Saturday, November 8, 2008, Shows start at 8pm

Klimchak loves opposites. That may explain why he's played with bands as diverse as disco diva RuPaul and avant hipster Bruce Hampton. "I think of music as a crazy-quilt of different styles and patterns. I'm the thread that holds the whole mess together," says the Atlanta-based composer and percussionist. "I love the clash of colors and opposing patterns. That's where the music comes alive."

On his new solo CD, The Beat and The Buzz, he works the difference between electronic and acoustic music styles. Electrobeat buzzes clash with soulful hand drumming. An urban funk groove explodes into a hoedown of jaw harp and handclaps. Tuvan throat singing provides a sound bed for a flowering samba ensemble featuring the pig-like grunting of the Brazilian Cuica. This could be the loops of sample-hungry turntable collagists and laptop-toting poindexters. But it's not. One of the important qualities of Klimchak's music is that he plays it all himself. "I don't have anything against buying and using samples and loops of other people's music. For what I'm doing it's easier and quicker just to record myself playing the instrument."

Jim Combs is a solo ambient musician who works with audio and MIDI looping devices under the name of Sensitive Chaos, and was voted "Best Local Electronic Act" in 2005 and 2007 by readers of Atlanta's Creative Loafing.

The first Sensitive Chaos CD entitled Leak was deemed one of the twelve best CDs of 2006 by Bill Binkelman of the New Age Reporter and has received airplay since it was released in late 2006 from industry heavyweights including Public Radio International's Echoes (145 stations across the U.S.), Soma FM's Space Station Soma and Cliqhop idm, WWSP, WXDU, WUSM, WTUL, KRFC, WETX, WVKR WDIY, and KTUH.

http://www.myspace.com/bribingthebuddha

Collaboration with Sounds is Wendy Owens from Greenville, South Carolina. She describes her music this way. "I love sounds.I like to make my own. The sounds I make come from many diffrent sources. I use hardware like my friends' Micromoog, Moog Rogue, LSDJ, nanoloop, Electribe, Microkorg circuit bent shit, Novation Midi synth & random sound effects, found sound field recordings, I also use software: Reason, Live, Acid, soft synths... micro organisms, alien vocal samples ...and other random stuff I think will make sounds I would like to incorporate @ the time! It's just a moment!"

http://www.myspace.com/colabrationwithsounds

Don Hassler was born in 1960, Ohio. At age 4, he discovered, Rimsky-Korsakov, at age 8 he began studying the Saxophone, discovered the synthesizer, and became aware of his lifelong bond to music.

Heavily influenced by both NASA and the Counter-Culture movement of the 1960’s, the draw of electronic music grew unbearably, but due to it’s expense, unrequited (to the point of severe delinquency) until age 20, when he was finally able to purchase an EMS Synthi A.

Following an unsuccessful pursuit of a college degree, he eventually settled upon private studies with Carter Thomas, former student of Morton Subotnick. Both teacher and student were attracted by their mutual admiration for Subotnick.

The outcomes of Don’s studies under Carter were primarily the liberation of his musical values from the constraints of conventional theory and the urge to attempt earn money from music, along with the gift of Carter’s class project Serge synthesizer he built while he was a student at Calarts, and 25 year quest to seek out a Buchla Electronic Music Instrument.

Armed with Carter’s Serge and his Synthi, Don began to participate in the nascent underground music scene of Atlanta. Maintaining a firm connection with Georgia Tech’s WREK FM radio station, including live and recorded performances, Don expanded his activities to the heavily AMM and MEV influenced free improv trio Accident’s of Culture consisting of Jeff Gilbreath, John Avant along with Don. A few performances and appearances on two compilation records (Nine Underground, LP, 1987, Perimeter Records, and Mighty Risen Plea, LP, Sacred Frame, 1990) resulted.

Going further, Don began a 21year association with the now gone Atlanta College of Art, assisting painting instructor William Nolan develop an experimental sound class geared for non-musician visual arts students. Through his involvement the college, Don expanded his work to include interactive, site specific sound sculptures both solo and collaboration with sculptor Scott Gilliam( 1984, The Atlanta Arts Festival, 1987, Nexus Biannual, 1988 The Arts Exchange, 1989, Socrates Sculpture Garden, NYC, 1992, The Atlanta Arts Festival.)

