2025
Artist Lineup
2025 Artists
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Adam Hilton is a musician, composer, performer and sound artist in Austin, TX. He has performed and created in association with NMASS, BLiPSWiTCH, SoundSpace, Collide Arts, COTFG, Phonography Austin, and Salvage Vanguard Theater. He sometimes releases music under his own name and as Linen Closet.
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Phil Boyd, guitar, synths; Nick Terry guitar, lap steel, toys Marfa, Texas
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Andrew Stevens is a drummer and sound engineer from Texas whose free time is mostly spent cooking and playing banjo.
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Anne-F Jacques is a sound artist based in Montreal, Canada. She is interested in amplification, oblique interactions between materials and construction of various contraptions and idiosyncratic systems. Her particular focus is on low technology, trivial objects and unpolished sounds. She regularly realizes installations, performances and ephemeral interventions and gives workshops about domestic applicances hacking. She has worked amongst others with Tsonami Festival (Chile), Experimental Intermedia (New York), Ftarri (Tokyo), CTM (Berlin), Umbral (Mexico), Centrale for Contemporary Arts (Brussels), High Zero (Baltimore) and MEM (Bilbao).
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Kory Reeder is an American composer and performer whose music, drawing inspiration from the visual arts and political theory, is often introspective and atmospheric, investigating ideas of objectivity and immediacy, while exploring the social implications of musical interaction with pieces ranging from symphonic and chamber works to field recording, text scores and computer-assisted improvisations. Kory is from Nebraska and currently resides in Texas where he is an active performer and teacher. He received his PhD from the University of North Texas where he taught courses in composition, electronic music, rock music, music as politics, and vaporwave and directed the University’s Electronics Ensemble, and the Free Improv Ensemble. He is a former student of Antoine Beuger, Anthony Donofrio, Sungi Hong, Joseph Klein, Mikel Kuehn, Elainie Lillios, and Darleen Cowles Mitchel, and he holds a Bachelor of Music degree in composition from the University of Nebraska at Kearney, and a Master of Music in composition from Bowling Green State University.
Ryan Seward is a musician, composer, and artist living in Colorado Springs, Colorado. His work is situated within and across a number of forms, including composition, improvisation, installation, performance, phonography, photography, sculpture, and videography. Ryan holds the MA in Music from Wesleyan University, where he studied experimental music and composition with Ron Kuivila, Paula Matthusen, and Neely Bruce. He has also been mentored informally by composers Antoine Beuger, Michael Pisaro-Liu, and Emmanuelle Waeckerlé.
Andrew Weathers (1988) is a composer and improviser based in the Llano Estacado region of northwestern Texas. His work is equally concerned with the disjunction of duration and place, as well as improvisation’s prospect as a vessel of discovery and collective practice. His projects and performances span the idioms of field recording, prepared guitar, surrealist soundscape, and minimalist composition rooted in repetition and drone. Apart from his longtime commitment to collaboration alongside a wide swath of figures inhabiting the sonic underground, Weathers is founder and operator of Full Spectrum Records, which has continued to release the works of sundry sound artists and experimental musicians since its inception in 2008 in his home state of North Carolina. On top of frequent credits as a mixing and mastering engineer, he has also produced various projects for Other Minds Records and Rural Situationism.
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I am a percussionist, composer, and visual artist living in Los Angeles, CA. I am driven by an overwhelming synesthesia that finds me creating in between genres. My practice unfurls from improvisation with a traditional drumset, into theatrical and sculptural performance, installation, and video art, using found objects, colors, textiles, and organic materials. I play and incorporate all genres of music, recording and touring internationally. My creative research concerns abstract music notation composed for improvising ensembles.
As a classical percussionist, I was taught to play hundreds of instruments, implements, timbres, and techniques, inspiring my current work with new materials & the body. In my improvised solo performances, I curiously explore all parameters of a subject, to learn what it can do, unsettling expectations of logic and endurance. An inviting, perhaps tongue-in-cheek trope creates a platform for experimentation, often building into a surreal myth or ritual. The physicality of my practice will coalesce with acoustics and architecture, to uncover new, visceral relationships that echo and reimagine my formal music discipline.
