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Concert: Liz Meredith / Comfort Link / The Ambient Eye


Liz Meredith is a violist, violinist, improviser and composer from Baltimore, MD. Her music explores intersections between acoustic chamber music, instrumental improvisation, electro-acoustic composition, and ambient music. Liz’s recordings include 2 solo albums, The Disposition of Vibrant Forms, a 5 LP set in collaboration with John Somers (brother of Alex Somers), and various solo and collaborative works on cassette. In addition to performing her own music, Liz has premiered new works by emerging composers, and has contributed her sound to recordings by Monica Lionheart, Microkingdom, and others.

Liz’s performance record is fittingly diverse. She frequently performs at rock clubs, D.I.Y. spaces, art galleries, chamber music venues, music festivals, and academic conferences throughout the United States. Career highlights include performances at Signal Flow Festival, Mills College; High Zero Festival (Baltimore, MD); several performances at the Baltimore Museum of Art; The Walters Art Museum (Baltimore, MD); and The Stone (New York City, NY).

Liz holds a Masters of Arts Degree in Music Composition from Mills College (Oakland, CA). She has studied music composition with Fred Frith and viola performance with Hank Dutt of Kronos Quartet.

Liz is currently based in Baltimore, Maryland.

Comfort Link -

Timothy Wisniewski is a musician, filmmaker and archivist from Baltimore, Maryland. His most active solo project at present is Comfort Link, which explores the detritus of mid-century living room hi-fi culture through tape manipulation and found sound. Comfort Link has released material on Spleencoffin, Planted Tapes, Singapore Sling, and No Part of It, and has a new album forthcoming on Hologram Label. Wisniewski also runs the record label Spleencoffin, established 2003 in Baltimore.

The Ambient Eye - Visual improvisations by Monica Stroikaccompanied by Douglas Kallmeyer on tenor bass

Monica Stroik is a multimedia artist from the mid eastern United States. Disciplines include paint, silversmithing, ceramics, printmaking, textiles, encaustics, photography, live performance in voice and instrumentation, in physical as well as digital platforms (photo, video, animation, and video mapping technologies). After special studies programs (SACI, Florence Italy and SVA, New York City ) and graduating with an MFA from the Maryland Institute College of Art (MICA) in 2013, her work has been featured in local galleries, international embassies, and commissioned for private collections as well as large corporate installations. She does custom album artwork and heads the art department for Verses Records, an independent label collective. She has provided visual design and projections for many live, local dc musical groups including Tone, Super! Silver! Haze!, Huda Asfour, and The Mantis, in venues ranging from small rock clubs to the Kennedy Center for the Arts. In “Ambience for the Eye”, Stroik utilizes electronics to meld visual and auditory elements throughout spacious, etherial multi media arrangements.

Douglas Kallmeyer is a musician and sound designer/ mix engineer, whose attention to sonic detail has afforded him opportunities to work and tour internationally with notable artists including Blonde Redhead, Shellac, Phanotgram, Big Boi, and many more. “Where technology and artistic media meet has always been a central driving force behind this, initially sparked by large scale bass amplification experiments and immersion in sound system culture where the mixing console is utilized as an instrument”. As a performer, there is a plethora of projects based on further experimentation in collaborative efforts with a host of local dc area musicians, most recently with Brendan Canty (Super! Silver! Haze!) and notably heading his mid- 2000’s proto-electronic group 302 acid (Emit records): “The swelling, sustaining tones of Douglas Kallmeyer’s electric double bass- sometimes bowed, sometimes plucked, always heavily treated- underpin most of these pieces. This unstinting flow of low frequency tones serves as a rich, loamy subsoil in which the rest of the music takes root. And it’s a finely calibrated dub sensibility that holds everything in place, a tuned understanding of when to drop the fader and let some space into the mix.” ~Chris Sharp, The Wire- Adventures in Modern Music