Faith Coloccia, Jim Haynes, Robert Millis

The Helen Scarsdale Agency presents a night of blurred sound, caustic noise, antique drift, and liminal drone with Faith Coloccia, Jim Haynes, and Robert Millis.

Faith Coloccia is an American artist and composer based in Vashon, WA. She was born and raised in Palm Springs, CA, and attended Otis College of Art and Design in Los Angeles (BFA). Her work is focused on time deconstruction, inherited memory, indexical archives and how sound affects the body in space. Using voice, field recordings, visual scores and traditional instrumentation, she unites composition, spirituality and installation acoustics into a cohesive whole. She performs under the names of Mamiffer and Mára and has been commissioned by and performed at festivals such as Big Ears (US), Hopscotch (US) and Sacrum Profanum (PL). She has performed in Europe, North America and Japan, and has collaborated with artists such as Daniel Menche, Jon Mueller, Aaron Turner, Circle and Eyvind Kang. Her work has been released on SIGE Records, Karlrecords. Room40 and Touch.

Corrosion and decay are central themes to the work of Californian artist Jim Haynes. He works with a recombinant crucible of shortwave radio, convulsive motors, electro-magnetic disturbances, and electronics in variable states of disrepair, with publications through Editions Mego, Sige Records, Elevator Bath, Monorail Trespassing, The Helen Scarsdale Agency, and many others. His latest album “Insomnia” has been published in 2022 in the face of many difficulties by the Ukranian imprint Sentimental Productions.

Robert Millis is known for many things – co-founder of Climax Golden Twins, Messenger Girls Trio, Idol Ko Si, and AFCGT; filmmaker and producer for the Sublime Frequencies label; co-producer of the Victrola Favorites book and cassette series (other collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships. His most recent LP, 2020’s Related Ephemera, was on the Helen Scarsdale label and explored the textures of 78rpm and wax cylinder recordings.

NonSeq: Danny Godinez + Sid Hauser

Danny Godinez performs both solo with guitar and voice, as well as in various bands in Seattle, including The New Triumph & Michael Shrieve’s Spellbinder. He is known for his looping and use of effects in his solo acoustic performances, as well as his fiery electric guitar playing.

In this body of work Godinez examines some key experiences and realizations that have influenced his life thus far. Recognizing that we are all born into a set of experiences and undergo transitions that shape and transform who we are, what we are, and what we can possibly become, Danny will be presenting music that reflects his own self-realizations and transformation, aiming to instill hope and to inspire others through his epiphanies from self-reflection. Joining him are Ron Weinstein (piano), Chava Mirel (voice), Sidney Houser (electric bass/flute), and Petro Kyrsa (violin).

Sidney Hauser (She/Her) is a member of the next generation of Northwest Jazz musicians. She graduated from South Whidbey High School and the University of Washington, where she received a BA in Painting and a minor in Music Performance. Sidney has studied with saxophonist Neil Welch, Mark Taylor, and Michael Brockman, and has played alongside musicians such as Joshua Redman, Maria Schneider, Christian McBride, and more recently Tia Fuller. In addition to her position as second alto with the Seattle Repertory Jazz Orchestra, Sidney has also played with the Seattle Women’s Jazz Orchestra and the Jazz Police among other ensembles, including leading her own fusion group, SmackTalk. She has been twice nominated through Earshot for the emerging artist award, and continues to write music for her own personal projects.

The theme of her set tonight will be “New Growth – a reflection on transitions, farewells and making way for the new: In a world that’s constantly shifting, the one thing we can truly rely on is change. But what about the in-between? The grey areas? The crossroads? Join me as I explore the uncanny feeling of being in two places at once, and the tension that comes from exchanging the old for the new.”

Curated by Marina Albero for Nonsequitur’s NonSeq series.

COVID-19 PROTOCOLS: For the safety of performers and audience, all audience members will be required to wear masks covering nose and mouth. Windows will be open.