For two decades, I have worked with alternative music notation, creating innovative and novel systems that encode and visualize the behaviors that comprise musicians’ improvisational vocabulary. I use digital design techniques to represent sonic trajectories, relational dynamics, and situationism in space. Once an exclusive transaction between composer and performer, this work has grown into site-specific, immersive paintings for an expanded audience.
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Corey Fogel (b 1977) is a composer, drummer, and artist based in Los Angeles. Fogel works across genres and mediums to explore many facets of improvisation. He approaches sound, textile, collaborators, gestures, and objects as viable materials for spontaneous, time-based experimental performance, often fusing sculpture, video, musical traditions, theatricality, and ritual.
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Even if you believe in god, you should probably still lock yr car
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Dirtee Clouds is Kevin Whitley, of noise rock band, CHERUBS, creating improvised ambient noisescapes that are sometimes beautiful and sometimes a beautiful mess. More like windchimes made of shiny trash than writing on mirrors with lipstick
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Eric Capper is a sound and sculpture artist from Queens, NY, presently working and living in Chicago where he teaches at Northwestern's engineering program.
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Henna Chou and Adam Hilton work compose and improvise works for theatre, dance, and site-specific installations, focusing on the codependence between bodies and sound, and how we interpret and react to that relationship.
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Henna Chou is a sound explorer with experiences living in Tucson, AZ; Overland Park, KS; Berkeley, CA; Ames, IA; Beijing, China; and Montpelier, VT. Chou enjoys participating in Austin’s creative community as a cellist, guitarist, keyboardist, and sound artist. Previous participations include work with COTFG, Salvage Vanguard Theater, Paper Chairs Theater, BLiPSWiTCH, Collide Arts, The Blanton Museum of Art, The Contemporary Austin, Blanton Museum of Art, New Music Co-Op, Stop Motion Orchestra, Go: Organic Orchestra, Phonography Austin, Golden Hornet, Heloise Gold and The Resonant Lung.
Adam Hilton is a musician, composer, performer and sound artist in Austin, TX. He has performed and created in association with NMASS, BLiPSWiTCH, SoundSpace, Collide Arts, COTFG, Phonography Austin, and Salvage Vanguard Theater. He sometimes releases music under his own name and as Linen Closet.
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Kim is an artist, chef, writer and dancer. She cares about sensation and poetics, systemic and creative thinking, somatic work. Kim seeks out collaborations that move across disciplines and modes of making / forms of knowing. Kim holds a Masters of Critical and Visual Theory from the Art Institute of Chicago. She is currently based in Chicago, IL.
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Through stylistic shifts, Mershon's work exists as a pursuit of beauty, emotional release, connection, and the absurd. In recent work, Mershon combines her current explorations into noise with the song-writing of her past and home videos from her youth. Inspired by the psychedelic experience of aging, Mershon combines these nostalgic and emergent practices in an attempt to witness her own changing but static self.
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Liv Mershon is a Chicago based multi-media artist and band member of nunn and Who is the Witness? (Jenny Pulse, Tim Kinsella, Whitney Johnson, Jon Mueller). Liv recorded and produced nunn's releases- distributed by Damien Records, Trouble in Mind Records, and Death Bed Tapes. She enjoys djing monthly for Beloved radio, co-curating Sahn Ecstatik at the California Clipper, improvising with other experimental musicians, live sound recording and producing for film, and co-organizing Tierras Sonidas.
Bad Psychic Bandcamp | Nunn Band Bandcamp | Instagram | Instagram (Nunn)
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I’m interested in historical definitions of silences and nothings held together in a delicate empiricism of the noticeable. How this works against the multiple, animal or sensate. In terms of thoughtlessness and forgetting. Like this sulfur smell in the air. At what point does sensation become exposure? Listening expands to include a chemical banality or a way of feeling around the dark. The motion of bone in fluid. A geophysicist defines the line between the seismic and its sound as a matter of philosophy. What is the wind? A minor key, or this humming under the threshold of nothing I am writing. Using the techne of the senses or recording devices to demarcate where and how listening fails.
