely paralleling his music. (His photos have also graced numerous books, design anthologies, and other recordings and projects.)

Deupree continues to evolve his sound with an ambition and drive that is masked by his music’s inherent quietude. He approaches each project with an expectation of new directions, new processes, and new junctures.




bvdub is the moniker of Brock Van Wey. Originally from the San Francisco Bay Area, since 2007 he has released more than 40 albums and Eps under this name and other pseudonyms including his birth name, Brock Van Wey. Residing in Shaoxing, China, he produces ambient and ambient techno music that has received critical acclaim from the likes of online magazines Resident Advisor, Headphone Commute and Gridface. His first release as Brock Van Wey, “White Clouds Drift On And On,” was included in RA’s Top 20 Albums of 2009.




Tara Jane O’Neil is a multi-instrumentalist, composer, and visual artist. She has released seven full-length albums internationally. She composes and performs under her own name and in collaboration with other musicians, artists, dancers, writers and filmmakers. Her work in sound ranges from melodic and experimental composition to noise improvisation, and from solo projects to scoring for theater, film, dance, and experimental ensemble sonic architectures. O’Neil was a founding member of the bands Rodan and the Sonora Pine and many others. She has collaborated on recordings and stages with Marisa Anderson, Michael Hurley, Ida, Catherine Irwin, Mirah, Mount Eerie, Papa M, Nikaido Kazumi, Ben Vida and many more. In addition to clubs, galleries, temples and DIY spaces around North America, Europe and Asia, she has performed her compositions at the Centre de Pompidou, the Whitney Museum of American Art (NY), the Hammer Museum (LA), the New Museum (NY), PICA’s TBA Festival (Portland), All Tomorrow’s Parties (UK) and many others. She has had three monographs of her visual art published.

Her most recent album, Where Shine New Lights was released on Kranky records in 2014.




Lubomyr Melnyk is a Ukrainian composer and pianist who has pioneered Continuous Piano Music. Classically trained and greatly affected by the minimalist movement in the early 1970s, he has developed his own unique language for the piano, named after the principle of maintaining a continuous, unbroken stream of sound.

Lubomyr Melnyk is a true innovator, exploring new directions for contemporary music. Not only is he regarded as one of the world’s fastest concert pianists, his compositions also truly carry the listener to new realms. To witness one of his rare live performances is nothing short of a mind-opening experience.

Melnyk has shown a remarkable devotion to the instrument, always striving to discover new ways of composing music in the continuous mode. His focus is on the actual sound of the piano as much as the harmonies and melodies of the music.

Using rapid and complex note patterns, Lubomyr’s virtuoso piano technique forms overtones that blend, collide or even create new melodies in rare moments, and thereby shape the composition beyond its original form. To accomplish this requires a special technique, one that has taken him many years to master.

April 2013 saw Lubomyr Melnyk’s his first release on UK label Erased Tapes. Entitled ‘Corollaries’, the album was recorded and produced by Peter Broderick with the additional help of Nils Frahm and Martyn Heyne.

Lubomyr Melnyk returned with a 24-minute mini album entitled ‘Evertina’ on December 15, 2014. Featuring three newly composed solo piano pieces, the long-form EP showcases another side to Lubomyr – his more gentle and melodic work.




Unless you’re obsessed with album liner notes and familiar with East Coast indie rock (or abstruse folk exploration), the name Mary Lattimore will not be familiar to you. However, you may have heard her before: Mary composes harp parts for songs and recordings by other artists. She has performed, collaborated, and recorded with who’s who of the indie rock scene: Jarvis Cocker, Thurston Moore, Sharon Van Etten, Meg Baird, Kurt Vile, Steve Gunn, Ed Askew, Fursaxa and many others.

Her solo debut, The Withdrawing Room, was released in 2013 on Desire Path Recordings. It was very well-received by the specialized music press, with magazines like Secret Decoder praising her work.

With her harp, she leads her listeners down a trail of warm, inviting tones strewn with a few decidedly devious bits of sound thrown in just to keep us on our toes. What is particularly fascinating in the sounds that Lattimore coaxes from her instrument – her reach extends far beyond the anticipated overlapping waves of traditional orchestral flourishes, with creaks, groans, moans, and wails all emanating from the grooves of this lovely slab of wax. Lattimore plucks, scrapes, and slaps her Lyon and Healy Concert Grand harp, running its sounds through a loop station that not only repeats her patterns but occasionally gives them a prismatic kind of echo, as though you’re watching a picture fade one color at the time.

