FRANCES CHANG / PLUTONESS is a musician and multi-disciplinary artist living in New York. Frances’ practice combines use of conventional instrumentation, playful electronics, and poetry, and deals with disruptions in accepted reality and non-western and magical frameworks.
Carolyn Hietter deals primarily with saxophones and vocals. She has been living in Brooklyn, NY for five years, performing in a variety of musical and theatrical configurations. Collaboration within and with members of Brooklyn's DIY music community is the primary way Carolyn engages with music in the city. The resonance and animation of space are her main focus in regards to performance. She is presently interpreting disparity in systems of financial and linguistic exchange, and its relationship to the hoarding of potential energy and resonant metals.
Brittany Haas is widely regarded as one of the most influential fiddlers of her generation. Born in Northern California, Brittany grew up honing her craft at string camps nationwide, and developed her unique style of fiddling at the influence of her mentors, Bruce Molsky and Darol Anger. A prodigious youth, Haas began touring with Darol Anger’s Republic of Strings at the age of fourteen. At seventeen, she released her debut, self-titled solo album (produced by Anger). Haas continued to tour and record while simultaneously earning a degree in Evolutionary Biology at Princeton University (where she also minored in Music Performance). It was during her time at Princeton that Brittany was asked to join the seminal “chamber-grass” band Crooked Still, with whom she has made four recordings and toured the world.
Meadownoise is the pseudonym of Matt Glassmeyer, though he'd rather you not know that. Since he started recording under that name, Glassmeyer--a veteran of many collectives--set his mind to writing, recording, and, at least initially, playing music as a wholly solo endeavor, though it was never an exercise in ego. Following his debut LP It’s 4:00 (2013) and it’s serialized follow-up, Dark Digest (2014), Glassmeyer would don a beige suit and tie for live performance, both as a show of church-like respect to anyone who cared to show up in person, and as an admission that he's just another ordinary person playing music. Hiding in front of the band, Glassmeyer subconsciously asked the viewer to pay attention to the music not the man. Regardless of interactive stage sculptures and unorthodox instrumentation, it could have been anyone in a suit banging away at a Wurlitzer.
the void inclusive is the primary project of native Tennessean Heath Webb. He celebrates the ephemeral and the eternal, the cerebral and the emotional, with ambient arcs of sound and energy. Textural loops and boops for lovers.
