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micro-fest of electronic music & otherwise


6:00 PM - 11:00 PM

4014 Walnut St
Philadelphia PA 19104



201-316-5403 /

One Thousand Pulses (OTP) is the Northeast's premier series of festivals for electronic and experimental music. Showcasing artists whose sounds span the spectrum of electronic genres, styles, and motifs, OTP hosts semi-regular events in venues throughout the region to broaden the outreach of such artists and their audiences alike.

OTP's Philadelphia debut event mixes established veterans with vibrant newcomers, all of whom sing the body electric by blurring genre and texture, color and grain, light and sound.

> GROUPTHINK work up vast drones of machinic elegance buttressed by windswept atmospheres and the odd rhythmic pulse. A duo comprised of Darren Bergstein (iPhone synths, laptop, found objects, wayward percussives, voice) and Edward Yuhas (guitar, loops and processing, iPhone synths), Groupthink improvise with wild abandon, yielding, thanks to their various iPhemera, ambience with teeth, as found on their debut CD, Of Microcosmic Origins (Periphery). /

> Gregory Kyryluk, aka ALPHA WAVE MOVEMENT, embraces ambient, “new age”, and the classic 1970s German style known as Berlin School. Kyryluk is not only influenced by the masters (Eno, Roach, et al), his love of the natural landscape around him provides just as much imaginative gristle for the aural mill. He is, in fact, a true original; whether recording as AWM, Open Canvas, or as part of the duo Thought Guild, Kyryluk manages to transcend the historical baggage and clichés of his European EM colleagues. He recently issued the final Thought Guild disc on his own Harmonic Resonance Recordings imprint, as well as his ambient techdub debut under the alias Within Reason on the Periphery label. Kyryluk’s appearance at OTP will mark his return to live performing after 10+ years. /

> PETER BIEDERMANN has been playing guitar, composing, and performing live since 1977, both solo and in his bands PING and White Light. Skillful as he is on his trusty acoustic, Biedermann hardly restricts himself to genre: he effortlessly combines both analog and digital techniques to create electroacoustic soundscapes similar to those founded by the likes of Robert Fripp, Brian Eno, Jon Hassell, and David Torn. Biedermann’s principles carry him across numerous disciplines, whether as part of the psychoacoustic trio Serious Fun or solo where he’s currently forging new strains of guitar-processed ambient. It is this recontextualizing of the guitar into regions familiar yet adjunct that provides the artistic motivation for Biedermann’s continually reinvented persona.

> Philadelphia electronic musician Steve Bowman, aka THIN AIR, is a long-time performer and mainstay of the local electronic music community. His is what he terms a “radical spacemusic with a jam-band sensibility”, combining sounds that range from ambient and dreamy to experimental swathes of raucous noise. Bowman counts among his many influences the works of Morton Subotnick, Karlheinz Stockhausen, and Ligeti. However, what separates Bowman’s sonic creations from the rest of the EM pack is that he first and foremost composes, albeit via keyboards controlling an array of delays, arpeggiators. effects, and loopers. Bowman filters his sensibilities through 50 years of listening, a degree in Music from Harvard, and 20 years of playing spacemusic with guitarist Art Cohen in the duo Delicate Monster.

> Guitarist TIM MOTZER and trombonist JA DEANE are masters of their respective instruments, yet they share a mutual fascination with electronica and experimentalism. Motzer’s made circuits dance either solo or in tandem with Jaki Liebezeit, Ursula Rucker, Markus Reuter, Burnt Friedmann, and many others. He owns and operates the eclectic 1k Recordings, which features everything from his superb IDM project Fractured Reverb Underground to his Base3 downtown fusion-funk outfit. Motzer's versatility and interests know no bounds, as both his eclectic label catalog and live performances demonstrates. Trombonist and sonic provocateur Deane’s pedigree is no less impressive: he's worked with Jon Hassell on the seminal Power Spot album, and performed with such luminaries on the avant-jazz scenes as John Zorn, Butch Morris, and Wayne Horvitz. Motzer and Deane’s new collaborative debut as a duo in The March Project should be nothing short of extraordinary. /

Groupthink, my duo with guitarist/looper Edward Yuhas, will be performing this Sunday, March 4, in Brooklyn @ Roulette as part of a tribute and sonic memorial to my friend & colleague, the late Richard Lainhart.

Groupthink will be performing, along with Jordan Rudess (renowned Dream Theater member & keyboardist/synthesist), Ron Goldberg, and many others, as part of a 15-strong ensemble of sound artists dubbed the Orchestra of the Future. The Orchestra was Richard's last realized project, wherein various improvisors provide the soundtrack to his wonderfully designed collage-noir films culled from 30s & 40s tech, med, & instructional clips. The films themselves merge sci-fi imagery with the kinds of science-fair docs lifted from decades-old high-school labs.

Groupthink utilizes guitars, iPhones, loops, samples, found objects, percussives, and voice effects to inaugurate strange ambient climes & esoteric soundscapes possessed of various odd pulsations. We are honored to be part of this Sunday's event, and hope those of you in the area will attend to pay tribute to one of the most unsung innovators of contemporary electronic, ambient, and drone music.

For further info & to RSVP:


I'm very pleased to announce two new Periphery releases, the first of many to come throughout 2012.

First, we present Subtle Shift, by Within Reason, aka Gregory Kyryluk (usually trading under his regular moniker Alpha Wave Movement). Within Reason's gorgeous ambient/dub/techno works a nether region where post-Basic Channel defectors co-habitate with the ghosts of Tangerine Dreams past, late Mille Plateaux-era minimalisms, and the Echocord crew, but rearranges existing aural vocabularies into vivid & refreshing new shapes.
> Info:

Then there's Of Microcosmic Origins, the debut by Groupthink. A duo comprised of Darren Bergstein (iPhemera, found objects, percussives, voice) and Edward Yuhas (guitar, electronics, loops, iPhemera), Groupthink erect vast drones of machinic elegance buttressed by windswept atmospheres, sentient noises, and the odd rhythmic pulse. Utilizing all manners of instruments analog and digital, archaic and contemporary, the duo improvise with wild abandon, yielding, thanks to their various iPhemera, ambience with teeth.
> Info:

All current and future Periphery releases will be strictly limited to 50 copies, housed in a unique round, hinged tin with a transparent window displaying the CD.

