Keith Fullerton Whitman

(Editions Mego, Mimaroglu – USA)

Keith Fullerton Whitman is a Composer & Performer currently based in Brooklyn. He is in the process of realizing geographically & thematically relevant Live Electronic Music under the “Redactions” banner, as well as performing contemporary revisions of his classic “Generators” and “Playthroughs” frameworks. Recently he has performed at the GRM’s Immersion festival in Paris, Documenta 14 in Athens, The Labyrinth in Niigata, MaerzMusik’s The Long Now in Berlin, Semibreve in Braga, Send + Receive in Winnipeg, The Geometry of Now in Moscow, and at the Don Buchla Memorial Concerts in San Francisco.
 
Active from the early 90’s on while working towards completing a Bachelor’s Degree in Music Synthesis at Boston’s Berklee College of Music, Keith began exploring electronic music’s many facets, yielding dozens of recordings for influential labels such as Kranky, Planet µ, Editions Mego, PAN, Carpark, Room40, Amethyst Sunset, Amish, Dekorder, Melted Mailbox, NNA Tapes, No Fun Productions, Agents of Chaos, Arbor, Digitalis Limited, Ekhein, Heavy Tapes, Rare Youth, and Root Strata, as well as his own Reckankreuzungsklankewerkzeuge, Entschuldigen, Protracted View, and Industrial Abbotsford imprints.
 
Over the past 20+ years, Keith has given over 500 performances – everything from solemn held-tones to pointillist reckless-abandon – at venues ranging from “Punk” basements to some of the most celebrated European & North-American art & music festival stages, such as Adventures in Modern Music, Akousma, Berliner Festspiele, Boston Cyberarts, Brainwaves, Cable, Cicle OUT.SIDE, CTM, DEAF, Dissonanze, Documenta 14, Electronica En Abril, Elevate, Festival SOY, Geometry of Now, High Zero, Hopscotch, Immersion, Impakt, Kontraste, Labyrinth, Lanaudière, LUFF, MaerzMusik, Mutek, Neon Marshmallow, No Fun Fest, Novas Frequencias, On Land, Présences Électroniques, Propensity of Sound, Sampler Series, Semibreve. Send + Receive, Skanu Mesz, Sonic Acts, Sonic Circuits, Sound Summit, Suoni Per Il Popolo, TEDx, Terraforma, Ultrahang (UH Fest), Unsound, Werkleitz, WFMU Record Fair, ZKM, etc. In addition, he has given dozens of workshop, artist talks, & lectures at prestigious institutions including the Banff Centre, Casa Rolão, the Columbia University Computer Music Center, Dartmouth, the Echo Nest, Harvard University, Jāzeps Vītols Latvian Academy of Music, Johns Hopkins, Kunstquartier Bethanien, La Casa Encendida, MIT Media Lab, and Videopool & has taken part in Colloquia, acted as Guest Faculty, co-curated music festivals & organized concerts & film events in the Boston, Melbourne, and New York City areas & beyond. 
 
He has collaborated both on stage & record with Oren Ambarchi, Caboladies, Rhys Chatham, Tony Conrad, Greg Davis, Frans de Waard, Deerhunter, JD Emmanuel, Lawrence English, Mark Fell, Robin Fox, David Grubbs, Glenn Jones, Michael Karoli & Malcolm Mooney (Can), Eli Keszler, Felix Kubin, Okkyung Lee, Alan Licht, Matmos, Norbert Möslang, Geoff Mullen, Benjamin Nelson, Charlemagne Palestine, Terry Riley, Joel Ryan, Jessica Rylan, Uwe Schmidt, TV Pow, Ben Vida, Pierce Warnecke, Nate Wooley, C. Spencer Yeh, and countless others. He is also known for performances and realizations of works by composers such as Ilhan Mimaroglu, Phill Niblock, Dick Raaijmakers and Conrad Schnitzler. He has composed for dance, and his music has been set to motion by choreographers & dance ensembles including Chantal Yzermans, Le Supplici, the Andersson Dance Company, and the NYU New Music and Dance Ensemble. He has supplied music and sound-design for several video game & “music for picture” projects, advertisements, and assorted environments, including film & audio installations.
 
A 2011 joint commission from Sonic Acts, Kontraste Krems, and Le Groupe de Recherches Musicales (GRM)  led to a week-long session in the fabled INA-GRM studios in Paris, during which Keith realized a life-long dream, completing an 80-channel, long-form Musique Concrète work entitled “Rythmes Naturels” utilizing many of the idiosyncratic early-electronic instruments held in the studio’s archive. In 2015 he completed a second piece, “Trilogie d’Erreur” for the GRM’s yearly “Présences Electroniques” festival, then in 2017 a third, “Coupigny Redactions”, for their “Immersion” festival. These works remain unreleased in a commercial context.
 
From 2003 to 2015, he helmed a highly specialized experimental-music distribution company named “Mimaroglu Music,” charged with helping labels & artists all over the world with the preparation & dispersion of their tangible music artifacts. Prior to this he was the Sales-Manager of noted New England distributor Forced Exposure, for whom he personally penned hundreds of “capsule” descriptions of catalogue new-arrivals. After Mimaroglu Music’s dissolution & his relocation to Melbourne in late 2015, Keith started “Broken-Music” in mid-2016. In 2019 he will launch a similar service based in Brooklyn.
 
http://www.keithfullertonwhitman.com/