Peptalk is a collaboration between Shayna Dunkelman and Preshish Moments creating music inspired by exotica, experimental music and electronica.

They orchestrate many traditional instruments taking inspirations from noted composers and arrangers in exotica such as Martin Denny and Esquivel, and layer electronic textures to give the music a modern spin. After being active for sometime in different musical genres for years, Dunkelman and Preshish Moments started working on peptalk in 2010. The music they create is a perfect cross of Dunkelman's classical and experimental background and Preshish Moments' experience in dance music and sound design. 





Shayna Dunkelman is a musician, percussionist and Xylosynth (a MIDI xylophone) player, who was active in the San Francisco Bay Area for several years before moving to Brooklyn, New York in 2010. She performs classical, contemporary, avant-garde, rock and pop, among other genres in the US, Japan, and Europe. She has recorded/played with John Zorn, Maryclare Brzytwa, the William Winant Percussion GroupPhantom Orchard Orchestra (Zeena Parkins, Ikue Mori, Fe-mail, Sara Parkins, Maggie Parkins), members of Matmos, Dan Deacon to name a few. She recently joined the Deviant Septet, which is a New York based ensemble with the mission to fulfill the vision that Igor Stravinsky had for his “l’Histoire du Soldat” ensemble, and a new trio formed by Zeena Parkins with Preshish Moments called Zeena Parkins and the Adorables.  Percussion pieces taking advantage of her versatility have been written for her by Steini Gunnarsson, Fei Wu and many others. As a former member of the rock band Mute Socialite, she has shared bills with Sleepytime Gorilla Museum, XBXRX, and many others. Graduating with honors in both music and mathematics from Mills College in Oakland, CA in 2007, she studied percussion with William Winant, and during her time at Mills, she performed pieces by Terry Riley, Meredith Monk, Jose Maceda, John Bischoff and Chris Brown, among others. Born and raised in Tokyo, Japan to an Indonesian mother and a Jewish-American father, Dunkelman began playing Electone at 3, clarinet, piano and percussion at 8, and embarked on her professional career at the age of 15, playing percussion, drum set and gamelan alongside her mother, a musician and composer active in Asia and the Middle East.
In addition to these above activities, she is also in a duo called peptalk with preshish moments playing music inspired by Exotica, 60-80
s J-pop featuring various percussion with lush electronics.

(Photo by Heike Liss)


Preshish Moments (Michael Carter)  makes music, builds electronics and creates max/msp patches. He plays live electronics with Tyondai Braxton, is in Zeena Parkins‘s trio Zeena and the Adorables, is half of the creative energy behind Peptalk, programs for Dan Deacon, performs his own solo work, releases solo albums on Mochipet‘s label Daly City Records, and has had his music performed by the chamber ensemble Alarm Will Sound.

All of the music that he writes and the max patches that he builds are focused on the live performance of electronic music because despite the prevalence of electronics in composition there is still great deal of progress to be made when it comes to live performance. This progress cannot be made by a single innovation so we must make thousands of small refinements where the rubber meets the road, in live performances for disparate audiences.

Preshish was born and raised in Downey, CA by two public school teachers. He played clarinet as a child, but hip-hop and jungle were his first musical loves. He attended the Los Angeles County High School for the Arts where he began painting and this took him to the School of the Art Institute of Chicago, but he quickly immersed himself in the sound department rather than painting. This was where he learned to program, build electronics, and became familiar with experimental electronic music and art.

He attended Mills College after graduating from the Art Institute where he worked to refine and channel his early work into performances around the San Francisco bay area. He was awarded a small grant to design and build his own midi controller to work with a max patch that he wrote and continues to tweak to this day. He used this controller to win a laptop music competition and was awarded with an album release by Daly City Records.

His first solo album “Let’s be Friends” was a chopped up mish mash of breakcore, hip-hop and experimental electronica. He spent the next few years playing sets that ranged from ambient soundscapes to four on the floor house. He organized a 24-hour drone on a radio station, built a few max patches for fellow musicians and performed at wide variety of venues for an even wider variety of audiences.

Late in 2010 he moved to Brooklyn where he began playing in groups and became a max programmer for hire. In his short time on the east coast he has collaborated with an epic cast of artists as a composer, performer and programmer. He performed at Lincoln Center, the Barbican, the Walker Arts Center, the Festival International de Musique Actuelle Victoriaville, Dance Theater Workshop and several other high profile venues and festivals. He is currently working on 2 albums and writing several max patches for upcoming projects.

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