Throughout this time Don continued to work with musicians including local Atlanta electronic music pioneers Dick Robinson, Howard Wershil, Richard Devine, Graham Moore, Tom Smith (To Live and Shave in LA) and, including participating in a Fluxus performance led by Dick Higgins in 1987. He also worked electronics designer Timothy Adams, assisting in the design of Tim’s Chaos/Difference box for Pauline Oliveros and Dick Robinson, plus assuming Tim’s duties after his premature passing in 2005 as the US service support for the Swedish electronic music instrument company Elektron.

In 1987, Don began to serve as a US representative for the long running British synthesizer company EMS, and much later on very briefly with the California electronic music collective EAR-Group.

In 1990, after getting married to his wife Sandra, Don began regular employment managing the electronic art labs for the Atlanta College of Art while completing an electronics diploma at a local tech school. In that period he adapted the use of the personal computer for his work, first on the Commodore Amiga, then settling on the Apple Macintosh. The college allowed Don to serve as an adjunct instructor for their experimental sound class from 1992 until the schools closing in 2005.

Landing quickly at the Art Institute of Atlanta as a lab technician following the closure of ACA, Don was able to direct his severance towards his continued quest for a Buchla, obtaining a compact newly created 200e, resulting in his ever growing DSM-IV series.

Don’s work today centers in abstract interpretations, both in performance and recording of his surroundings and perceptions still using materials drawn combined areas of computer and analog audio, combined with occasional diy electronics.

Richard Devine is an Atlanta-based electronic musician. He is recognized for producing a layered and heavily processed sound, combining influences from old and modern electronic music. Devine largely records for the Miami-based Schematic Records. As a result of praise of his music from Autechre as well as a remix of Aphex Twin's Come To Daddy, Devine recorded an album for Warp Records which was jointly released by Schematic and Warp.

Devine first started using computers for composition around 1993. Don Hassler, an instructor at the Atlanta College of Art, got him interested in computer synthesis, introducing Devine to CSound and other powerful computer-based applications. Devine claims he coded a couple FFT applications in SuperCollider, an environment and programming language for real-time audio synthesis. “It’s interesting, because you’re doing things to sound that just aren’t physically possible.”

Devine also uses Native Instruments (NI) software. His favorite NI applications are Reaktor and Absynth. Reaktor is a very powerful modular system, similar in many respects to classic modular synthesizer systems but also capable of performing low-level DSP sound processing. Devine has also designed sound patches for NI’s Absynth. He has also scored commercials for Nike and Touchstone Pictures, and engineered and performed his own music worldwide.

During the past three years, Richard Devine has remixed top Warp artists like Aphex Twin and Mike Patton (Faith No More). He has released 4 full-length albums on Schematic, Warp, Asphodel, and Sublight records and has performed his own ear-tearing music mayhem worldwide. Based from Atlanta, Georgia he has done film score work for Touchstone Pictures (with John Hues & Kyle Cooper). He has also collaborated with BT (Brian Transeau on movie "Surveillance" Directed by Adam Rifkin, Wieden & Kennedy, AKQA Inc., and have done sound mangling/programming for Trent Reznor of Nine Inch Nails, composed and designed commercials for the Nike Shoe Company and worked with various companies doing sound design for Audi, Ford, Scion, LandRover, Peugeot, Dodge, HBO, Nestle, Nike Japan, McDonald's, Spike Television network and XBOX (Halo2 for Microsoft Gamming Division http://www.halo2.com. He has also worked with Konami gaming division for the Dance-Dance Revolution game. And currently now for Sony Play station PS3 (Infected) for Dawn of the Dead. He has also recently completed all the sound design for the new xbox360. http://www.xbox360.com

In conjunction with TV and film work Richard also has done programming and sound design work with major audio companies. His work has been featured and endorsed on new software and hardware titles from many innovative companies such as Apple Computers, Allen & Heath, Ecler DJ Mixers, Digidesign Eventide, Izotope, Access Virus, Native Instruments, Korg, Clavia Nord, Alesis, Ableton Live, Apple Computers, Openlabs, Universal Audio, Hartmann Neuron synthesizers, Stanton Magnetics DJ Company, and M-Audio Division.

http://www.richard-devine.com

http://www,myspace.com/richarddevine