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 of the experimental and avant-garde school, particularly advocating a style known as "repetition-perpetrator". Since 2003 he has been associate professor of composition at Graz University.

Lang's music is characterised by repetition of short phrases. He frequently collaborates with artists form other genres including choreographers, electronic musicians, video artists and DJs.

He is particularly known for the provocatively titled opera I Hate Mozart, with libretto by Michael Sturminger, composed for the Viennese Mozart year festival in 2006. Das Theater der Wiederholungen, based on the writings of the Marquis de Sade and William S. Burroughs and choreographed by Xavier Le Roy, was premiered at the Bastille. His Monadology II was given its British premiere at the Edinburgh International Festival in September 2008, broadcast on BBC Radio 3. Monadology uses a concept Lang calls "musical-cellular processing", which Lang says is derived from Leibniz’s Monadology.