Both of the above, plus earlier Periphery issues by The Electric Golem and Richard Lainhart, in addition to the compilation Home Patterning, can be purchased on the Periphery Bandcamp page:

Thanks for your interest & support of Periphery and independent electronic music.

For those interested: Spotted Peccary just announced their cluster of Erik Wollo reissues, comprising his now hard-to-find classics Traces, Images of Light, and Solstice:

I have the original editions, but the packaging and addition of extra tracks make these worthwhile purchases, regardless. They're all superb albums, showcasing Erik's then post-Eno style of Nordic ambient; Traces remains one of his finest recordings, although the little-heard Images of Light has much to recommend it, hosting numerous works of chilly, reflective electronica at times spartan, yet always with that 'crystalline' veneer that renders them as quite beautiful. Good to finally see these resurrected in a more widely accessible fashion.

Other Ambient (and related) Music / Richard Lainhart RIP
« on: December 31, 2011, 01:47:55 PM »
It is with abject shock & sadness that I must announce the death of my close friend & colleague, electronic musician Richard Lainhart, who passed away yesterday of complications following surgery.

Eulogies, of course, are for the living, and cannot bring back what has now passed; nevertheless, I am so stunned at the moment, having only found out this news just a few short hours ago, that I am at something of a loss of words. Richard's pedigree as an electronic musician was unquestionable, and his work to this day was an ever-evolving organism of ideas, textures, approaches, and directions. I can now only feel deeply honored that I was able to release his remaining 80s works, Polychromatic Integers, on my label this past year.

The even sadder irony of this news is that Richard & his work remained largely unsung to the general electronic(a) community, despite his being a tireless performer & supporter of the genre; in fact, Richard was one of the fiercest supporters of my efforts with OTP, having attended virtually every performance regardless of his own personal taste, and lending an hand on untold occasions for various technical & a/v matters where they needed addressing. He was primed to be one of the performers at the mini-fest I've been organizing in Philly for late March, and the fact that he now will not be there fills me with immense & profound regret.

Like most artists, under-recognized or not, what we now have left is the legacy of his work to savor & relish.

It's been a tough year for our genre/community, and not exactly the way I wanted to usher in 2012.


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DATE OF PERFORMANCE: Saturday, December 3


$8 for advance/reserve seating, $10 at the door


Come join us on December 3 for OTP’s final event of 2011, featuring one of New Jersey’s best-kept secrets, the experimental trio known as Serious Fun.

Serious Fun features the original poetry of John Hammel (vocals, harmonica, melodica) supported via improvisational music courtesy of Peter Biedermann (electric & acoustic guitars, electronics) and Anthony Lamort (keyboards, electronics, sampling). This is a trio whose music defies easy categorization: neither ‘jazz’ by any stretch, or anywhere near ‘rock’ music or even something resembling what most would consider to be strictly ‘electronic’ by nature, Serious Fun wipe out in one fell swoop the boundaries between contemporary experimental musics.

Hammel’s gothic homespun, equal parts Nick Cave, Tom Waits, Jim Morrison, and Robert Wyatt, positively aches throughout the guitar-webbed soundworld Biedermann cooks up, spiced considerably by Lamort’s unorthodox synth & mysterioso keyboard accompaniment. Call it ‘avant-Americana’, if you will—this is the stuff of fever dreams hatched by auteurs David Lynch and Derek Jarman, writ into a kind of grand guignol aural noir.

The thrust of Serious Fun can be found on their two recordings, The Red House Panties, and An American Anthem, featuring work penned by Hammel during the early 1990′s in a purgative burst after spending approximately three years immersed in novelists such as James M. Cain, Jim Thompson, and James Ellroy. Hammel channels the seedier undercurrents of the American experience via his smoked voice and ghostly harmonica, while bandmates Biedermann and Lamort sort and sift through varying patterns of near Frippian-guitaroid menace and subversive analog burbles that act like sonic earworms gnawing in to the psyche.

Other Ambient (and related) Music / CDs, bye-bye
« on: November 07, 2011, 11:10:55 AM »
Not sure if this is under the appropriate forum heading to post this (change it at will, Mike!); regardless:

Not unexpected news, but that doesn't make it any less distressing.

After reading this, I'm not exactly sure how I want to respond; I could go on for a couple thousand words how I feel about this, but have little desire to do it on a forum (perhaps in a more 'formal' venue).

Suffice to say, I think it sucks if/when this moment comes. To those of you who are happy with the faceless download, where music becomes simply nebulous, artless data (I could care less whether it's FLAC, wav, aiff, whatever), with the dissolution of its reach, power, and mandate as a completely audio/visual synergistic art form, where it becomes just another disposable commodity to be digested without passion, I have little commonality.

I know this is a hugely divisive issue. Regardless of my opinions on this matter, as someone who believes fervently that an actual TACTILE OBJECT, an actual SOUND CARRIER containing true sound dynamics & a visual presentation, design & style (and I'm referring specifically to the CD, though I will include vinyl as well) needs to exist (much like an actual paper-based magazine or book, or a painting on a canvas), I know I'm in the minority, and despite such a position, it sure as hell isn't going to stop the CD's demise.

(And, to reiterate, I don't want to hear about lossless files or the ability to print artwork...why that remains a 'selling point' is beyond me. Don't want to build my own car; why should I want to construct my own art for a recording I purchased? Again, I know my ire will draw various perspectives across the spectrum, and from far & wide, but so be it.)

So, when the manufacturing of the CD finally goes the way of all flesh, I will thus continue to enjoy my existant 20,000+ CD library 'til my end of days, technological 'evolution', or whatever, be damned.