Derek Monypeny + what w/ Robert Millis

Born in the Arizona desert, a veteran of multiple explorations into the Sahara desert via Morocco and Western Sahara, and now a resident of the Mojave, Derek Monypeny sees his musical mission as adding to and expanding on what he calls the “desert continuum” – the psychedelic sirocco swirl of desert-based stringed instruments played with utter abandon by musicians the world over. He takes great inspiration from desert guitarists whose playing so perfectly reflects their surroundings in its gnarled beauty and all-pervasive individualism: Richard Bishop, Zoot Horn Rollo, Curt Kirkwood, Jesus Acedo, Bob Log III, and Howe Gelb to name a few. In his travels in North Africa, Derek discovered that same spirit in Saharan guitar playing, in artists such as Seddoum ould Eide, Hammadi ould Nana, and Luleide ould Dendenni.

Derek uses a variety of instruments to achieve these ends. In addition to guitar, he has recorded an album of solo oud recordings (Don’t Bring Me Down, Bruce) and is currently performing and recording using the 15-string electric shahi baaja (Indian electric banjo). Tonight he’ll perform a 40-50 minute quasi-ambient set with electric guitar and shahi baaja, utilizing long-duration tones to interact directly with the resonant properties of the space.

Derek is a former member of the bands Oaxacan (Oakland, CA), ALTO! (Portland, OR), and Sir Richard Bishop’s Freak Of Araby Ensemble. In addition to his solo work, he has an ongoing duo project with Bryan Hillebrandt, OAE (Oakland Afternoon Ensemble). He has performed and toured with artists such as Bill Orcutt, Jozef van Wissem, Eva Aguila/Kevin Shields, Arrington de Dionyso, and many others.

what is the duo project of drummer Dave Abramson and pedal steel guitarist Alan Jones that can be expanded with other players. Their latest release is out on Eiderdown Records. For this show they are joined by guitarist Robert Millis of Climax Golden Twins fame.

Elevator Bath presents…

Austin’s Elevator Bath label presents an evening of experimental sound art: four solo performances featuring ambient drone, field recordings, modular synthesis, and audio collage, in and outside the traditions of musique concrète.

Adam Pacione is a composer from Fort Worth, TX. Pacione’s music contains elements of ambient textures, drones, field recordings, processed radio transmissions and modular synthesis. His works have been released by Elevator Bath, Infraction Records, Kesh, Bee Eater Recordings, and 23five, among other labels. Stand out releases include Sisyphus, Dobranoc, and Any Way, Shape, or Form (Elevator Bath), as well as From Stills to Motion (Infraction), With Wakened Eyes and Mâché (self released). He has provided remixes for the likes of Simon Scott (Slowdive) and Machinefabriek (Rutger Zuydervelt).

Alan Jones is a Dallas-born, Washington-based musician, composer, and sound designer. In improvised live performance he emphasizes the use of guitar, lap steel, and pedal steel. Jones is the architect behind Laminal Audio, a mastering studio in Washington state that appeals to his bent for the archiving and modulation of sound. Laminal Audio’s quality control lends to his carefully curated small batch label Marginal Frequency.

Colin Sheffield was born in El Paso, TX and makes his home in Austin. His work focuses on the re-contextualization of pre-existing recordings, mostly drawing from his personal music collection. His aim is to distill the essential qualities of these works and to then utilize that essence for new compositions. The resultant music is an atmospheric soundscape, gradually shifting and unfolding, offering subtle juxtaposition and nuance. His recordings often seem to have much in common with ambient electronic music, though are equally akin to “plunderphonic” audio collage. Sheffield has released a number of solo recordings over the years, including, among others, Signatures (Invisible Birds), Slowly (Mystery Sea), and Repair Me Now (Glistening Examples). Sheffield’s new album, Don’t Ever Let Me Know will be released as a vinyl LP by the Auf Abwegen label in 2022. In 1998, Sheffield founded the Elevator Bath recording label which has continually issued experimental works from a variety of artists from the United States and abroad.

