Grex (Oakland, CA) :

Grex’s creative derring-do has led to gigs with other like-minded musicians, including Fred Frith (and his band Cosa Brava), Kronos Quartet, Tony Levin (Stick Men), Eddie Gale (Sun Ra, Cecil Taylor), Scott Amendola (TJ Kirk), Ben Goldberg, Martin Bisi, Vinny Golia, Lewis Jordan (United Front), Moe! Staiano (Sleepytime Gorilla Museum), and Francis Wong (co-founder of Asian Improv aRts), and concerts at venues as far reaching as the Great American Music Hall (SF), Slim’s (SF), Switchboard Festival (SF), New Frequencies Festival (Yerba Buena Center for the Arts, SF), United States of Asian America Festival (SF), Open Gate Music Series (Los Angeles), In the Flow Festival (Sacramento), Sonic Circuits Festival (Washington DC), and Fire Museum Presents (PA).

Superlith (Philadelphia) :

“Just when you think you’ve heard it all – literally – some really crafty cats come along and create sounds that hadn’t quite been previously contemplated. A couple of such musicians from Philadelphia’s fertile experimental music scene banded together to create some of this alien but strangely alluring noise. Trombonist Dan Blacksberg (Anthony Braxton Quartet, Archer Spade duo with Nick Millevoi) and transmuted Casio keyboard technician Julius Masri (Electric Simcha, Avant rock band LionsHead, Noise duo Chakra Khan/Air Pirates with Millevoi) pooled their vast experience working on the fringes of music to form a New Music duo called Superlith and recently came out with their first album, Plasma Cluster. (Public Eyesore/Eh? Records)

Each of these players brings a unique perspective to the table. Masri is a trained jazz drummer whose curiosity about electronic sounds became a passion that’s led him to compose electronic music for choreography projects. For his part, Blacksberg sees no bounds in the sonorous possibilities of the trombone; he’s a superb technician who wants to go beyond merely doing what’s been done before and push the trombone into unfamiliar territory. On Plasma Cluster, he exploits the
openings he sees to do so within the realm of electronic avant garde, and finds the complements to the buzzes, drones and chiming of Masri’s circuit-bent machinery.” – S. Victor Aaron/Something Else