That's my op, for what it's worth.

Back to our regular scheduled program, already, regretfully, in progress...

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DATE OF PERFORMANCE: Saturday, November 5


$8 for advance/reserve seating, $10 at the door


We’re very pleased to present British synth/sequencer mavens AirSculpture on Saturday, November 5th.

Bridging the worlds of kosmische, classic European space music and Schulzian-inspired Berlin School, AirSculpture has been tripping the neurons fantastique since the mid 90s, part of a rich UK lineage that includes fellow space travellers Radio Massacre International, Ian Boddy, and Wavestar.

A trio comprising members Adrian Beasley, John Christian, and Peter Ruczynski, AirSculpture arose as a reaction to a music scene that no longer reflected their tastes. The energy and edge of 70s EM had become diluted into a melange of clinical digital sounds played over safe pre-recorded backing. Most of AirSculpture’s music is created live on stage, improvised with little or no pre-planning. Over time it has evolved to a unique sound, melding driving Berlin School rhythms with engaging, flowing melodies, sometimes moving into darker ambient realms, or shifting gears with ‘danceable’ beats.

In all, AirSculpture seek to reclaim a heritage that derives its vitality from the pioneers of the past while forging new identities for the future. Across seven full length albums (of those, five are live recordings reflecting the real-time nature of the music), the trio continue to blast out into aural environs unknown, mysterious, and intangible, all elements which empower the very best that synth music has to offer.


Art and Literature, Movies and TV / Doin' the right Thing?
« on: October 14, 2011, 12:46:41 PM »
Went and saw The Thing today & thought I'd chime in with observations, perhaps a smallish review of sorts...

Bottom line: I wanted to like it, and, in fact, did. I did my best to park any expectations at the door, as I read both harshly negative and fairly intelligent, positive reviews last night. The film, for the most part, walks a strange line between being interesting & flat. The creature effects are pretty cool; I dug 'em, but will say that they are definitely CGI-originated, and, in some scenes, are too digital, where that 'suspension of disbelief' is temporarily shattered. Although I am hesitant to make comparisons to Carpenter's classic, one element missing from this new Thing is a fairly consistent lack of suspense; there is little of that sense of ominous dread & paranoia so much a part of Carpenter's design. It doesn't help that the score is a far cry from Morricone/Carpenter/Howarth's minimal electronic pulsations, which helped immeasurably buttress that film's nightmarish atmosphere (Rob Bottin's god-like creature executions notwithstanding).

There's no doubt that this new Thing is for the most part a wholly unnecessary object that surely didn't need reinvention, but I found it diverting enough in its own right; it doesn't sully the rep of it's 1982 forebear, nor does it attain that film's grand guignol heights. At best, it achieves a respectable middle ground for its rather economical 95 or so minutes. Make of that what you will.

(Oh, and be sure to stay through at least the first half of the closing credits - pretty essential to get the whole idea of the new filmmaker's intentions.)

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DATE OF PERFORMANCE: Saturday, Sept. 3


$8 for advance/reserve seating, $10 at the door


British artist Jez Creek, better known as Modulator ESP, brings his experimental synthesis project over to this side o’ the pond to kick off OTP’s Fall series of events.

Modulator ESP produces improvised experimental soundscapes using synthesizers, sampling, sequencing, looping and processing to create strange worlds of sound somewhere between 70s space music, noise, and dark ambient drone, and is fond of proclaiming that he spends far too much of time on production and sound design. In the case of the sonic end result, however, that is indeed a good thing: Modulator ESP music is that rare breed, a twist on recognizable genre templates that ensures it doesn’t fit comfortably in any given one. What made the early Euro pioneers so utterly convincing and provocative in their day was their ability to carve out sounds hitherto unheard of before — Creek’s music is full-on dejá vu, suggestive of his forebear’s alien cartographies without outright mimicking them. Although rhythms can be discerned amongst his studio and live creations, more often than not Creek tends to sublimate the obvious into what is often an amorphous, shape-shifting, extraordinarily colorful tapestry of finessed texture, expertly matched to the sinuous hues that inform his equally arresting visuals.

Creek’s listening habits encompass a wide range of music, and it shows: bits and pieces of stylistic flotsam, from ambient electronica to all manners of prog and, in his words, “weird” music, crop up throughout virtually any Modulator ESP track or performance. Fellow electronic transmitters such as Jean Michel Jarre, Radio Massacre International, Redshift, and Tangerine Dream inform his myriad influences, but truth be told, Modulator ESP is its own unique animal, the sounds Creek engineers live muddying the electronic waters to yield some beautifully engulfing and deeply imagistic waveforms.


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(With visuals by Richard Lainhart)

Saturday, August 20th
Opens 7:30 PM / Performances 8 PM

Studio 34
4522 Baltimore Avenue
Philadelphia PA 19143

$10 advance / $12 door

Ticket purchase via MyCommunityTickets:
Periphery Label Launch tickets

Further info: /

One Thousand Pulses, the Northeast's premier concert series for electronic & experimental music, invites you to the launch event for its new CD label, Periphery.

Periphery's maxim is "wrestling frequencies from the edges & otherwise", proffering uncategorizable works from musicians operating across the electronic & experimental music spectrum.

All three recent releases, including Richard Lainhart's Polychromatic Integers, and the OTP compendium Home Patterning (with tracks by Tim Motzer and Color is Luxury, recorded live in the OTP soundspace) will be available at the event.

