Kristopher Bernard began his electronic music endeavors at an early age. In 1984, when he was 7 years old, Kristopher asked his parents for a vocoder for his birthday after hearing Whodini’s “The Freaks Come Out at Night” on the radio. In these early years, he scratched early hip hop and elektro records on a Fischer Price record player and recorded his voice at different speeds on his JVC boom box. In his 16th year, after being drawn into the sounds of Industrial and Cold Wave of the late 80′s and early 90′s he began to experiment further with his friends, forming the nexus for his first official project called Viaticum. These recordings were primitive, but experimental and consisted of cassette decks, synthesizers, mics, and a bed-frame being hack-sawed to the rhythms of a drum machine. These experiments continued into synthesis forays that would form the foundation for his next project Nineveh, which focused on live improvised experiments instead of actual songwriting. After hearing the braindance tracks coming out of the UK in the early to late 90′s, Kristopher began using computers to further his sound and that was when Stochastic was born. It wasn’t until recently his projects began to be genre specific, with Stochastic being his braindance/ geekbeat moniker, Salem:1976 for Séance Wave, Oneiromantix as a Cold Wave project with Ghost Orchid, and The Cubes, with Bee-sleeve and Ghost Orchid as an “anything goes” prepared improvisational project.
In 2011 the idea was formulated for the Coterminous Collectiv, as a way to get all non DJ electronic musicians in the Hudson Valley under one banner. After spending his 20′s in NYC, he moved back upstate and found it hard to find other electronic musicians and venues to display them. Thus, with the help of Amanda Newman and Liam Manning-Lundy, the Coterminous Collectiv was born, reaching out to local artists and using the communal vibe as a way to work together to promote and propagate each others art while producing the “sound” of the Hudson Valley.
“I just have to say: Bob Lukomski? – what a great name -why can’t I be called Bob Lukomski?”
- The London News Review, August 8th, 2003
Composer Bob Lukomski has written for a variety of genres, including works for electronics, tape, choir and organ, and chamber ensemble. His compositions have been used for dance, video, art installations and theatrical presentations. Visit http://www.boblukomski.net for more information.
Amanda began her foray into electronic music as a small child, experimenting with melodies on a Casiotone MT-100 and Yamaha DX-7 (which would later give way to a nostalgic soft spot for FM synthesis).
After spending the majority of her grade school years as a flute and piccolo-playing band geek, she discovered the likes of Skinny Puppy, Coil, NIN, Autechre, and many more great names in electronic music that would later influence her to write her own material using the family PC, crudely sampled household noises, and whatever junk she could circuit-bend without her mother noticing.
These days, with slightly more sophisticated tools at her disposal, Amanda plays world-influenced electronic music as Ghost Orchid (inspired by her other life as a belly dancer). She is also one half of Oneiromantix, one third of The Cubes, and a co-founder of the Collectiv.
Bee Sleeve (25 October 1992) is an inventor, synthesist and futurisist.
He is best known for his contributions to The Coterminous Collectiv. He was born into the aristocratic family of the Duke of Stratosphere, a branch of the noble Sleeb family. His father, The Earl of Walker, was a charismatic Cabaret Singer. Bee Sleeve’s earliest exposure to music occurred in the womb, where pixies taught him Pet Shop Boys tunes, (his first lesson was ‘West End Girls’). With limited contact with his parents, Bee Sleeve became very close to his nanny, ‘Mrs’ Anne Elke, whom he called ‘Old Woom’. She served as his confidante, nurse, and nicotine substitute. The two spent many happy hours playing Mumblety-peg. Independent and rebellious by nature, Bee Sleeve generally had a poor academic record in school, for which he was punished.
Leaving home, severing all relations with his family, and in need of work, Bee Sleeve eventually resorted to digging ditches for a short period of time, his friends thinking he had drowned in the bath.
Years later, in his lab, Bee Sleeve observed unusual signals that he later thought might have been evidence of extraterrestrial communications coming from Venus or Mars. He noticed repetitive signals from his receiver which were substantially different from the signals he had noted from storms and earth noise. He continues to incorporate these signals into his musical output.
Spurgeasaurus was first discovered in the fossil record sometime in 2002. It is now clear based upon further archeological evidence that Spurgeasaurus evolved from Problomodon as a result of symbiotic relationships with massive prehistoric fungi and machine elves from hyperspace. Digital glossolalia. Mind-bending bioregulatory frequencies. Music for soul-purging and technological psychedelia.