Andrew Anderson, based in Austin TX, creates sound pieces out of carefully curated field recordings, hidden samples, destroyed tape, and various instruments, both electronic and analog, with a focus on quiet repetition, drone, and patient change. After dabbling in sound for many years, he finally started self-releasing solo work, starting with his first full length in 2014, The Red Dream. In 2020, he teamed with Thor Harris (Swans, Thor & Friends, Shearwater, Angels of Light, etc.) to form the project THAA, and released Against Permanence. In 2022, his latest solo release, Vagrancies was issued by Elevator Bath.

Tongue Depressor & Austin Larkin + Jessika Kenney & Eyvind Kang

Tongue Depressor is the duo of Zach Rowden and Henry Birdsey. They write and perform music with pedal steel, double bass, bells, tapes, and fiddles, often using microtonal tunings.

Austin Larkin is a composer and violinist focusing on elements of tone within the interstices of fields, symmetries, and patterns. His performance and practice is informed by research into dimensions of vibrating bodies. His solo album Violin Liquid Phases is forthcoming through Memory of a Past Heat.

Eyvind Kang and Jessika Kenney are a duo devoted to geomusicalities and music at the border of sound, currently on tour supporting their new and upcoming recordings. Their previous albums include Cypress Dance (Ed. Mariana Calo & Francisco Queimadela), the face of the earth, Aestuarium (Ideologic Organ), Reverse Tree (Black Truffle), Seva/Fixiones (self released cassette), and At Temple Gate with Hyeon Hee Park (Weyrd Son). As a duo they have worked with poet Anne Carson and randomizer Bob Currie, the bands Sun City Girls, Sunn O))), Animal Collective, composer Annea Lockwood, and others.

Aaron Butler

To celebrate the release of two albums recorded over the pandemic – Eva-Maria Houben’s Windspiel and Alvin Lucier’s Still and Moving Lines of Silence in Families of Hyperbolas, (part II, numbers 5-8) – local experimental percussionist Aaron Michael Butler performs an evening of music that evokes environmental landscapes and explores constructive and destructive interference of waveforms. Special guest Cassie Lear will join him in a performance of Houben’s John Muir Trails 1 for flute and percussion.

COVID-19 PROTOCOLS: For the safety of all present, audience members are encouraged to wear a mask covering nose and mouth. Windows will be open.

Ramen Trio

Ramen Trio celebrates it’s second recording release with another eclectic and engaging performance of composed/improvised music.

Ramen Trio mixes composition and improvisation in various combinations while not adhering to any one style. You will hear elements of jazz, contemporary classical, folk and even rock at different times. The band plays in a unified way, but often opens into three separate threads simultaneously. This music ignores fences.

This concert celebrates the release of their second recording, Resembling, and marks what will most likely be their final performance due to drummer Jay Weaver’s upcoming move to Berlin.

Ramen Trio is James DeJoie, clarinet & bass clarinet; Doug Lilla, bass guitar; Jay Weaver, drums

COVID-19 PROTOCOLS: For the safety of all present, audience members are asked to show proof of vaccination and wear masks covering nose and mouth.

Vibe Check

Seattle marimbist and producer Erin Jorgensen is joined by inimitable musicians Rachel Nesvig (Hardanger fiddle), Leanna Keith (flute), Aaron Michael Butler (percussion & sound manipulation), Steve Peters (field recordings), and Kevin Blanquies (lights) for a one-night-only-4-hour-improvisational musical nod to Summer Solstice. Underpinned by the hypnotic undertones of a five-octave marimba and dream-inducing vocals, this evening will shift and change with the addition and subtraction of flute, strings, and percussion and the beautifully changing natural light in the magical Chapel space. Stay for the whole evening or come and go as you please. Prepare to aggressively chill and receive a literal vibrational upgrade. Audience is encouraged to bring pillows or blankets for maximum meditation.

COVID-19 PROTOCOLS: At the request of the performers, masks are required. 