Our launch event lineup:

> TIM MOTZER | | Philly-based guitarist and composer Tim Motzer finds infinite joy in diversity. His output as a leader and sideman crisscrosses multiple musical universes, including jazz, fusion, prog, hip-hop, soul, electronica, and the avantgarde. Motzer gets to explore these genres and the intersections between them via his ubiquitous presence in the wildly deep and varied Philly scene. He also traverses manifold territories through the many albums released on his own 1k Recordings, such as the rhythmically diverse soundscapes populating the Tilomo release, and, more tellingly, as Fractured Reverb Underground (FRU). The sole FRU CD comprises electronic studio experiments from 1999 — a decade ahead of their time — generously tipping its hat to the Orb’s Alex Patterson thanks to its psychedelic clouds of mercurial ambient textures. Motzer has also worked on releases by British singer-songwriter David Sylvian with the ongoing Secret Rhythms project comprising electronica/dub luminary Burnt Friedman and ex-Can drummer Jaki Liebezeit, as well as with German Touch guitarist Markus Reuter on Descending, a deeply sublime and stunningly beautiful work that references Brian Eno, Frippertronics, Supersilent, and David Sylvian.

> RICHARD LAINHART | | Since childhood, Richard Lainhart has been interested in natural processes such as waves, flames and clouds, in harmonics and harmony, and in creative interactions with machines, using them as compositional methods to present sounds and images that are as beautiful as he can make them. Well-versed in the varied applications of his beloved Buchla boxes, yet equally agile on numerous synths, keyboards, vibes, and guitars, Lainhart has been reorganizing the topography of tone and texture for over 30 years. After studying composition in Albany under EMF founder and professor Joel Chadabe, Lainhart not only went on to create idiosyncratic recordings in his own right, but has performed and worked with the likes of John Cage, David Tudor, Steve Reich, Phill Niblock, David Berhman, and many others.

> COLOR IS LUXURY | | Obsessed with circuit-bending and inner ear manipulation, intrepid Philly experimental sound duo Color Is Luxury combines the talents of erstwhile Buchla veteran Charles Cohen and the curiously monikered hair_loss in the yielding of some of the most provocative boops and beeps around. Ripping the innards out of their respective electronic arsenals, this diminutive motley crew twist their varied sound palettes into corkscrew whorls of new shapes, sizes, and hues. Noise but not noise, drawing clear lineage from the pioneering work of Morton Subotnick, Pauline Oliveros, Gil Melle, and Wendy Carlos outward, Color Is Luxury remain tonally consciously even when they go all atonal on us, sonic provocateurs sharing a rich aural history that blossoms before your very ears.

> PTO (Pulses Tones Oscillations) is one of the numerous sound-producing aliases of Darren Bergstein, longtime music journalist, collector, historian, and archivist, former publisher of the magazines i/e and e/i, and founder/owner of both One Thousand Pulses and the Periphery label. Free improvising in the wellworn electroacoustic tradition, Bergstein has at his disposal tools old (tongue drum, rainstick, metallophone) and new (iPhone), but they're all just texture-mappers regardless of origin, simply various objects to be tapped, stroked, and struck at will.

Join us for an immersive evening of audiovisual electronic interfacing.

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We are very pleased to announce the launch of Periphery, a limited edition series of recordings that chart the same uncategorizable styles, approaches, and dynamics that are the trademark of OTP artists.

Periphery releases are housed in digipaks and come as factory-pressed CDs in editions of 300.

All three titles are NOW AVAILABLE. Click to purchase.

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Sophomore effort by the duo of James Spitznagel (visual and audio artist, owner of the Level Green imprint) and Trevor Pinch (Analog Days author, professor, and Moog devoteé), incorporeal soundsculpting arising from the collision of knob and touchscreen.

RICHARD LAINHART Polychromatic Integers (OTP2011)
Archival, unreleased gems culled from Richard Lainhart's prototypical late 80s phase, a continuation and summation of the varied modes of digital expression first actualized on his remarkable debut These Last Days, veering between wayward guitar mesmerics and drone existentialism to offworld tribal process music.

HOME PATTERNING A One Thousand Pulses Compendium (OTP3011)
OTP's first compilation, Home Patterning, highlights some of the series' finest moments, extracted from a year-and-a-half of unique and special performances. Includes tracks by Robert Rich, Malcolm Cecil & The Electric Golem, Rapoon, Eraldo Bernocchi, Chuck Van Zyl, Tim Motzer, Kevin Kissinger, and more.

Watch this space, in addition to our OTP Twitter and Facebook feeds, for further updates.

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DATE OF PERFORMANCE: Saturday, June 25


$8 for advance/reserve seating, $10 at the door


From out of the woodwork, from the cracks in the sonic floorboards, from out of nowhere in fact, they came, five desperate individuals seeking sonic asylum. They share between them the same spoiled persuasions, corrupted at birth by the choice noises made out of random acoustics and ragged electronics. Reared on the pulse of jazz, unable to keep their aberrant tendencies towards experimentalism in check, they fled the jurisdiction of music halls for the wild frontier, breaking dozens of aural laws in the process.

They call themselves ArtCrime, disturbing the peace and upsetting sonic applecarts everywhere. Now wanted throughout the country for committing unspeakable acts against the mainstream, this brazen quintet remains at large. Though they've somehow managed to elude the authorities, local government agencies nevertheless urge all citizens to keep a close eye and ear out for Darren Bergstein, responsible for rhythms, atmospherics and multiple voicebox felonies; Frank Jolliffe, armed and dangerous with a Warr guitar; John Korchok, who blew his cover with wind synth, and baritone and alto saxes; Steve Orbach, manufacturer of clandestine percussive mischief; and Bob Siebert, wanted for gross misconduct on circuit-bent synth, keyboards, and kalimba.

Rumor has it the five are holing up in a safehouse in a New Jersey town called Woodcliff Lake, where their thousand pulsations might give pursuers the slip. Can ArtCrime be apprehended? Brave the elements to capture them at all costs.


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OTP proudly presents:


The first in our series of annual, multi-artist, audiovisual performance festivals of electronic & experimental music.



Taking place on Saturday, October 1, Equinoxygen will be held in the 420-seat Wilson Auditorium at Fairleigh Dickinson University's Teaneck/Hackensack campus, just 15 minutes north of New York City.

