Based in Baltimore, Matmos is Drew Daniel and M.C. Schmidt. The two have been making music as Matmos since 1997, first in San Francisco, and then relocating to Baltimore in 2007 when Daniel began to teach at Johns Hopkins University. They are respected, innovative auteurs in the world of electronic music and sampling culture whose very first album was hailed as “entering electronics Valhalla” by the WIRE magazine for sampling highly unusual sound sources such as the amplified nerve tissue of crayfish. Ever since, they have made music out a wildly heterogeneous set of objects and sources, including the sound of the pages of bibles turning, water hitting copper plates, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, rat cages, tanks of helium, a cow uterus, human skulls, snails, cigarettes, cards shuffling, laser eye surgery, whoopee cushions, balloons, latex fetish clothing, rhinestones, Polish trains, insects, life support systems, inflatable blankets, rock salt, solid gold coins, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal, snails interrupting the path of a laser and altering the pitch of a light sensitive theremin, a PVC police riot shield, silicon breast implants, and their own washing machine. These raw materials are manipulated into surprisingly accessible forms, and often supplemented by traditional musical instruments played by internationally celebrated guest musicians from their circle of friends and collaborators. The result is a model of electronic composition as a relational network that connects sources and outcomes together; information about the process of creation activates the listening experience, providing the listener with entry points into sometimes densely allusive, baroque recordings that have the direct sensory immediacy of pop music. Their latest album Metallic Life Review was released on June 20th, 2025 by Thrill Jockey.  

Since their 1990 debut at a loft party in downtown Los Angeles, where a version of The Sandals' Theme From The Endless Summer spontaneously mushroomed into a 90 minute exercise in self mesmerism, the Dick Slessig Combo has stupefied audiences worldwide with their pseudo-structuralist approach to the interpretation of popular song. Drawing on influences ranging from Chet Atkins to Terry Riley, Isaac Hayes, Javanese Gamelan, skipping records, and 70s disco, their music is simultaneously expansive and reductive, filtered through a decidedly ramshackle garage-rock sensibility. In his 2019 book The Wichita Lineman, Dylan Jones describes Slessig's 2002 recording of that song as "the longest version of any song you've ever heard, elongated and slowed down so that it sounds even more like a lament, with a hyphen of silence between each note". Likewise, Griel Marcus recalls in his 2010 book When That Rough God Goes Riding, his response to a Dick Slessig performance at the Portland Art Museum in 2000 of a rendition of George McRae's Rock Your Baby "I could listen to that forever''.

Jerod S. Rivera is a musician based in Oakland, California, with a focus on modular synthesis and electronics. With a background in drums and experimental composition, Rivera approaches his work in a do-it-yourself mentality and is completely self-taught. In 2021, Rivera self-released his debut full-length album, Virgo, which was held to critical acclaim. During the pandemic, Rivera teamed up with Daniel Letson, aka DJML/Motoko & Myers, and formed Later Version. In 2023, Later Version partnered with Third Place Records in London to release the Swim Domain EP. Entering 2025, Rivera embarks on a new chapter with his work, self-releasing his sophomore album, Dot Dash. In Dot Dash, Rivera takes his sound a step further, adding new methods of working and collaboration. The lead single, “Seamstress Clock,” features the poetry of Cat Lauigan, the Buchla 200e, and various vintage synth textural motifs. The track draws inspiration from Robert Ashley, Cosey Fanni Tutti, and Jay Clayton.

Jesse Austin is an artist, composer, and improviser based in Oakland with an interest in generative environment design, counterpoint, and figure drawing.

The Recombinant Media Labs organization was founded to research the qualities and artistic potential of Spatial Cinema. It does so by means of Experiential Engineering; exploring processes that propagate the aesthetic and technological boundaries of panoramic AV exhibition. RML acts as producer and presenter of hybrid artworks and performance archiving based on spatial media synthesis; intermodal works using image, light, sound and other disseminated media in three-dimensional space. The CineChamber is RML's curated, nomadic platform under the artistic trajectory of founder & Director Naut Humon plus a superhuman crew.