Rebecca Moore, performing with a pared-down version of her normally eight-piece band, will perform a night of minimal songs, artful and strange, against a cinematic, layered backdrop of films in black & white and glowing color. Appearing will be Rebecca (piano, guitar, violin, sound-effects, vocals), Ursula Wiskoski (electric cello), Christy Davis (percussion) and Danny Tunick (bass, vibes). Projections will be by filmmaker Joel Schlemowitz.

Rebecca Moore was born and raised amidst New York's Avant-Garde art scene of the 1970's. She spent many years performing in experimental theater works by artists such as John Jesurun, (including his plays "Deep Sleep" and "Shatterhand Massacre", in the U.S. and Europe), Richard Foreman ("I've Got the Shakes"), Ridge Theater (notably the Obie-winning "Everyday Newt Berman" at La MaMa, and "Jungle Movie"), filmmaker/choreographer Jo Andres (spanning six years), Julia Heyward, David Patrick Kelly, Taj Mahal, Clarinda Mac Low and many others.

Her own solo performance art work at small venues evolved into full-scale low-budget surrealistic musical theater pieces, labors of love that were presented at spaces such as Cooper Union ("Cure for the Biting of a Madde Dogge"), Performance Space 122 ("The Hinger") and La MaMa E.T.C. ("The Larynx Chalet", with eleven actors and 5 musicians performing the score live). Other various projects include composing music for Mac Wellman's one-act opera, "Distance to the Moon" (directed by Jan Leslie Harding, at The Flea theater), and composing "Music for Vintage Bondage Movies" for The Knitting Factory's Loud Music/Silent Film series. She also contributed bits of music for the films "Habit" (Larry Fessenden) and "Tree Sit: The Art of Resistance" (Earth Films). She composed the score for "Reverie" by Joel Schlemowitz.

Her CDs include "Admiral Charcoal's Song" (1996) and "Home Wreckordings 1997-1999" (2000), both on Knitting Factory Records. She is currently at work on her third CD, to be released in the Oracles series on John Zorn's Tzadik record label.

David Clement is a distinctive stylist of what has been called "lyric centered Rock." He had just moved to New York to work for visual artists Nancy Spero and Leon Golub when he made a career move into music at the encouragement of a high school classmate, Liz Phair. His first CD, "Be More Like Me" (Wild Monk Records) garnered critical acclaim and was picked as "critic's choice" by Billboard.

For the next two years, Clement honed his craft with a series of musical experiments, and finally found a collection of musicians he wanted to record with: avant guitarists Chris Cochrane (Suck Pretty, No Safety) and Marc Ribot (of Elvis's attractions, etc.), Richard Dworkin (Alex Chilton ), bassist Mike Stanzillis (from Sandra Bernhard's backing band), Marty Beller (They Might Be Giants, The Negro Problem), and the spidery prince of glam guitar, Rob Bailey.

His upward soar was delayed when Mercury Records was acquired by Universal, sending his newly-finished second CD into legal limbo for years. So he detangled with shows in L.A., in Chicago (including Steppenwolf Theater), and in New York. He spent years playing "residencies" at Bar B, CB's Gallery, The Sidewalk Café, and the Baggot Inn. He has also played at The Mercury Lounge, Fez, The Living Room, Arlene's Grocery, Finally Fred's and Hannah's Lava Lounge. Those shows got him the role of the @BAR BAND on the WB's "Jack and Jill" and his music could be heard beneath some of the machinations on "Dawson's Creek." In 2002 he re-recorded the songs of his ill-fated second CD as "Your Free Gift" (Show Dog Records).

He mostly now plays with Rob Bailey, whose pop sensibility, classical training, and love for a sonic experiment mix with Erin Hall's cello to make a dreamily driven framework for David's tightly crafted "post-Brechtian-pop/acidfolk" songs.

Kindamusic.net wrote, " With hypnotizing guitar chords and a flair for subtle lyrics, David Clement can be found between REM, Ryan Adams and Eels, deep in the territory of accessible, well-written alternative music. "

Independent Songwriter Magazine wrote, "The breathy vocals are a sharp contrast to the hard-driving music. And the tug-o-war between the two elements create a tension that's hard to ignore. The production is so over-original that it technically breaks new sonic ground. It's rare to find such a revelation in original music. Not only are the lyrics deep, but the music, the production, and the vocals all blend in some multi-layered smorgasbord to create a type of complex maze...decipherable only if one allows the subconscious to take control. Hard to believe that humans could operate at such an atmospheric realm. "