As the only large-scale event of its type ever to take place in the Northeast New Jersey area, Equinoxygen offers a roster of renowned artists from across the globe, spanning the bandwidth of electronic music’s genres, styles, and approaches. This year's event is the opening salvo in a regular series of festivals to take place in the region, bridging the analog and the digital & the audio and the visual, to yield a unique sensorium of sound and image.

Tickets can be purchased here:

Check the OTP site for further updates!

" title="bw" width="150" height="150" class="alignleft size-thumbnail wp-image-1677   Bernhard Wöstheinrich elicits meaning from abstraction in electronic music and media whether as an artist, musician, painter, graphic designer, small town bohemian, or failed control freak. Using a compositional approach akin to his work as a visual artist, Wöstheinrich usually begins by improvising abstract sonic structures which are subsequently developed into an increasingly detailed aural picture, both in his own solo project as The Redundant Rocker, and in collaboration with colleagues Markus Reuter (as Centrozoon), Ian Boddy, Klaus Hoffmann-Hoock, No-Man singer Tim Bowness, Thorsten Niestrath, and Synapscape's Philipp Münch. He has released music on a variety of labels such as DiN, Burning Shed, Tonefloat, and Unsung, and continues to push at the boundaries of rock, electronica, and the avant-garde.

" title="dean" width="150" height="150" class="alignleft size-thumbnail wp-image-1679   Southern California-based musician Dean De Benedictis has always utilized his interest in a variety of styles and cultures to enrich the quality of his musical expression. Beginning his deep exploration of music in the 80's, De Benedictis has covered a wide gamut of sonic experience, moving through many jazz-fusion and progressive rock bands, music theory classes, and producing/performing source music for network television. Known to the electronic/ambient community as Surface 10 (as well as under his given name), De Benedictis has realized numerous recordings for labels like Hypnos, Lektronic Soundscapes, Spotted Peccary, DiN, and Cleopatra, founding the Fateless Flows Collective and its subsequent imprint in 2004. De Benedictis has spent the last few years refining his own idiosyncratic approach to rhythmic & non-rhythmic-based musics, to the effect that after a period of dormancy, he is actively reviving Fateless Flows as a ongoing conduit for his colleagues and his own future endeavors.

" title="vic_h" width="150" height="150" class="alignleft size-thumbnail wp-image-1680   A practicing Buddhist, artist and spiritualist, Vic Hennegan contemplates the state of humanity through his music. “Many of us have lost our connection with ourselves, the planet, the universe and those around us. My intention and purpose is to create and bring forth music for dance, for harmony and for spiritual connection.” Hennegan’s work as a live performer makes him a rare commodity in the electronic world. With computers, samplers, vocals and synthesizers, Hennegan’s instinctive hand creates techno-trance and ambient music as a wildly pleasurable, uplifting experience that will take your soul on a journey to the center of ecstasy. Hennegan’s music emanates a unique warmth which moves the listener to a state of euphoria. Aside from working with vocalists Juliet Annerino and Becca Fuchs, Hennegan is also a member, along with frequent partner-in-sound Dean De Benedicitis, of Los Angeles's Fateless Flow Collective.

" title="honig" width="150" height="150" class="alignleft size-thumbnail wp-image-1681   New York City native Ezekiel Honig, founder of the labels Anticipate and Microcosm, concentrates on his idiosyncratic brand of emotively warm electroacoustic music across a breadth of quietly insinuating recordings and performances. Using the loop as more of a tool than a rule, Honig paints outside the lines, nestling into a comfortable, shared space between muted techno, melodic, event-driven ambient, textural downtempo and slowmotion house, using them as reference points from which to stray, rather than as steadfast frameworks. Honig looks to incorporate a material nature into his music by imbuing it with a host of field recording/found-sound sources in the search for a balance between digital software innovation and the physicality of the world around us. His improvisational approach combines loops and elements from various songs with on-the-fly arrangements, editing and effects. Honig has performed in numerous galleries and alternative spaces worldwide including Montreal's Mutek festival, the Plateaux Festival in Poland, Fondazione Arnaldo Pomodoro in Milan, Italy, and the Detroit Electronic Music Festival.

" title="hudak" width="150" height="150" class="alignleft size-thumbnail wp-image-1682   Field recordist, sound collagist, and arch experimentalist John Hudak has courted interests in sound and music from the age of four. At the University of Delaware and the Naropa Institute for the Arts, Hudak studied English, video, photography, creative writing and dance, and soon thereafter began to create taped soundtracks for solo performance art/dance and mixed media. Language has also been a predominant focus in his life and artistic pursuits, having studied and published haiku poetry, the literary equivalent of the reductive, minimal, and nature-based sound forms that consistantly fascinate him. Hudak's current work focuses on the rhythms and melodies that exist in our daily aural environments; on his usually limited edition CDs, both self-released and found on such labels as Meme, and/oar, Intransitive, Alluvial and others, plus his web-based projects, mixed-media installations and performances, Hudak reframes and transforms sound in our environment so it can be noted, admired, and valued.

" title="durant" width="150" height="150" class="alignleft size-thumbnail wp-image-2082 Jon Durant is a guitarist who brings a unique sense of texture and melody to his instrument. His distinctive “cloud guitar” soundscapes and engaging lead work have graced numerous CD recordings and film soundtracks. Either solo or in a group context, his myriad influences reference such colleagues as Fripp & Eno, Steve Tibbetts, David Torn, and the early work of Bill Frisell and Andy Summers. As executive producer of Alchemy Records, he produces recordings for internationally acclaimed artists in his small Massachusetts-based studio. In addition to longtime collaborators Tony Levin (bassist with King Crimson and Peter Gabriel), percussionist Vinny Sabatino, pianist Michael Whalen, and guitar/synth master Randy Roos, Durant has recorded with Colin Edward of Porcupine Tree, electric violinist Caryn Lyn, and many others. At EQ2011, Durant will perform with his son Harrison accompanying him, as the duo interface their liquid guitars within the labyrinthine environment of the iPad.

