Bill Nace is an artist and musician based in Philadelphia, PA. He has collaborated with a wide range of musicians including Michael Morley, Graham Lambkin, Sakina Abdou, Twig Harper, David Watson, Jooklo Duo, chik white, John Truscinski, Thurston Moore, Jake Meginsky, Jessica Rylan, Paul Flaherty, Wally Shoup, Aaron Dilloway and Kim Gordon (as the duo Body/Head). For his last solo LP (released on Three Lobed Records/Open Mouth Records) he plays the 2-string Taishogoto. He has an upcoming LP release (on Amish) of duets with David Watson.
Nace’s range has been described as “veering from sculptural, almost Remko-Scha-esque chime to Loren Connors-style elegance in only a few short moves.” (Mimaroglu Music, 2010).

Ikue Mori hardly needs an introduction. A catalyzing and iconic figure, she has consistently and repeatedly pushed the music forward. A complete artist, she has created a body of work that defies boundaries and shatters accepted notions of technology, composition and/or improvisation. Mori has performed several times with Bill Nace in the company of Kim Gordon and Yoko Ono. This is their first duo, and her first performance at Striped Light.

Luisa Muhr is an Austrian–New Yorker experimental vocalist and interdisciplinary artist working with voice, sound and physical movement. Her work spans improvisation, composition, installation, performance art, movement/dance and experimental music theater. Muhr's full-length interdisciplinary performance works and compositions have been staged at Roulette Intermedium, Pioneer Works, the Austrian Cultural Forum New York and the Volkstheater Wien / Rote Bar. Muhr’s debut solo album TEUFLIN/SHE-DEVIL was described by The New York City Jazz Record as “a rewarding journey for courageous musical explorers.” She has collaborated with William Brittelle, Daniel Carter, Claire Chase, Ash Fure, Sarah Hennies, Shelley Hirsch, Meredith Monk, Arturo O’Farrill, William Parker, John Zorn and the New York Philharmonic.

Kenneth Jiménez is a Costa Rican bassist, a rising voice in the international jazz and improvised music communities. Based in New York, he has collaborated with Dave Liebman, Tony Malaby, and Gerald Cleaver and is known for blending Latin American influences with exploratory improvisation. As a composer and bandleader, Jiménez continually pushes musical boundaries creating work that resonates with both cultural heritage and contemporary innovation. His releases include his quartet album Sonnet to Silence (2023), Under Over World (2025) (also featuring Luisa Muhr).

Loren Connors and Bob Bellerue have only recently started playing regularly together. Their music unifies the cosmic blues of Loren's guitar playing with the visceral abstraction of Bob's electronics.

Loren Connors has improvised and composed original guitar music for over four decades. His music embraces the underlying aesthetics of blues, Irish airs, blues-based rock and other genres while letting go of rigid forms. He names abstract expressionist painter Mark Rothko as his most important influence. In July 1979, Cadence Magazine noted that Connors, who had recently emerged in the scene, was “similar to others in the Advanced Guard of improvising guitarists in that he is trying to extend the boundaries of sound and pitch of acoustic guitar, but he is unique in the utilization of Blues in his work. One could almost say this is Avant Garde Blues. He’s swimming in new waters and beginning to make his own environment.” In recent years, Connors has focused mostly on live recordings of extended blues abstractions.

Bob Bellerue is a sound artist, experimental musician, sound/video curator, and A/V technician based in Ridgewood NY. Over the last 35+ years he has been involved in creating and presenting a wide range of sonic activities – experimental music, sound art, noise, junk metal percussion ensembles, soundtracks for dance/ theater/ video/ performance art, Balinese gamelan, and sound / video installations. Bob’s sound work is based in improvised free noise within multidimensional feedback systems, using amplified instruments, objects, decontextualized field recordings and resonant spaces processed by electronics and software written in the Supercollider audio synthesis programming language.