Born in Bucharest, Filipino-American Levy Marcel Ingles Lorenzo, Jr. works at the intersection of music, art, and technology. On an international scale, his body of work spans custom electronics design, sound engineering, instrument building, installation art, free improvisation, and classical percussion. With a primary focus on inventing new instruments, he prototypes, composes, and plays live electronics. As an electronic art consultant, Levy designs interactive electronics ranging from small sculptures to large-scale public art installations with artists such as Alvin Lucier, Christine Sun Kim, and Leo Villareal. As a percussionist, he co-founded the experimental theater/electronics duo Radical 2 with Dennis Sullivan and recently release a duo album “Q” with trumpet Peter Evans. As a sound engineer, he specializes in the realization and performance of complete electro-acoustic concerts with non-traditional configurations. One of his main engineering engagements is Claire Chase’s Density 2036 project. As a core member of the acclaimed International Contemporary Ensemble (ICE), he fulfills multiple roles as live sound engineer, electronicist, and percussionist.

Antiphon Trio is Michael Century (accordion), Chris Fisher-Lochhead (viola/pedal steel guitar), and Zach Layton (17-string electric bass guitar). This unique instrumentation creates rich, resonant acoustic inputs, which are then fed into Pauline Oliveros’s Expanded Instrument System (EIS). The EIS can be considered as an “ecstatic time machine,” a system designed to expand temporal perception where, in Oliveros’s terms, “present/past/future is occurring simultaneously with transformations.” This temporal layering is achieved through multiple delays and processing algorithms, resulting in an evolving, emergent spatio-temporal field, or timescape, that induces discoveries and disciplined practices of deep listening and response. The concept of “Antiphon” – meaning “sounding in response” and deriving from roots of “concord” or “concordance” perfectly encapsulates the trio’s interaction, not only among ourselves but crucially with the EIS. It is a continuous call-and-response with the deep-seated echoes and future projections of our own sounds. The EIS, with its capacity for up to 40 discrete voices from its delay lines and ambisonic panners that sculpt “spatial progressions,” creates clouds of sound that envelop the listener.