Matt Davis improvises with amplified objects and hand-made instruments, combining them into textures controlled through loopers, effects and delay units. Timbres are carefully derived from homebuilt analog synths, metallic hand percussion, DIY sound creation devices, cactus tines, rattlesnake tails, and just about anything else that may happen along.
While performing and recording alongside Tom Bickley in the vocal improv trio ‘Comma’, Matt came under the strong influence of Pauline Oliveros, and incorporates practices of attentive awareness and mindful listening deeply in his work. At the University of Maryland, Matt studied operatic singing with Dominic Cossa, and specialized in the vocal scores of John Cage under David Patterson, presenting and participating in many concerts of experimental music featuring extended vocal techniques and MusiCircus-like happenings.
Though raised in the folk environment of the southern US, living in the urban areas of Chicago and LA caused a natural magnetism to dance music and electronica, steeping an experimental mindset in a convergence of groove and beats. Realized mostly in post-production remixing and composts, collages of song forms and through-composed miniatures have become his most widely heard work under the moniker Craque, with music released on Audiobulb (Sheffield, UK), as well as several netlabels including Stasisfield and Test Tube. Credits and activities also include scoring for independent film, building interactive sculpture from recycled electronics, and DJ’ing lounge and electronica at local events in his hometown of Fullerton, CA.
Cullen spends the majority of his time delicately crafting a unique brand of quirky, backwoods techno and electronica laden with sassy basslines, subversive rhythms and modal harmonies. Deviously composed, his sonic sketches are characterized by finite, granular textures meticulously chiseled on custom software designed in graphical environments. Being well versed in the jazz idiom, arrangements of traditional instrumentation and peculiar application of original field recordings are commonplace in his work.
His compositional endeavors began by learning double bass and studying contemporary classical and modern jazz theory under the Netherlands based composer and bassist, Chad Langford. He continued refining his acumen by studying with composer Shao Way Wu. He is currently residing in San Francisco and performs periodically under the moniker Grandfather Clock (ominous algorithmic dub), with Kingsley Maddukka (offbeat kinky techno), and Almondü (experimental jazz). He co-founded/formerly managed the youthful yet sophisticated San Francisco based label, TwoCircles.
desaxismundi is an audio-visualist performer. His work focuses on revealling music through visions. Bringing music to another level of perception by exploring space and motion. At the edge of art and high-end technologies, desaxismundi generates and designs motion, emptiness and complexity.
Born in San Diego, 1979, Travis Gire was raised in West Chula Vista, just above the Tijuana border in sun-saturated suburbia, Travis’s early youth found involvement in organized sports, jump-ramp-era skateboarding, video arcades, and strip mall loitering. A penchant for drawing formed and found inspiration from early Disney films, decrepid 80’s skateboard graphics, and heavy metal album cover art. The graffiti boom of the early nineties became a massive influence on Travis’s teen years, and has remained an influence ever since.
Moving to SF after college, while working various retail jobs, Travis discovered a supressed desire to paint. Around 2004, while working at a 24-hour diner, he cut his shifts down to two days to carve out a schedule to teach himself how to paint. Acrylic on canvas gave way to experimentations with backwards painting on plexi-glass. His paintings came to focus on issues of class, race, work, and pop culture as filtered through a surrealist’s o.c.d. meatgrinder.