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Megan Jeanne Gette approaches phonography (writing sound) through technologies of listening. She is author of Majority Reef (Inside the Castle Press, 2020), and several chapbooks. Her publications include Venti: a Journal of Air, Art and Aesthetics, Cleveland Review, Minor Literatures, Black Warrior Review, BAX: Best American Experimental Writing, and elsewhere. She has edited and written for many experimental art presses and journals, including the Visual and New Media Review at the Society for Cultural Anthropology’s Fieldsights, and is a member of the ethnographic sound art collective OS. She holds an MFA in poetry and a PhD in anthropology.
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Spirit Plate is the spiritual noise duo of Mateo Galindo and Nathan Young . Heavily influenced by and grounded in the tradition of spiritual/ free jazz and unhinged noise rock. Spirit Plate utilizes reciprocal feedback loops, electronics, prepared guitar, and drumming to create ecstatic noise improvisations that invoke sacred trance and drone traditions.
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Mateo Galindo is an artist, composer, curator, born in Carlsbad, New Mexico. Current projects: Atomic Culture, ¿Tierra y Que? art gallery, WRxMG, Zona Mutante.
Nathan Young is an artist, composer and scholar, born in Tahlequah, Oklahoma. Current projects: Waves of Dust, Tulsa Noise, Postcommodity, Ajilvsga.
Warren Realrider is an artist and composer born in Pawnee County, Oklahoma. Current projects: Tick-Suck, Waves Of Dust, WRxMG.
Warren Realrider is a Pawnee/Crow multidisciplinary artist based in Tulsa, Oklahoma and is currently creating as part of the Tulsa Artist Fellowship. While studying painting at the University of Oklahoma he began an exploration of sound, materials, and site as elements of his art practice. Warren created the Tick-Suck noise performance project in 2016 as sound became central to his practice. He has since presented his solo works and performance collaborations in varied locations, from DTLA to S. Windham, VT and beyond. His works such as IIII Kitapâtu and Unassigned Data work within the unclaimed spaces between contemporary n. american plains existence, universe engagement, and untethered sound to create pointed, sonic structures of human/item interface. Realrider works to play the tensions and time locations between objects, functions, and movements to create works constructed on the frameworks of noise art, improvisation, and experimental composition.
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Tara Bhattacharya is an experimental musician, singer, performance artist, and filmmaker living and working in Austin, TX. She graduated with a degree in Art History and Asian-American studies from Hunter College, NY. Tara’s musical oeuvre encompasses a wide variety of different genres including improvisation, electronic compositions, chamber music, and Bengali folk songs. Her audiovisual practice reflects upon the sociopolitical ideas, attitudes, writings, film, and music from American and Japanese subcultures of the fifties, sixties, seventies, and eighties. She runs Antumbra Intermedia Events + Installations, regularly curating experimental music events, sound installations, and film/video screenings in Austin, TX. Her struggles as a woman of color has factored into all her creative output throughout her life and in 2019, she founded Interference Fest: Women Making Noise, an audiovisual festival that incorporates poetry, sound art, video, and mind-body workshops. The emphasis of the festival is on the care, consideration, and concern of all underrepresented artists working today and providing a designated space for positive reinforcement, community, and self-expression. She has performed on KOOP Radio, KUTX, The Carpenter Hotel, Blanton Museum of Art, The Contemporary Austin, Salvage Vanguard Theater, The Volstead, Museum of Human Achievement, Alamo Drafthouse, Violet Crown Cinema, The Parish and Austin Film Society. Outside of Austin, TX, she has been invited to play at Cabaret Voltaire in Zurich, Switzerland, Secret Project Robot, NY Anthology Film Archives, NY, The Museum of Modern Art, Rubber Gloves Rehearsal Room, Denton, TX and Mercury Project Contemporary Art Space in San Antonio, TX. She is currently in the process of organizing the fourth and fifth iterations of Interference Fest 2023/2024.
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I am an Analogue Synth Player/ Experimental musician and have played in Austin over 10 years. I also organize experimental music events for Antumbra Intermedia Events and Installations as Nothing Is Sacred Presents.
