TYGAPAW is a multi-disciplined producer and DJ based in Crown Heights, Brooklyn. Her Jamaican ancestry and upbringing fused with her 13 years living in New York City have influenced a music style she dubs “Sultry Club.” She incorporates sexy 90’s R&B sounds with futuristic vibes and intricate melodies that are as much for the club as they are for a chill kiki at your home girls crib. Her productions are unique and specific to her history. She is the curator behind “Fake Accent,” a monthly Brooklyn based queer club night based in NYC, which has been developed into an artist collective in 2016.
William Parker is a bassist, improviser, composer, writer, and educator from New York City. He has recorded over 150 albums and performed with some of the most important creative musicians of our time, published six books, and taught and mentored hundreds of young musicians and artists.
He has been called “one of the most inventive bassists/leaders since [Charles] Mingus,” and “the creative heir to Jimmy Garrison and Paul Chambers...directly influenced by ‘60s avant-gardists like Sirone, Henry Grimes and Alan Silva.” The Village Voice called him, “the most consistently brilliant free jazz bassist of all time” and Time Out New York named him one of the “50 Greatest New York Musicians of All Time.”
Parker is the subject of an exhaustive 468-page “sessionography” that documents thousands of performances and recording sessions, a remarkable chronicle of his prolificness as an active artist.
Parker’s current active bands include the large-band Little Huey Creative Orchestra, the Raining on the Moon Sextet, the In Order to Survive Quartet, the Die Like a Dog Quartet (with Peter Brotzmann), his duo with Hamid Drake, as well as a deep and ongoing solo bass study. His recordings have long been documented by the AUM Fidelity record label and on his own Centering Records, among others.
Over the decades, Parker has developed a reputation as a connector and hub of information concerning the history of creative music, recently culminating in a two hefty volumes of interviews with over 60 avant-garde and creative musicians, Conversations I & II.
He was a key figure in the well-documented Loft Jazz scene of 1970s New York, a sought after bass player at artist-run spaces like Studio We and Studio Rivbea, where he developed musical relationships with Cecil Taylor, Bill Dixon, Sunny Murray, Don Cherry, and Milford Graves, among many others.
Since the 1970s, Parker has also maintained important musical relationships with many key European improvisers such as Peter Kowald, Peter Brotzmann, Han Bennink, Tony Oxley, Derek Bailey, John Tchicai, and Louis Moholo.
William Parker works all over the world but he always returns to New York’s Lower East Side, where he has lived since 1975.
Riobamba is an Ecuadorian-Lithuanian DJ/producer and cultural promoter based in Brooklyn.
Drawing inspiration from her hybrid diaspora roots, borderless digital dialogue, and bodega soundtracks, Riobamba reconstructs stories of migration and displacement to build out her own club rituals. Her sets interweave remixed Youtube clips and field recordings, urbano soundscapes, sound system anthems, and rave disorder in a tribute to de-colonized club culture "suped up with a twisted, industrial gnarl" (Complex).
Riobamba is the founder of APOCALIPSIS, a creative agency with projects ranging from A&R and marketing for legendary salsa label Fania Records, music education for restorative justice programming, and event production showcasing the sounds of radical Latinx futurism. She is the co-creator of Boston-based transnational bass night Picó Picante, resident at NYC’s landmark global bass party Que Bajo?! alongside Uproot Andy and Geko Jones, and is a member of the Dutty Artz artist collective.
Prior to New York, Riobamba lived in Bogotá via the Fulbright-mtvU program, where she immersed herself in research on digital music production and distribution as subversive tools for self-representation. She researched the power of translating these digital networks into resources for communities displaced due to Colombia's ongoing civil conflict, which led to collaborations with artists producing cumbia gótica, political hip-hop, electro-champeta futurism, and more. Following her grant period, she relocated to NYC to join alt-Latinx digital platform Remezcla as Music Editor.
Riobamba has recently shared the stage with Tego Calderón, DJ Playero, The Knife, Nina Sky, Princess Nokia, Bomba Estéreo, DJ Blass, Ana Tijoux, DJ Tetris, Tomasa Del Real, and Chancha Via Circuito at spaces across the US, Mexico, Puerto Rico, Colombia, the United Kingdom, and Spain. Her original work has been featured in The Fader, Thump, Complex, Resident Advisor, Univision, Fact Mag, and Red Bull Music Academy Radio, and her writing has appeared in i-D Mexico, mtvU, Remezcla, and The Fader.
Suzi Analogue, creator of Never Normal Records, and DJ Earl, the young legend of Teklife come together as a team to bring the next level sounds and visions in their heads to life. Never Normal Worldwide. Teklife Til The Next Life.
Daisy Press, vocalist, is a prominent interpreter of experimental classical repertoire, though she grew up under a rock and roll stage. She is an in-house performer at Bushwick’s House of Yes, where she regularly presents her interpretation of Hildegard of Bingen in collaboration with trapeze artists. Other notable highlights of the last year have included performing as soloist in Bernhard Lang's “Monadology XVIII ‘Moving Architecture’” in Vienna, Austria, as well as the US premiere of Bernhard Lang’s song cycle “The Cold Trip” with the Aleph Guitar Quartet at the Austrian Cultural Forum and Trans Pecos.
Born on 24th of February 1957 in Linz, Austria, Lang finished highschool and piano studies at the Bruckner Konservatorium and moved to Graz to study jazz piano, arranging and classical piano. After having finished his piano studies he began studying composition with Polish composer Andrej Dobrowolsky, who introduced him to the techniques of new music. He also studied with Hermann Markus Pressl who taught him counterpoint and introduced him to the work of Josef Matthias Hauer. Since 1988 he has been teaching music theory, harmony and counterpoint at the University of Music and dramatic Arts in Graz, and since 2003, has hold a professorship in composition there.
His main interest since 1999 is music theater, derived from his interpretation of the ideas of difference/repetition: 'Theater of Repetitions' 2003, 'I hate Mozart' 2006, 'The Old Man from the Mountain' 2007.
He also performs live as an improviser both solo and in duos.