Lattimore has been a part of soundtrack projects including the Valerie Project-composing an alternate soundtrack to the Czech New Wave cult film Valerie and her Week of Wonders; Lopapeysa, a film by David Kessler set in Iceland, and the film score for Marina Abramovic: the Artist is Present, a documentary about the artist.

Lattimore’s latest album, a collaborative work with super producer Jeff Zeigler, was released by Chicago’s Thrill Jockey on 2014.




Rauelsson is a composer and multi-instrumentalist from Castelló, a town in the province of Valencia, Spain. The music of Rauelsson has slowly transitioned from lo-fi, bedroom recording-oriented intimate compositions of delicate folk to a more contemplative, experimental and dense sound. Over time, his songwriting has found less space for his quiet, hazy vocals, opening up room for more experimentation with soundscapes, textures, field recordings and electronic machinery. Since 2008 Rauelsson has released four albums, including a score for a documentary film (From River to Sea, 2012) and a collaboration LP with his friend Peter Broderick (Réplica, 2011), all of them released on the Portland-based indie label Hush Records. Sonic Pieces – Berlin’s modern classical hub of handmade, beautifully-packaged music – released Rauelsson’s latest album, Vora. Helping with production and mixing, Nils Frahm pushed the boundaries of Raúl’s distinctive sound and was fundamental in creating something lush, deep and inventive. Although Vora might be Rauelsson’s darkest and heavier musical endeavour, it is also a work of subtle tenderness and remarkably unpretentious cinematic grandeur. Touring in support of Vora has lead to the most extensive live schedule Rauelsson has done to date, including shows in the US, eight different European countries and Japan; more than thirty shows that included festivals, unique spaces and the chance to share stage with some favorite artists like Efterklang, Hauschka, Anne Müller, Peter Broderick, Grouper and Greg Haines.




Shuttle358, the moniker of native Californian Dan Abrams, clearly stands as one of 12k’s most revered, and mysterious, artists. Some say his work was responsible for humanizing the microsound movement of the early 2000’s, and rightfully so. He took the computer-as-instrument and made it beautiful and personal, carving out a unique place for himself among throngs of artists.




Paul Clipson is a San Francisco-based filmmaker who often collaborates with sound artists and musicians on films, live performances, and installations. His Super 8 and 16mm films aim to bring to light subconscious visual preoccupations that reveal themselves while working in a stream of consciousness manner, combining densely layered, in-camera edited studies of figurative and abstract environments, in a process that encourages unplanned-for results, responding to and conversing with the temporal qualities of musical composition and live performance. His work has screened around the world in festivals and at sound & film events such as the International Film Festival Rotterdam, The New York Film Festival and the Cinémathèque Française.





Tiny Vipers is the stage name of Jesy Fortino, an American artist and musician from Seattle. Over the least several years, she’s been releasing records ranging from experimental folk music (on legendary Seattle label Sub Pop) to ambient and drone-based pop from Chicago’s Kranky. More recently, Jesy’s been working on new material all based on analog synthesizers (like the Oberheim Two Voice) and effect pedals. Her minimalistic sound and approach to ambient music is heavily influenced by kosmische bands like Popol Vuh and Tangerine Dream, composers like Vangelis and Akira Rabelais, and post-rock bands like Talk Talk. Expect a convergence of musical styles that entrance the listener into a deep meditative state of mind.




Panabrite is a solo project of Seattle-based Norm Chambers. He has been active making music since the 1990s, however has gained more traction with his Panabrite project since 2010. Emerging from a love of early electronic, concrete and tape music, soundtracks and early new age, Chambers attempts to create worlds of sound that touch on many elements and moods, from more spatially motivated ambient to aspects of cosmic synth and minimalist composition and improvisation.

Chambers utilizes an array of synthesizer equipment to achieve his sounds, in addition to field recordings and occasional acoustic elements. He has released numerous LPs, cassettes and CDs on such labels as Immune Recordings, Preservation (Australia), Aguirre (Belgium), Digitalis, VCO, Constellation Tatsu, Gift Tapes and many more.




Leo Mayberry is a Seattle-based visual artist. Mayberry has been composing, coordinating and performing live video for over a decade. Projects have varied from improvisational explorations with Steve Fisk and Greg Gilmore to complicated theater performance with the Degenerate Art Ensemble. Custom applications in Max/MSP/Jitter, and an eclectic catalog of material to draw from allow the flexibility necessary to thrive in environments from gothic ambience to breakcore meltdown. Use of mirrors, motors, and non-standard screen compositions are all ways he’s working to shatter the screen and release the image.