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Heloise Gold was inducted into The Austin Arts Hall of Fame in 2015; and is known as one of Austin’s dance/performance art pioneers, endlessly creating work in Austin since the 1980’s. She highlights experimentation and collaboration in her pieces and infuses her deep sense of humanity, humor and vision into everything she creates. Her performance career traverses numerous paths beginning with early childhood appearances in NYC with the Bolshoi Ballet, to performing in Robert Wilson’s legendary opera The Life And Times Of Joseph Stalin to participating in many experimental happenings in NYC in the mid1970’s to dancing/touring with the Deborah Hay Dance Company (1980-1986). She began creating her own multi-disciplinary performances, being a key player in the performance works developed in Austin in the 80’s-2000’s. A generative artistic relationship beginning in the early 90’s with New Music pioneer Pauline Oliveros took Gold throughout Europe and the US; teaching and performing. She continues to create in Austin, collaborating with many of Austin’s current performance visionaries.
Website: heloisegold.com
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Tom Carter is an improvising musician working in the medium of rock, sound art and experimental music with the intent to erase the boundaries between genres by instigating unusual collaborations in non-traditional venues. His long-term collaborative project with musician, artist and poet Christina Carter, Charalambides, has recorded dozens of CDs, and he has released dozens more either solo or with various short-and-long-term collaborators. He currently resides in Houston, TX where he actively stages multimedia events solo and in tandem with a variety of local and international performers.
He is the co-founder (with Rachel Orosco) of Internal/ Eternal, a Houston-based arts collective, and a member of sound art collective Los Primis Horneados with Orosco, bio artist Aisen Caro Chacin, and itinerant mystic Nancy Douthey. His Three Lobed 2LP Long Time Underground was selected as the number-one experimental album of 2015 by Pitchfork.
Rachel Orosco is a multimedia artist, DJ and musician who divides her time between Houston, New York City, and Atlanta. Her projects with guitarist Tom Carter explore the intersection of light, improvised music, and the built environment. Orosco and Carter, as Internal/Eternal, have staged numerous collaborative events breaking down the separation between performer and audience, which have included a variety of readers, artists, and musicians including Joe McPhee, Loren Connors, Susan Alcorn, Maria Chavez, Charalambides, and David Dove.
As a visual artist, Orosco uses mirrors and light projections to expand perception beyond architectural boundaries, creating illusory realms without borders inside of confined spaces. She has performed frequently as a member of Houston guitarist Sandy Ewen’s freewheeling ensemble Lady Band (a rotating cast of female-identifying performers, sound artists, and musicians).
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My creative experimentation draws primarily on sound, new media, ecology, performance, and literary practices. My work engages with ideas of orientation, becoming, of in-process and evolving work/selves/technologies, feral sensualities, acoustic territories, amplifying the body/marginality, visual and sonic landscapes, spatial cultures, digital storytelling, walking practices, materiality, universal cosmic energy, vibrational healing, and radical and empathetic ways of listening with/to human and non-human entities as social practice. I’m interested in interrogating the sonic perspective, listening approaches, attention spans/dispatches, and working with communities to further understand ways of being.
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Veronica Anne Salinas (she/they) is a Tejana artist, educator, writer, and Deep Listener. Her creative research engages sound, landscape, geomancy, writing, anthropology, performance, the archive, and video. Her work in sound focuses on acoustic ecology, text scores, voice and language, listening practices, spatial audio, improvisation and performance, and sonic archiving. She holds an MFA in Sound from the School of the Art Institute of Chicago, is currently studying Deep Listening at the Center for Deep Listening at Rensselaer Polytechnic Institute, and serves on the board of directors for the Midwest Society for Acoustic Ecology.
Her work has been featured at the Bemis Center (Omaha, NE), Granite City Art and Design District (Granite City, IL), Co-Prosperity Sphere (Chicago, IL), New Music Gathering (Portland, OR), Museum of Contemporary Art Chicago (Chicago, IL), Elastic Arts (Chicago, IL), Empty Bottle (Chicago, IL), Omaha Under the Radar (Omaha, NE), Urban Arts Space (Columbus, OH), 2nd International Conference on Sonorities Research (II CIPS Sonoridades Fronteriças), the Midwest Society for Acoustic Ecology (MSAE), Noise Pulp Radio, Quarantine Concerts, No Nation Art Lab (Chicago, IL), MANA Contemporary (Chicago, IL), Flatland Gallery (Chicago, IL), Farmhouse Art Collective, Open Sheds (Chicago, IL), The Inter-University Program for Latino Research (IUPLR) Latino Arts Now! 2019 Conference, Experimental Sound Studio (Chicago, IL), Chicago Design Museum (Chicago, IL), Sullivan Galleries (Chicago, IL), Mudlark Theatre (New Orleans, LA), Box 13 (Houston, TX), Megapolis Audio Festival (Philadelphia, PA), Midtown Arts & Theatre Center Houston (Houston, TX), Lawndale Art Center (Houston, TX), Art League Houston (Houston, TX), Alabama Song (Houston, TX), Vermont Studio Center (Johnson, VT), Clamp Light Artist Studios & Gallery (San Antonio, TX), Artpace (San Antonio, TX), Sala Diaz (San Antonio, TX), Highwire Arts (San Antonio, TX), and Cities and Memory (UK).