" title="marcusfischer" width="150" height="150" class="alignleft size-thumbnail wp-image-1685   Marcus Fischer is a musician and multimedia artist currently based in Portland, Oregon. While drumming in various bands in and around his prior residence in Olympia, Washington, Fischer discovered new opportunities arising for him to further experiment with sound using tape loops and electronics. Field recordings, chance, and DIY instruments, coupled with acoustic instrumentation and visual art, define what has become Fischer’s minimal signature. Fischer curates vision+hearing, a series of audiovisual events that bring musicians and filmmakers together for collaborative performances, and is the co-curator of SIX, an annual six-speaker surround sound performance series, and has had the opportunity to score various short films and multimedia performances. Past musical releases include his recent Monocoastal on 12k, Arctic/Antarctic (Luxus-Arctica), contributions and remixes to various compilations and net labels as map~map, various untitled 3” CDRs, and two CDs as part of the duo Unrecognizable Now.

" title="mem1" width="150" height="150" class="alignleft size-thumbnail wp-image-1684   Mem1, the husband and wife team of Mark and Laura Cetilia, seamlessly blend the sounds of cello and electronics to create a limitless palette of sonic possibilities in their improvisation-based performances. They use custom hardware and software in conjunction with a uniquely subtle approach to extended cello technique and realtime modular synthesis patching, which results in the creation of a single voice rather than a duet between two individuals. Their music moves beyond melody, lyricism and traditional structural confines, revealing an organic evolution of sound blending harmony with cacophony. The duo have taken part in residencies at Harvestworks in New York, STEIM and Kunstenaarslogies in the Netherlands and USF Verftet in Bergen, Norway. In 2009, they created a site-specific installation for the Museums of Bat Yam (Israel); their collaborative works with media artists Kadet Kuhne and Liora Belford have been screened and installed at venues including the Sundance Film Festival, Fringe Exhibitions (Los Angeles), and the Hordaland Kunstsenter (Bergen). Throughout their career, they have collaborated with a variety of artists including the Penderecki String Quartet, Steve Roden, Jan Jelinek, Frank Bretschneider, and Stephen Vitiello, amongst many others.

" title="NappePromo_1" width="150" height="150" class="alignleft size-thumbnail wp-image-1731   New Jersey's own Neil Nappe is an accomplished guitarist and synthesist whose pioneering work dates back to the 80s and his seminal release on Larry Fast's Audion label, July. Spending years refining and applying numerous approaches, techniques and disciplines to the performance capabilities of synthesizers and interactive guitar playing, Nappe's keen ear for texture and nuance has set him on a course that breaks with any established genre boundaries or confines. His dazzling work with guitar synths, generating loops and triggering samples to yield intensively immersive waves of undulating notes and frequencies, have rightly drawn comparisons with like-minded texturalists Robert Fripp, Manuel Gottsching, and Richard Pinhas. Equinoxygen will mark Nappe's eagerly anticipated return to live performance after a 15-year-plus hiatus.

" title="lainhart" width="150" height="150" class="alignleft size-thumbnail wp-image-1687   Award-winning composer, author, and filmmaker Richard Lainhart is a digital artisan who works with sonic and visual data. Since childhood, he's been interested in natural processes such as waves, flames and clouds, in harmonics and harmony, and in creative interactions with machines, using them as compositional methods to present sounds and images that are as beautiful as he can make them. Studying composition and electronic music with Joel Chadabe at the State University of New York at Albany, Lainhart has gone on to compose music for film, television, CD-ROMs, and web-based applications. His compositions have been performed in the US, England, Sweden, Germany, Australia, and Japan; recordings of his music have appeared on labels such as Periodic Music, Vacant Lot, XI, Airglow, Tobira, Field Studies, Infrequency, VICMOD, and ExOvo, and, most recently, on OTP's Periphery imprint. As an active performer and composer of over 150 electronic and acoustic works, Lainhart has appeared in public approximately 2000 times, and worked with such notable musicians as John Cage, David Tudor, Steve Reich, Phill Niblock, David Berhman, and Jordan Rudess, among many others.

" title="vitiello" width="150" height="150" class="alignleft size-thumbnail wp-image-1689   Electronic musician and sound artist Stephen Vitiello transforms incidental atmospheric noises into mesmerizing soundscapes that alter our perception of the surrounding environment. He has composed music for independent films, experimental video projects and art installations, collaborating with such artists as Nam June Paik, Tony Oursler and Dara Birnbaum. In 1999 he was awarded a studio for six months on the 91st floor of the World Trade Center’s Tower One, where he recorded the cracking noises of the building swaying under the stress of the winds after Hurricane Floyd. As an installation artist, he is particularly interested in the physical aspect of sound and its potential to define the form and atmosphere of a spatial environment. This year has seen the CD release of MOSS (with Molly Berg, Olivia Block & Steve Roden) on 12k, plus collaborative work with Machinefabriek and Lawrence English; exhibitions include sound works hosted by Museum 52, and the first aural exhibit to grace New York City's celebrated High Line park. Vitiello has collaborated with such musicians as Pauline Oliveros, Scanner, Steve Roden, Frances-Marie Uitti, Andrew Deutsch, and Yasunao Tone. He is currently an Associate Professor of Kinetic Imaging at Virginia Commonwealth University.

" title="taylor" width="150" height="150" class="alignleft size-thumbnail wp-image-1702   Taylor Deupree is a sound artist, graphic designer, and photographer residing in New York. His solo works in recent years have explored a fusion of digital sound manipulation with organic and melodic textures that take influences from his interest in architecture, interior design, and photography. Themes of minimalism, stillness, atmosphere, nature, and imperfection prevade his work. In 1997, he founded 12k, a record label that focuses on minimalism and contemporary hybrids of acoustic and electronic music. Deupree has released over seventy CDs on the label by a roster of international sound artists and has developed 12k into one of the most respected experimental music labels in the world. Since 1993, he has released critically acclaimed recordings for labels worldwide including Spekk, Plop, Ritornell/Mille Plateaux, Raster-Noton, Disko B, Sub Rosa, Room40, and many others. Over the years, Deupree has collaborated with artists such as guitarist Christopher Willits, Kenneth Kirschner, Tetsu Inoue, Frank Bretschneider, Richard Chartier, and Stephan Mathieu. Deupree feels the importance of collaborative work is not to layer two individual styles but rather to fuse each artist's concepts to forge a unique, third identity.