NonSeq: Mangal

Mangal is an experimental ensemble conceived by mrudangam artist and composer Rajna Swaminathan, gathering artists across disciplines and locales to collaboratively improvise while pushing the boundaries of their creative process. In English, the word mangal refers to an assemblage of mangroves, which form a chaotic, non-hierarchical rhizome. In Sanskrit, mangal describes harmonious or sacred timing. This imagery of entanglement and serendipity guides a creative space of encounter, transformation, and expansion. This performance brings together a cohort of Seattle-based artists — Zahyr Lauren, Carlos Snaider, Neil Welch, and Ha-Yang Kim — and contributions from visiting artists, including Rajna Swaminathan, Anya Yermakova, and Caroline Davis.

This iteration of Mangal is presented with support from The Ocean Memory Project, a collaborative network of researchers across the sciences, arts, and humanities dedicated to exploring the intersections of Ocean and Memory, as a new field of scholarship and creative expression. In the days leading up to the performance, the artists will gather for a short creative residency at the Chapel Performance Space, interfacing with oceanographers and environmental scholars, and meditating on oceanic modes of creating and remembering through immersion, dissipation, and opacity. 

Rajna Swaminathan is an acclaimed mrudangam (South Indian percussion) artist, composer, and scholar. Described as “a vital new voice” (Pop Matters), Rajna’s artistic trajectory blossomed through a search for resonance and fluidity among musical forms and aesthetic worlds. Since 2013, she has led the New York-based ensemble RAJAS, writing expansive, boundary breaking music for herself and like-minded improvisers, spanning multiple musical approaches. As a composer, Rajna has received commissions from the LA Phil, Chamber Music America New Jazz Works, and Bang On A Can Marathon, among others. She holds a PhD in Music (Creative Practice and Critical Inquiry) from Harvard University, and degrees in Anthropology and French from the University of Maryland, College Park. She is currently an Assistant Professor of Music (Integrated Composition, Improvisation, and Technology) at UC Irvine’s Claire Trevor School of the Arts. 

Curated by Carlos Snaider for Nonsequitur’s NonSeq series.

COVID-19 PROTOCOLS: For the safety of performers and audience, all audience members will be required to show proof of vaccination and wear masks covering nose and mouth.

Seattle-Isfahan Project: 33

Naeim Rahmani, classical guitarist and Artistic Director of the Seattle-Isfahan Project, has commissioned new works by three Iranian composers living outside of Iran (Anahita Abbasi, Farziah Fallah, Parisa Sabet) and three Seattle composers (Jeff Bowen, Huck Hodge, Yigit Kolat) to draw attention to the water crisis that is happening now in Iran, particularly the drought that is affecting the Zayandeh-Roud, the river that gave birth to the city of Isfahan.

In the last decade, Iran has experienced severe drought tied to climate change. In Isfahan this has been most noticeable in the parched riverbed of the Zayandehroud river. The once flowing river cut across the landscape and carved timeless memories in people’s minds. The “Empty River of Life” ran under the historic bridges and for more than 400 years, the Se-o-se pol (Bridge of 33 Arches) made its motion and power visible. While the bridge is standing, the river is no longer running as it used to. One day it’s flowing and the next day it is literally gone. The future of the river, like the future of the country, is uncertain. This project is intended to both pay homage to the river and to raise people’s awareness about the drought and its impacts.

The project title 33 refers to the 33 arches that make up the most famous bridge across the river. As in the previous Seattle-Isfahan project, the compositions will again incorporate poetry, this time from the Iranian contemporary poet Sohrab Sepheri, whose poetry is closely tied to nature and man’s interaction with it. The ensemble includes Abbey Blackwell (bass), Jeff Bowen (guitars), Luke Fitzpatrick (violin/viola), Naeim Rahmani (guitars), Laure Struber (piano), and Neil Welch (saxophone).

Presented by Nonsequitur.

COVID-19 PROTOCOLS: For the safety of all present, audience members are required to wear a mask covering nose and mouth.