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As a neurodivergent femme artist with autism and synesthesia, I experience the world a bit differently, perhaps like a bug. My world is a textured reality where I see sounds and hear colors. I'm an experimental filmmaker, sound designer, storyteller, and sculptor. Through my artwork, I show others how fluid multi-sensory experience is. And, I role-model to other neurodivergent folks what an art practice grounded resilience looks like. This is why in my artwork I work with iconic metamorphosing insects like moths and butterflies, as these winged-beauties both represent and embody the uncanny strength of transformation.
Metamorphosis and connection are the guiding forces behind my work. Artists like Guadalupe Maravilla, Hilma af Klimt, and Maya Deren, whose own art diverse art practices foreground the creation of dreamlike spaces for spiritual investigation, are creative inspirations for my work. I create eco-surrealist dreamworlds. Theories from ecofeminist Dr. Donna Haraway’s ‘When Species Meet,’ have taught me that there is considerable overlap between posthumanism, ecofeminism, and philosophical metaphysics. As Haraway reflects upon the ways our relationships with non-humans may impact our future, I am further inspired to continue my care-work and collaborations with moths and butterflies, both inside and outside of the studio.
Living life as a 21st century autistic, surrealist femme who has seen her own trials and tribulations, I sometimes feel like a bug: a strange being that is vulnerable yet incredibly resilient. And like a bug, I am often baffled by the violent, destructive, chaos of the human world. I believe most days other folks (neuroatypical or not) feel this way too. This double empathy that I have (both for the natural world and the experience of the outsider) crafts the quirky tenderness within my art. I use my art practice as a site for care-taking and space-making. My art practice is like a psychic cocoon: a playful, multi-layered, textured, and vibrating safe space for all gentle weirdos (bugs and outsider humans alike) to heal, experiment, and metamorphosize together.
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Virginia L. Montgomery (VLM) (b. Houston, lives and works between Austin & New York City) is a multimedia artist and naturalist working in video, sound, sculpture, and entomology. Her surrealist artworks conjure optimistic dreamscapes that unite elements from mysticism, science, and her own lived experience as a neurodivergent ASD1 individual with hearing-motion-synesthesia. Her artistic efforts are characterized by material experimentation, somatic sensitivities, and her unusual studio practice of hand-raising the luna moths and butterflies seen in her videos. Philosophically, VLM's artwork explores the metaphysical ecofeminist praxis of atomic consciousness, the radical notion that all consciousness arises in tandem with matter. VLM's witchy works gently revere the world with dreamlike wonder. VLM received her MFA at Yale University and her BFA at The University of Texas at Austin. She has had solo presentations with The Tate Modern (United Kingdom), New Museum (NY), Times Square Arts (NY), Museum Folkwang (Germany), Wright Lab at Yale University (CT), Women & Their Work (TX), The Lawndale Art Center (TX), False Flag (NY), and Hesse Flatow (NY). She has exhibited in group exhibitions at institutions including SculptureCenter (NY), La Panacée-MoCo (France), The Hessel Museum (NY), The Banff Centre (Canada), Socrates Sculpture Park (NY), The Blanton Museum (TX), The Contemporary Austin (TX) and Kunsthal Charlottenborg (Denmark), among others.
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Will Floyd is an artist and musician working with sound and radio transmission in performance and installation. His work focuses on environmental and electromagnetic signals, improvisation and participatory media practices. Will studied at Oberlin Conservatory of Music and builds community radio stations with Prometheus Radio Project.