Known for its riveting performances of new and experimental music, TimeTable invites audiences to experience percussion up close.

The group specializes in music that crosses boundaries of style and discipline, with an emphasis on works that challenge the language and materials of percussion music. TimeTable collaborates closely with emerging and established composers to investigate and expand the possibilities for percussion-based music, and commissions, premieres, and records an ever-growing body of new works.

TimeTable maintains an active performance schedule including concerts in New York City and beyond, and collaborations with other ensembles and composer collectives. Through its school programs and master classes, the group offers insight into contemporary percussion music and the process of composer-performer collaboration.

TimeTable has performed extensively in and around New York City and the Northeast, including performances and workshops at the Mannes College of Music’s Institute and Festival for Contemporary Performance, The Juilliard Summer Percussion Seminar, Manhattan School of Music, Williams College, MIT, Boston Conservatory, and Bates College. Collaborations with composer collectives and other organizations have included those with Wet Ink, Columbia Composers, Three Two Festival, and Forecast Music.

Born in 1968 in Vienna my career starts as a DJ in a Viennese gay bar called "Motto" in 1982. Together with my studio partner DJ PURE I create the project ILSA GOLD and release the first 12 Up on the label Mainframe in 1992. Catchy samples paired with an ironic breeze is the trademark of Ilsa Gold, the tracks UP and SILKE become celebrated anthems of the Rave- and Technoscene with numerous performances all over Europe following.

The release of the album DIE ZIPFELMUETZE, DER HANDWAGEN UND DIE GUMMIMUSCHI on our own label GSICHT WIA DA BEIDL VON AN OIDN MANN RECORDS in 1995 shows the God of Techno Sven Vaeth with a prick cap on the cover and provokes a middle sized scandal in Germany.

In the same time I publish serious productions on the labels CHEAP, POMELO, LABWORKS and TEST TUBE and found the the retro-hardcore label PETRA in 1996. With PUNK ANDERSON - SHAVE THAT PUSSY I herald the 80s trash revival and succeed with I'M A DISCO DANCER (Gigolo / XL) in the worldwide clubscene. With the persiflage of a frustrated electronic nerd called GERHARD I shine on the label Wiener Stadtwerke and as ROY EDEL I foresee a sad and folksy future to rave-music. In the following years my activities are limited to remixing, amongst others Pulp, Chicks On Speed, Stereo Total and Divine.

In 2002 I strike back with my own productions on Cheap and Giant Wheel and with ACID JOSEPH I cover the Ecstasy Club classic I LOVE THE ACID. For the ten year anniversary of Ilsa Gold I produce the double CD REGRETTEN? RIEN! on Mego and re-release my album Jeans & Electronic on the Combination Records' Forever Young series. HOUSE 2 as a sequel to House appears on Cheap in November 2004 and I decide to focus all of my attention to the production of a long play record - my first since Jeans & Electronic in 1997.

ROLAND FLICK FAIRMONT PRINCESS ..1527 is the result, describing my present ideas about producing electronic music for more than one decade. The first take of it POPPER, followed by the Tricky Disco cover DISCO 128 is a co-production with my brother RAPHAEL and portrays the euphoric and innocent feeling of the first Techno parties in the early 90s - a time far away from the current postelectronic reflection.

Dieter Kovacic's best-known alias is Dieb13, but he has also performed and recorded under the monikers Takeshi Fumimoto, Echelon, Dieter Bohlen, and Dieb 14. He sprang into action in the mid-'90s, as the Viennese avant-garde scene was picking up a momentum. His rare solo releases are complemented by a number of collaborations with the likes of Boris Hauf, Werner Dafeldecker, Martin Siewert, and Christof Kurzmann, all artists revolving mainly around the Viennese labels Charhizma and Durian.

Kovacic was born in 1973. He came to music from the DJ side, instead of a more traditional musical background. He began to tweak cassette players and turntables in the late '80s, and later moved to the computer. In 1995, he applied for a studies program in electro-acoustic music at the Viennese College of Music, but was turned down. Ironically, his professional career started at around the same time. First, he self-released a cassette with Stefan Geissler titled Lomophonien. The label Rhiz invited him to contribute to the compilation Picknick mit Hermann (1997), and things picked up from there. Kovacic began to play in Kurzmann's Orchester 33 1/3, ©, Shabotinski, Radio Fractals, and Efzeg.