" title="golem" width="150" height="150" class="alignleft size-thumbnail wp-image-1692   Jim Spitznagel and Trevor Pinch comprise the duo known as The Electric Golem, who yield generative, modern psychedelic mindscapes thanks to Pinch's command of his Moog Prodigy and homemade modular synths, and Spitznagel's battery of similar devices like the Evolver, Mopho, Tenori-on, Nintendo DSi, iPod Touch, and Orb Sequencer. During his daylight hours, Pinch is Professor of Science and Technology Studies and Professor of Sociology at Cornell University, and the coauthor of perhaps the definitive book on synthesizer technology, Analog Days: The Invention and Impact of the Moog Synthesizer. Spitznagel  is a true techno-polyglot, a digital computer artist, photographer, and sonic provocateur who has released all manners of twisted electronica on his Level Green imprint, and continues to raise the bar for circuit-based music as he craftily wrestles with the vagaries of tone, glitch, frequency, and pulsation.

" title="kfwhitman" width="570" height="428" class="alignnone size-full wp-image-1641





$8 for advance/reserve seating, $10 at the door


Keith Fullerton Whitman started his path through music at an early age (9) by intentionally 'versioning' Commodore Vic20 basic sound programs to yield raw computer-speak skronk. Growing up at record-collector fairs throughout northern New Jersey in the late 80s, Whitman had access to just about every type of underground music imaginable, declaring allegiances early on to European free improvisation, progressive and psychedelic rock, breakdance-themed urban machine music, the post World War II orchestral avant garde, and the early electronic experiments of the WDR and INA-GRM camps.

Whitman is a composer/performer obsessed with electronic music, from its mid-century origins in Europe through its contemporary worldwide incarnation as "digital music." He has implemented a complete system for performance of improvised electronic music that incorporates elements from nearly every era: a reel-to-reel tape machine, a selection of small "jerry-rigged"/"circuit-bent" battery-powered sound-producing boxes, an analog modular synthesizer, an early "consumer" home-computer, and at the core, a contemporary computer running a custom-built Max-MSP based modular system that both controls these elements and acts as a central conduit into which their sounds are captured/collected, processed, then diffused to up to eight separate channels/speakers/amplifiers. It's a more than impressive set-up that has already undergone several permutations; Whitman has metamorphosed all the technology now down to several more manageable modules, but he reserves the right to surprise future audiences with who-knows-what unimaginable electronic beasties at his charge.

In addition to his seemingly ever-growing list of daily activities, Whitman runs a mailorder service named Mimaroglu Music Sales which mainly sells reissues of early electronic music. He also runs the Entschuldigen record label and had previously run Reckankreuzungsklankewerkzeuge. He is not German. He has previously dabbled in "virtuosic dance music" under many stage names/pseudonyms, most notably Hrvatski. Key recordings in his oeuvre include two outings released under his given name on the Kranky label, Multiples and Recorded in Lisbon 10/4/2005, but just two superb examples of his unique, processed dronemuzik.

For his OTP debut, he'll be previewing exclusive new works for synth, proof that as a full-on modular man, Whitman is an expert at singing the body electric.

> Keith Fullerton Whitman site
> Mimaroglu Music






$8 for advance/reserve seating, $10 at the door



Advance ticket purchase strongly advised to secure your reservation


One Thousand Pulses is very proud to present Robin Storey, aka Rapoon, making his first-ever appearance in New Jersey.

For over 30 years now, Robin Storey has been releasing innovative and influential music, first as a founder member of the groundbreaking and much lauded band :zoviet*france:, and for nearly two decades as the solo musician and multimedia artist Rapoon. From 1992 to the present day, the huge Rapoon back catalogue has (and rightly so) gained a notoriety and forged a large measure of influence few artists in any experimental subgenre can claim.

While studying fine arts at Sunderland University, Storey began pursuing a long-held interest in sound manipulation by taking classes in electronic and experimental composition. In 1979, he formed the pioneering industrial group :zoviet*france:, remaining a member until 1992. That same year brought about the first Rapoon album, The Dream Circle, its entrancing fusion of Indian ragas, African rhythms and experimental textures anticipating the evocative soundscapes of the many releases to follow. Also a noted visual artist and animator, Storey's work has been exhibited throughout the world and is in the collections of many major galleries.

Post 1994, Storey concentrated on his musical output and has to date released well over 40 solo recordings as Rapoon, in addition to numerous other collaborations and side projects including Reformed Faction (with Mark Spybey) and Hank and Slim with Nigel Ayers (Nocturnal Emissions). He has collaborated widely and has produced albums with artists including Joachim Roedelius (Cluster, Harmonia), Nigel Ayers (Nocturnal Emissions), Randy Grief, as well performing live with artists such as former Can vocalist Damo Suzuki. He has also created numerous soundtracks for independent films and produced two best-selling sound loop libraries for Sony Media.

Storey's achievements as a conceptual artist and sound designer remain completely original and uncompromised over more than twenty-plus years of continuous work. His melding of tribal motifs, coarse ambient atmospherics, and strangely awry rhythmic loops and textures remain utterly unique within the modern-day electronic music lexicon. Darren Bergstein, writing in the summer 2009 issue of Signal to Noise magazine, observes that "...eclectic in the extreme, never content with glib reiterations of what has long been a dense, regenerative, percussive enterprise, Storey’s Rapoon works seem to only get more and more thematically rich with each successive volume."

