ANDREW WAYNE IS A SOLD OUT SILLY (sacramento)

The F-Space's sound has been described as a “seething sepulchral sound of post Industrial-Punk. Densely subterranean tribal percussion, resonating Middle Eastern guitar, atmospheric ambience, and dissonant metallic clanging reminiscent of Einsturzende Neubauten and Throbbing Gristle (they are long time friends with members of both projects and have collaborated with them on various events) immerse you into a cataclysmic realm of subtle beauty and extreme chaos.”

Early performances were chaotic and involved an excessive amount of fire from Jenerik’s hand built pyro-infused percussion instruments. Port kept pace with a sonic psychedelic monotone guitar wash, tinged with middle eastern references and melodies, creating a type of whirling dervish soundtrack for the witch trials. Needless to say, they were a mainstay of the late 90’s Burning Man scene. From 1999-2001 Jenerik toured the US and Europe as a solo artist, joined by international colleagues he had hosted and released through his non-profit noise label 23Five. In 2002, Aleph Kali Omega joined the band to provide a solid foundation to the chaos produced by Jenerik and Port.

Joel Connell of Man Is The Bastard replaced Aleph Kali (who was unavailable) on drums for a US tour and is featured on “Charity And Hope” from the 2003 F-Space debut album “Preliminary Impact Report”. The album has been described as “an apocalyptic, feral, destructive trance state implying a catastrophic act of nature, a march through the desert on the path to war, or an offender's mental state during a crime of passion.”

GORDON FUNG (chicago, IL)
Gordon Fung (b. 1988, San Francisco) is a transdisciplinary artist who primarily works with experimental film/video, noise music, multi-/new media performances, DIY electronics, digital art, programming, and installations. His works highlight unconventional executions like noises, lo-fi presentations, and glitches. Such aesthetics confronts the viewers’ understanding, perspective, and point of view through a more philosophical, if not esoteric, investigation.
To expand the possibilities of artistic idioms, he intertwines both analog and digital technologies—also to signify the co-existence of mundane and spiritual worlds. By overloading software and hardware, he collapses the two worlds to expand the audience’s perception of reality. As a break-maker, he employs circuit-bending to regain consumers’ sense of agency through artistic means. His involvement in media archeology strives to unearth unexplored potentials of obsolete equipment and to revive them to artistic life.
Informed by his multivalent aesthetics, he forms the collective //sense at SAIC to showcase time-based artists’ works through performances, workshops, and seminars. By curating experimental performances, he fosters a collaborative common ground for sound/video/performance/electronic artists to create gesamtkunstwerk through synergy.
As a runaway composer in contemporary music, his compositions have been performed in Canada, China, Croatia, Denmark, Germany, Hong Kong, Indonesia, Italy, the Netherlands, Poland, Russia, Singapore, South Korea, Spain, Taiwan, and the U. S. A.

Since making a handmade tape loop in 1986, Kensaku has collaborated with Steven Stapleton, Val Denham, and various folks from around the world. This past February Kensaku worked with Peat Bog (earthmonkey, Inflatable Sideshow, Nurse with Wound) on two new earthmonkey tracks.

ZILMRAH (brooklyn, NY)
ZILMRAH , from Brooklyn NY, is Lawry Romani's Noise/Drone project started as a vehicle to combine his hand-built electroacoustic instruments with samplers and modular synths to maximize his sound design capabilities. Since its inception in 2008, he has performed solo and with numerous collaborators, including legendary NYC Industrial act MISSING FOUNDATION.