"Kalun Leung (he/him) is a collaborative trombonist, augmented instrumentalist, and sound artist with an extended practice in instrument building, electronics, and movement. His projects are motivated by the exploration of new and unexpected contexts in which the trombone can thrive, an interdisciplinary and research-based approach that has led to the invention of new electronic trombone augmentations, the study of Balkan brass band music in Guča, the premiere of never-before-seen Keith Haring computer art, the mounting of a Fluxus-inspired trombone sound sculpture, and site-specific improvisations with landfills and robots.

As a performer, he is a major proponent for the presentation of new work through commissioning, collective creation, and improvisation, and performs in new music, improvised, jazz, inter-arts and folk music ensembles in New York City and Tiohtià:ke/Montréal where he is based. He has premiered works by George Lewis, Bekah Simms, and Lesley Mok, and has contributed to a GRAMMY-winning album with the Experiential Orchestra. He has collaborated with the International Contemporary Ensemble, Nation Beat, Slavic Soul Party, Zlatne Uste, David Taylor and Felix del Tredici (So Wrong it's Right), Billy Martin (Medeski Martin & Wood), John Aaron Cockburn (Bruce Cockburn, Little Suns), and many others.

As an interdisciplinary creator, he was a member of the NY-based sound and movement collective ECHOEnsemble from 2018 to 2020 and is creating new work for the mubone with choreographer Bettina Szabo. He creates and performs with the mime and sound duo ék, with trumpetist and multidisciplinary artist Émilie Fortin. He explores the intersection of art and technology in his own work and in projects with instrument designers Frank Spigner, creator of the Splunger mute, and Travis West, creator and technical lead for the mubone. The mubone has been published in the conference on Movement and Computing (MOCO) and was presented at the Institute for Research and Coordination in Acoustics/Music (IRCAM) in Paris. It will be published in the International Conference on New Interfaces for Musical Expression (NIME) in 2022.

From 2019 to 2022, Kalun helped design, launch, and administer the Performer-Composer Master of Music at The New School as the Assistant Director of Academic Affairs. As a conservatory-trained musician who was charged to "conserve" an artistic tradition, this position filled a strong desire for Kalun to create spaces for artists who practice in non-traditional ways. In 2019, Kalun was Composer-in-Residence for the NYU New Music Ensemble, and has held artistic residencies at Harvestworks, Brooklyn Fashion & Design Accelerator (BF+DA), Teatro del Lago, and Orford Musique. He has received grants from the Canada Arts Council and the New York State Council on the Arts (NYSCA) in Research & Creation and Film & Media / New Tech Production respectively, and was awarded Exemplary Service to the Community and State by the New York State Senate in 2017."

"Allen Ravenstine (born May 9, 1950) is an American keyboard player, most recognized for his work in the experimental rock group Pere Ubu. In 1991, he quit music to become a commercial airline pilot.

Allen Ravenstine was born on May 9, 1950. He had much exposure to music at a young age, his interest derived from his mother playing Sergei Rachmaninoff and other classical music and his father's interest in jazz and percussion records. He played the trombone in grade school but quickly lost interest. Ravenstine's first real experience as an artist came in 1971 after abandoning his college pursuits. He met visual artist Bob Bensick, who was experimenting with sending distortion into oscillators and out to a stereo system. Eventually, they discovered a way to attach lights and have them work in conjunction with the sounds being produced and decided to stage art shows. The act was short lived as Ravenstine moved out of the area and lost contact with Bensick. Soon after, Ravenstine purchased his first synthesizer, an ElectroComp EML 200, and began associating with the garage band Rocket from the Tombs and recording their performances.

Ravenstine owned the apartment building called "The Plaza", which served as home and gathering place for the developing art and music scene in Cleveland in the early 70s.

Ravenstine first worked with Pere Ubu in 1975 after being asked to contribute to the band's recording of "30 Seconds Over Tokyo". However, he was discouraged by the thought of having to perform live shows and opted to discontinue his involvement with the band. After watching Pere Ubu perform at a few venues, Ravenstine changed his mind and returned as a full-time member of the band, replacing keyboardist Dave Taylor. He continued his work with Pere Ubu until 1989 with the release of Cloudland, when he decided to leave the group and pursue his own interests.

Ravenstine obtained a pilot's license after Ubu's initial breakup, and after leaving the band permanently, worked as a flight instructor and charter pilot. He also completed a novel which was never published. Ravenstine largely avoided musical activity of any kind after leaving Pere Ubu, once making a guest appearance at a Red Krayola show in Los Angeles in 2004. In 2012, an invitation to contribute to "I Dream of Wires: The Modular Synthesizer Documentary" led to the recording of an impromptu duo performance on the EML-101 and 200 synthesizers, with current Ubu synthesist Robert Wheeler. Culled from this were a pair of albums and singles, entitled City Desk/Farm Report, which were self-released in 2013. On June 29, 2018, he released a solo album entitled Waiting for the Bomb on Recommended Records.

In reviewing Dub Housing, critic John Dougan writes, "Ravenstine, who may be one of the all-time great synth players colors the sound with ominous whooshes of distortions, blips, and blurbs that sound like a sped-up Pong game." "