Anju Singh is a composer, multi-instrumentalist, noise/sound artist and video/media artist exposing and interrogating texture using methods of deconstruction and reanimation to repurpose and contextualize materials in new compositional environments and to bring contrasting themes and dynamics into shared spaces.

Anju has presented and performed work across Canada, in Europe, Japan, Brazil, Mexico, and the United States.

Anju has curated and directed the Vancouver Noise Festival for 9 editions, curated Fake Jazz Wednesdays, and she has participated in a co-curating committee for the MAC Media Arts Committee Sound Art program since 2011.

A soloist musician, composer and vibrant collaborator, Laura Ortman (White Mountain Apache) creates across multiple platforms, including recorded albums, live performances, and filmic and artistic soundtracks. She has collaborated with artists such as Tony Conrad, Jock Soto, Raven Chacon, Nanobah Becker, Okkyung Lee, Martin Bisi, Jeffrey Gibson, Caroline Monnet, Tanya Lukin Linklater, Martha Colburn, New Red Order, and as part of the trio, In Defense of Memory. An inquisitive and exquisite violinist, Ortman is versed in Apache violin, piano, electric guitar, keyboards, and amplified violin, and often sings through a megaphone. She is a producer of capacious field recordings. Ortman has performed at The Whitney Museum of American Art and The Museum of Modern Art in New York, the Musée d’Art Contemporain de Montréal, The Stone residency, The New Museum, imagineNATIVE Film + Media Arts Festival, The Toronto Biennial, and the Centre Pompidou, Paris, among countless established and DIY venues in the US, Canada, and Europe. In 2008, She founded the Coast Orchestra, an all-Native American orchestral ensemble that performed a live soundtrack to Edward Curtis’s film In the Land of the Head Hunters (1914), the first silent feature film to star an all-Native American cast.

Ortman is the recipient of the 2023 Institute of American Indian Arts Fellowship, 2022 Forge Project Fellowship, 2022 United States Artists Fellowship, 2022 Foundation for Contemporary Arts Grants to Artists, 2020 Jerome@Camargo Residency in Cassis, France, 2017 Jerome Foundation Composer and Sound Artist Fellowship, 2016 Art Matters Grant, 2016 Native Arts and Culture Foundation Fellowship, 2015 IAIA’s Museum of Contemporary Native Arts Social Engagement Residency, 2014-15 Rauschenberg Residency, and 2010 Artist-in-Residence at Issue Project Room. Ortman was also a participating artist in the 2019 Whitney Biennial. She lives in Brooklyn, New York.

Chamber of Bones: Pura Fé & Jesse Zubot with String

In 2022, Jesse Zubot and co-composer Wayne Lavallee invited the acclaimed singer-songwriter Pura Fé to contribute vocals to their score for the epic feature film and 5-part series Bones of Crows, directed by Marie Clements. Interacting with the chamber ensemble that Zubot conducted in real time, Fé completely inhabited the music’s tense atmospherics and sweeping emotional range; most of her improvisations were one-take magic. Zubot and Fé return to this sonic landscape for the challenging, spirit-animating collaboration Chamber of Bones.

Pura Fé is an artist, activist, and storyteller of Tuscarora and Taino heritage, known for her impassioned vocals, slide guitar fireworks, and powerful songs that touch on folk, gospel, and blues traditions. In 1987, she co-founded the renowned Indigenous women’s a cappella group Ulali, and since 1995 she’s been releasing solo albums and collaborating with the likes of Indigo Girls and Robbie Robertson.

With multiple JUNOs, WCMAs, and National Jazz Awards on the mantle, Jesse Zubot is known for virtuosic violin playing, cutting edge production style, and collaborations with avant-innovators like Darius Jones and Joe Fonda, indie artists Dan Mangan and Stars, and the incomparable Tanya Tagaq. In recent years, he’s created enveloping scores for films like Indian Horse and Monkey Beach.

Pura Fé and Jesse Zubot are joined by an incredible cast of local string players and improvisors: Parmela Attariwala, Meredith Bates, Trent Freeman, Marina Hasselberg, Nikko Whitworth, and Joshua Zubot.

Boundless inquisitiveness sits at the very heart of award-winning cellist Marina Hasselberg’s rich artistic practice. Over the past decade, she’s traveled a distinctive route that has variously led her through early music, free improvisation, the fringes of pop songcraft, electronics, contemporary chamber music, and an array of interdisciplinary collaborations that resist classification.

Hasselberg’s deep and meticulous explorations have culminated in a solo practice that blends disparate elements from various musical realms. Her forthcoming album Red (Redshift Records) sees her insightful interpretive vision colliding with her improvisatory prowess. Recorded by violinist and JUNO and Polaris-winning producer Jesse Zubot, the disc leads listeners through an eclectic, electronics-infused, and deeply personal collection that weaves compositions by everyone from Domenico Gabrielli to Linda Catlin Smith, together with spontaneous performances that feature Hasselberg amidst a cast of her frequent collaborators: Aram Bajakian, Kenton Loewen, Giorgio Magnanensi, and Zubot.