In 1998, he contributed a track to Turntable Solos, a compilation released by the Japanese label Amoebic. Disguised as Takeshi Fumimoto, he resided amid Otomo Yoshihide, Christian Marclay, and Merzbow. For his first solo CD, Restructuring (2000, Charhizma), Kovacic remixed the contents of a whole experimental music festival. The album was released "open content" by the artist, a conscientious copyright objector. With this CD confirming his mastery of the turntable, he quickly moved to other pastures, stripping his sound of recognizable references to use record-less players and eventually the computer. In early 2002, For4Ears released Streaming, an electro-acoustic improv trio with Günter Müller and Jason Kahn. ~ François Couture, All Music Guide

Bernhard Lang is an Austrian composer in the experimental scene, writing scores and working with electronics to create a myriad of innovative performances. He has maintained a steady output of performances and premieres with an eclectic variety of influences and is seen frequently collaborating with electronic musicians, DJs and video artists. This year commissions and premieres include Monadologie IX, III. Streichquartett for the Arditti String Quartet, a 60-minute piece commissioned by Donaueschingen, Monadologie X 'alla turca' for player piano, an SWR commission, Monadologie XI '..for Anton' 2. Kammersinfonie for chamber orchestra from WDR. Lang has had many commissions in international festivals including Darmstadter Ferienkurse, Donaueschingen, Moskow Modern Festival, Biennale Hannover, Salzburger Festspiele, Wien Modern.

Bernhard Lang actively pushes the boundaries of notational aesthetics in the field containing electronic derivatives. His philosophical interest in repetition was awakened after reading Delueze's book, Difference and Repetition, influencing him after being a student of Shoenberg's school-of-sorts, where repetition had been something of an anomaly, so-to-say, he had felt it "banned". In addition to this, he also describes one of his main influences the movies of Martin Arnold; they more or less became the trigger for the series of pieces called Difference/Repetition, now comprising some 20 pieces ranging from solo works to full orchestra, including the two hour music theatre "Theatre of Repetition"(2003).

In 2006, in the context of the year of the 250th anniversary of Mozart's Birth celebrations, Bernhard Lang became well-known for his opera, I Hate Mozart with a libretto by Michael Sturminger. As Lang explains, this piece exploited a style explosion, with a re-mix, re-structure, a deconstructivist reading of the "Stylez" world. In his paper titled: style vs stylez: the political economy of aesthetics Lang seeks to openly engage with the idea of artistic authorship in a world which is fast developing toward highly commercial styles. He believes in the substance of a "concept" to inform a composer's palette, this idea first expounded by Schoenberg, which opposed itself to a mere stylistic fascination of past music typologies. In the same year, Wien Modern focussed on Lang as their main composer for the festival.

In 2003 Lang was made associate professor of composition University of Music and Dramatic Arts in Graz, where he had taught music theory, harmony and counterpoint since 1988. He was born in Linz (1957), finishing his piano studies and high school at the Bruckner Conservatory before moving to Graz to study jazz theory, arranging and classical piano. Active in various jazz groups as a composer, arranger and pianist, he also studied philosophy, German language and literature studies at Graz University. After finishing his piano studies he studied counterpoint (Hermann Markus Preßl) and microtonal techniques (Georg Friedrich Haas) at the University for Music and Dramatic Arts in Graz. He also took private lessons with the Polish composer Andrej Dobrowolsky and Gösta Neuwirth, who became a main influence, instructing him in composition for many years outside of the university context.

Music theater is Lang's main interest, and since 2003 he has worked intensively on projects involving dance, including collaborators such as Xavier Le Roy, Willi Dorner and Christine Gaigg. As he draws direct influences out of the turntable culture, one often encounters a tumbling cloud of rhythmic sonorities fighting toward a sustained pulse. As Lang describes, "thinking about beats is very important to me". He developed the Loop-Generator and the Visual Loop Generator with Winfried Ritsch and Thomas Musil at the Institute for Electronic Music Graz and frequently works on projects with Wolfgang Musil, Christian Marczik, Christian Loidl.

"I do not believe in a composer who represents the system, masks the brutality of the empire with musical entertainment and makes it socially acceptable. I do not believe in a composer who only sees history as a museum-like source of material. I do not believe in a composer who believes in himself." Bernhard Lang

Tamara Friebel