Fine Diving 004

Jerome Covington (nineteeneightyfour / Bittersweet) and Brian Boyle have been collaborating since 1998. From sparse jazz duets to the post-rock improv of Was Is to the soaring melodies of indie band herMajesty, the common threads are an alert listening state and a sense of fearless exploration. If Not Then began in 2006 when the pair set aside their guitars and picked up their laptops. If their work with herMajesty has been characterized by tight, rehearsed arrangements then If Not Then is nearly the opposite. While preparation plays a part in any If Not Then performance, there is a far greater emphasis on improvisation and experimentation. For Fine Diving 004, they will be presenting a piece that examines the relationship between location and time, with field recordings made at the site of the performance playing a key role.

Bryan Teoh is a composer, instrumentalist, sound designer, and new media artist. With a conservatory background in classical and jazz performance/composition, Bryan has worked in several professional musical and new media environments. His compositions have been used in film, video games, modern dance, art installations/openings, and documentaries. Instrumental performances often employ his 17 years of training on guitar as well as his unique approach to live use of the laptop.

Bryan uses max/msp to create the software for his electronic and electro-acoustic work, and in recent years has fostered an interest in software design for video processing and performance via jitter. He has created live video environments for himself and a variety of video artists which have been used both in theater as well as purely musical venues.

Bryan currently resides in Brooklyn NY where he continues to freelance for various projects and pursue personal ventures in new media.

Skillcrane is Todd Polenburg and Jon Margulies. Todd is an LED-obsessed mad scientist. Jon is a guitar wizard turned ambient guru.

Thomas Hildebrand's work is based in the foundations of musical thinkers who emphasize the sounds of the physical world as fodder for compositions. Influenced by the ideas of Cage and the like as much as the landscape of modern electronic music, he applies his unique sensibility to an approach which individualizes the vision of the artist – an approach which he makes the most of throughout his tangentially connected musical pursuits. Growing up with an opera singer and a big band arranger running the household afforded Thomas a wealth of education to absorb, and this background certainly seeps into his work, though through extremely subtle maneuvers. Using his relative outsider status in the crowded techno scene as a virtue, Hildebrand is slowly forging his own sound, embracing a variety of interests and sources and making them his own through jangling, moody tracks which hang in the balance between proper club music and personal couch listening.

Hildebrand's debut EP will be out on Microcosm Music this winter.

Sawako is a Japanese girl with a laptop who has 2 album releases from
12k and 1 album from Anticipate Recordings. Once through the processor
named Sawako, sounds in everyday life - field recordings, instruments,
voice and electronic sounds - float in space vividly with a digital
yet organic texture.

Nicholas Sauser is one half of the duo Socks and Sandals. Working in a similar vein to that project, Nicholas makes weird and fluctuating minimal techno. With one foot planted firmly in the history of house music, the other is planted gently in a pulsating future filled with skimmering sonic oddities. His recorded works appear on labels like Goosehound, Microcosm and some others.

Beginning with his early tracks under the Version Eternal moniker on Homestyle Cooking imprint, Nick Chacona has continued to make waves with a truly unique and exciting sound.

Though his preferred role is as a producer/DJ Nick has also made a career in the day-to-day operations of the record industry. After graduating from university Nick went to work at the Brooklyn, NY based label Statra Recordings until 2003. He then went on to spend the following 3 years employed at the legendary US distributor Watts Music as a salesperson and buyer, until its tragic demise in the Summer of 2006, and later at another NYC distribution powerhouse, Downtown 161.

In 2003, Nick released his Tour de force in "Band Practice", the B-side to his promo-only "Pool Party" project. At first mediocre sales were quite puzzling but within a year, Band practice was a frequent tune in the sets of DJs from Harvey to Doc Martin to Thomas (Rub & Tug) and whatever stock was left at the distributors was quickly snatched up. In 2006 Band Practice was re-released with a pair of Idjut Boys mixes by San Francisco imprint, Hector Works. Nick went on to release tracks on renowned labels Mood Music, Grayhound, Bearfunk, and most recently 2020 Vision .2007 will see a slew of remixes, follow-ups for the aforementioned labels, and singles for SAW Recordings and Buzzin Fly with friend and accomplice Sasse of Mood Music. In a DJ capacity, Nick is as versatile as you will find. He began DJing over 12 years ago strictly playing reggae but shortly thereafter fell in love with house & disco. He has played across the US from NY to San Francisco, as well as Brazil, Germany, Belgium, Holland, and the UK. He truly understands the fundamental aspect of a party is FUN and it's quite apparent when he's in the booth!

Born and raised in Istanbul, Turkey, Burchan moved to New York in 1993 to further his educational studies. Music and collecting vinyl have always been a great passion of his which led him to start Djing. He has been playing in new york at various spots since 1999. He and a friend took over Temple Records in 2000 and had the shop until its closing in 2001. Recently he had the oppurtunity to do a remix project for Danny Tenaglia's Space Dance with Antranig as well. His sets could vary from minimal to deep house to house and techno

Chris will be creating a time and light installation. First a recording of the park with a specific optical focus; the sunlight, using mirrors to manipulate its motion and reflections. This recording is then played back in the evening in the incidental spaces found in the park, as a immediate site specific look at time and texture remapped on itself