Carrie Fucile is a Baltimore-based interdisciplinary artist. Her works in performative sound use found objects, instruments, voice, and field recordings. She considers these events to be journeys through space and time.

Leila Bordreuil is a Brooklyn-based cellist and composer working in the realm of improvisation, noise music, and sound art. She accesses concepts as diverse as jazz, contemporary classical, noise, and experimental traditions but adheres to none of them. Her work has been described by the NY times as “steadily scathing music, favoring long and corrosive atonalities.” Driven by a fierce interest in pure sound and inherent texture, Leila challenges conventional cello practice through extreme extended techniques and amplification methods. Her composed works draw from a similar aesthetic and frequently incorporate sound-spatialization by way of site-specific pieces and multichannel installations. Her collaborative projects are notoriously numerous and diverse, and include duos with Bill Nace (Body/Head), Japanoise artist Tamio Shiraishi (Fushitutsa), techno producer Bookworms, bassist Zach Rowden, sound-artist Julia Santoli, saxophonist Michael Foster, and a freely improvised trio with Sean Ali and Joanna Mattrey.
Tamio Shiraishi was, along with Keiji Haino, a founding member of the Japanese avant garde group Fushitsusha in the 1970s. His involvement with Fushitsusha was however transient and the experience and connections formed through it led him to choose the saxophone as his main instrument. In 1990 Shiraishi moved to New York where he now plays solo material at NYC subway stops and collaborative projects at other venues. At 64 years of age Tamio Shiraishi has experienced a lot and, regardless of the lack of formal education in music, has honed his unique approach to the alto saxophone to a high level of mastery. His style may be characterized as a microtonal exploration of the altissimo-range, somewhat reminiscent of traditional Japanese Enka music. While exploring the limits of common aesthetic conceptions, Shiraishi’s performances in New York subway stops have attracted a small following and aroused conversations about the meaning of this form of expression.

Born in 1978, Christine lives in France but is from greek and lebanese origin.
After discovering improvised music in 1997,  she began a process of self-taught study and sound experimentation using the alto saxophone.

She has developed a very unique language, producing sounds that are close to those of electroacoustic music but on a purely acoustic instrument.

Exploring the anatomy of the saxophone, she plays with extended techniques, complex patterns, trying to reach the internal content of every sound material. She employs, with or without the mouthpiece, subtle tonguing techniques, unpitched breaths, spittle-flecked growls, biting, slicing notes, subtones, « flapping » pads, breathy echoing sounds from the bell of her horn and many others countless acoustic distorsions. Sound becomes with her a malleable material, rich in concrete textures, surprising vibrations and infinite possibilities. 

Far from any narrative effects and through a non-idiomatic approach, her music deals with the relation between listening and concepts of perception, time and space.

Solo artist and involved in international tours with Andy Moor, Magda Mayas, Pascal Battus, Andrea Neumann, Bonnie Jones, Raymond Strid, Sven- Ake Johansson, Chris Corsano, Mazen Kerbaj and many more. She has released more than ten cds and has collaborated with visual art, dance, literature, poetry, as well as projects with noise, electronics, rock or free jazz. She has also developed an ongoing research on pedagogy and she delivers masterclass at schools and online.

Event location:

The Red Room is a volunteer-run space in Baltimore dedicated to mind-expanding experimental culture, headquartered at Normals Books and Records.