Keren Dunietz, performing as KerenDun, grew up in Savyon, one of three daughters of Esther and Yaakov Dunietz; her older sister Maya Dunietz, a pianist, composer, choir conductor and sound artist, introduced her to jazz, and by her early teens she was listening to Sarah Vaughan, Ella Fitzgerald and Billie Holiday. She studied jazz at the Thelma Yellin School of Arts and performed periodically from 2008 to 2014 with the ensemble Lo Dubim. Around 2010 or 2011 — sources differ on the exact year — she co-founded Buttering Trio in Berlin with producer Rejoicer (Yuval Havkin), and the two also co-founded the Tel Aviv label Raw Tapes in 2008. She plays saxophone and percussion in addition to singing in the group.

Buttering Trio, later joined by bassist Beno Hendler and, on its most recent album, drummer Amir Bresler, released Party Bear (EP, 2011), Toast (2013), Jam (2014), Threesome (2016) and Foursome (2022), all on Raw Tapes, touring the UK, Germany, France and India. Alongside the group, she has built a substantial solo and collaborative catalogue: the debut solo album Subconscious Leak (2012), the EP Shakin' the Tips (2013), a mini-album with Michael Cohen called The Weight (2015), a collaborative album with producer Yudko, What It Is (2015), and one with rapper Eco, Yay4Nay (2016). In 2015 she co-founded the twelve-member beat collective LBT (Live Beat Tapes) with Beno Hendler, Rejoicer, Amir Bresler, Yonatan Albalak and others, producing their debut compilation The Singles. In February 2021 she released Let the Mountain In, a full duo EP with pianist Nitai Hershkovits. She has also contributed featured vocals to releases by Eyal Talmudi and Sefi Zisling, and appears as a vocalist on her sister Maya Dunietz's 2023 album Thank You Tree.

KerenDun's work sits at the center of the Raw Tapes beat-jazz scene, blending sung vocals with saxophone and percussion across a discography that moves between full-band Buttering Trio records and a wide range of solo and collaborative projects. Her duo EP with Nitai Hershkovits, Let the Mountain In, is her most directly jazz-facing recorded statement, pairing her voice and horn against Hershkovits's piano in a chamber-scaled format distinct from the group's beat-oriented material.