We hope you will join us for this very special event.

> Rapoon site



DATE OF PERFORMANCE: Saturday, April 16, 2011


$8 for advance/reserve seating, $10 at the door


Philadelphia-based guitarist and composer Tim Motzer finds infinite joy in diversity. His output as a leader and sideman crisscrosses multiple musical universes, including jazz, fusion, prog, hip-hop, soul, electronica, and the avant-garde.

Motzer gets to explore these genres and the intersections between them via his ubiquitous presence in the wildly deep and varied Philly scene. He also traverses manifold territories through the many albums released on his own 1k Recordings label, such as the rhythmically diverse soundscapes populating the Tilomo release, and, more tellingly, as Fractured Reverb Underground (FRU). The sole FRU CD comprises electronic studio experiments from 1999 — a decade ahead of their time — generously tipping its hat to the Orb's Alex Patterson thanks to its psychedelic clouds of mercurial ambient textures.

Motzer has also worked on releases by British singer-songwriter David Sylvian, and the ongoing "Secret Rhythms" project comprising electronica/dub luminary Burnt Friedman and ex-Can drummer Jaki Liebezeit. Of more recent vintage is his superb collaboration with German Touch guitarist and fellow sonic explorer Markus Reuter, "Descending", a deeply sublime and stunningly beautiful work that crosses paths with Brian Eno, Frippertronics, Supersilent, and David Sylvian. All of the above illustrates a true sonic nomad at work.




DATE OF PERFORMANCE: Saturday, April 9, 2011


$8 for advance/reserve seating, $10 at the door


PAS started in 1995 out of Brooklyn, NY, USA, driven by the creative talents of Robert L. Pepper working in the mediums of sound and video. Since then PAS has evolved into a collective with many different instrumentations and line ups. Permanent members include Amber Brien, Job “Vomit” Worthley, Michael Durek, and Will Seesar. Guests and occasional collaborators include, Z'ev, HATI, Steve Beresford, Philippe Petit, and many others. PAS is a group out to create musical collages through the form of abstract sound. Their name refers metaphorically to those who have been aborted by society because their point of view doesn’t fit in the constraints of “normal” society. Since its inception, and on over nine CDs, PAS has been interested in making music from the fringes of perception, creating soundscapes that aren’t defined by any particular conventions or viewpoints; it is more defined by the notion that music can be whatever the ear perceives. This is not music-making with any sense of or desire for commercial viability, but sonic sculptures in the mode of pure art.

HATI, founded in 2001 by Rafal Iwanski and Dariusz Wojtas, is an audiovisual project based on instruments from all over the world, be it ethnic or hand-made instruments, in addition to an arsenal of gongs and found objects. HATI forms a link between modern improvised/acoustic music and the acts of ritual and meditation. Since 2003, HATI have performed many times in their native Poland, as well as Germany, Spain, Netherlands, Belgium, and many other countries and festivals. They have forged both studio and live cooperations with such provocative artists as Z'ev, John Zorn, Pure, Asmus Tietchens, Troum, Reformed Faction, Job Karma, Thomas Koner, and many more. Theirs is a striking, vibrant, full-bodied sound, made all the more visceral by its sheer physicality; yet, instead of reams of punishing noise, HATI instead massage the reverberations of their instrumental arsenal to form wholly-absorbing sonic cloudbanks.

> PAS •
> HATI •



DATE OF PERFORMANCE: Saturday, April 2, 2011


$8 for advance/reserve seating, $10 at the door


Erdem Helvacioglu is one of the most renowned electronic music composers of his generation in Turkey. His music has been performed and broadcast worldwide in such prestigious events as The San Francisco Tape Music Festival, Sonorities Festival of Contemporary Music, Seoul International Computer Music Festival, Musica Viva Festival, and many others. His album "A Walk Through The Bazaar", released in 2003 on Locust Music, was judged "outstanding" by British magazine The Wire.

Helvacioglu's sound installations have been included at galleries such as Los Angeles Track 16, Indonesia Soemardja, Köln Museum für Angewandte Kunst, London Menier and the 10th International Istanbul Biennial. As an active composer of film music, his work has been heard at the Cannes, Sarajevo, Locarno, Seoul, Sao Paulo, and Sydney film festivals.

Just as varied are the labels who have released Helvacioglu's chameleonic recordings, spread out over the likes of Chmafu, Vox Novus, Quiet American, and/OAR, New Albion, and others. He has received numerous international awards including prizes from the Luigi Russolo and Insulae Electronicae Electroacoustic Music Competitions.

Trading in sounds that are difficult to pigeonhole, Helvacioglu has forged works bridging 20th century chamber music and laptop electronics, shapeshifting acoustic guitars, field recordings, and other musings hovering in the grey areas of electroacoustic aural engineering.


Spring brings not just the change in season, but some new updates here from OTP HQ.

First, I'm pleased to finally announce the redesigned OTP site, with a much more user-friendly interface & added features:

Second, we’ve got three consecutive weekends of events upcoming in April that we’ve dubbed our April Sonic Showers series:

> ERDEM HELVACIOGLU | April 2 — One of the more prominent musicians to emerge from the Turkey in some time, Erdem Helvacioglu trades in sounds that are difficult to pigeonhole, bridging 20th century chamber music with laptop electronics, acoustic guitars, cello, and field recordings to stimulate electroacoustic music’s grayer areas.

> PAS & HATI | April 9 — Brooklyn post-industrial collagists PAS mix and match it up with fellow Polish fringe percussionists HATI, who bang on massive gong arrays to achieve their stunning tableaux of sounds. /

> TIM MOTZER | April 16 — A true sonic nomad, Philadelphia-based guitarist Tim Motzer finds infinite joy in diversity. His recent work as Fractured Reverb Underground draws inspiration from Aphex Twin, Eno, Frippertronics, and the gorgeous ambient jazz of Supersilent, synthesizing such touchstones into its own grand schemes.

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