To have, or last, for some duration: 

Clove features a close group of players and improvisers attending to the interplay of emptiness and form. Clove draws on their flowers and roots in the punk, metal, noise and diy scenes, for syzygies of song, sound, and silence. 

From Upstate New York via Vermont, Meredith Davey (cello, voice, electronics) crafted songs and played bass in the indie-rock group Supernowhere. Their solo work features hypnotic grooves, liquid cello harmonies and poetic lyrics.

Hanna Broback (guitar, voice synth) leads the baroque and dark folk group Masha. An enduring presence in Northwest music, they have played numerous roles in groups such as Hanna and the Goose, 129,600 and Ancient Forest. 

Ian Gwin plays synth with Hanna in the experimental drone duo current (formerly Glum Reaper). He leads the group Ensemble Unnamable and has performed with Joey Largent, Stephen Fandrich, and others.

Interdimensional Immersion for Torben Ulrich

Cellist Lori Goldston and drummer Jaison Scott improvise together, moving freely between ideas that spring from jazz, metal, chamber music and a long list of folk and popular idioms. They first met in 2005, playing in a band with their remarkable late friend Torben Ulrich. This concert is dedicated to his memory.

Jaison Scott has played with several rock and metal bands including SINDIOS, and Severhead, and in experimental improvised music groups including Instead Of.

Lori Goldston plays written and spontaneous work on cello, and works as a composer, producer, teacher, curator, and prolific, widely varied collaborator. Classically trained and rigorously de-trained, her voice as a cellist is deeply textured and original, investigating connections between far-flung modes of thought. Her long, varied history as a prolific collaborator and connector includes work with bands, orchestras, composers, film makers and choreographers: Earth, Nirvana, the BBC Scottish Symphony, Black Belt Eagle Scout, Trimpin, somesurprises, Helms Alee, Mirah, David Byrne, and many, many more.

Quarteto Nuevo merges Western classical, Eastern European folk, Latin and jazz with an organic feel that packs a wallop! The ensemble’s razor-sharp precision is enhanced by jazzy interludes, lightly rumbling percussion motifs and mesmerizing rhythms. They effectively meld the music of ancient worlds and faraway places with a contemporary groove that enchants audiences of all ages.

Winners of two South Arts Jazz Roads Touring Grants and a South Arts Jazz Roads Creative Residency Grant, Quarteto’s master musicians create emotionally charged soundscapes with instruments and sensibilities that represent very different world cultures. Their unique instrumentation – soprano saxophone (Damon Zick), cello (Jacob Szekely), guitar (Kenton Youngstrom) and percussion (Felipe Fraga) – richly colors their wide-ranging repertoire, from Chick Corea’s “Children’s Song No. 6” to Mark O’Connor’s “Appalachia Waltz” to Traditional Macedonian “Gadjarsko” and original works “Hector, Desmond and Titus”, “Rain Song” and “Dizer O Que”. This performance will feature works from their newest large-scale composition Jazz Road Suite: Western States.

Originally from Buenos Aires, Argentina, guitarist/composer Alex Anthony Faide has a decades-long international reputation for being the secret weapon in rock recordings, arrangements, and stage productions in Europe and Latin America. Now based in Seattle, Faide released his long-awaited solo record, Particles of the Infinite, a display of guitar pyrotechnics in nine parts, on Trey Gunn’s label 7d Media in 2022.

Faide is the co-founder of cherished 3rd wave surf rock band, Los Twang! Marvels, in addition to Los Gauchos Alemanes/Electric Gauchos. He has also worked with artists including Sylvia Massy, Money Mark, Marian Gold, Erik Macholl, Gary Lucas, Milo Froideval, Daniel Szlotnik, Bill Rieflin, Trey Gunn, Crystal Beth (Fleenor), Markus Reuter, Namgar, Willie Campins, TROOT, Kathy Moore, Tiny Orchestral Moments, Wayne Horvitz, Amy Denio, Geoff Harper, Los Primitivos, and Lutz Petersen, among countless others. Faide spent 2017-19 touring, songwriting, and arranging, with Mexican hard rock heroes Molotov on their MTV Unplugged Show El Desconecte and as a sideman for Molotov front man Tito Fuentes’ acclaimed solo record El Ocaso. Since 2021 he has been working on a new multimedia project with legendary German producer/songwriter Uwe Fahrenkrog-Petersen, founder and main composer for the band Nena.

About tonight’s concert, he says: “It is a privilege to have a time and a space, imbued with the sacred opportunity to connect with a sacred force we can only summon together, in the here and now. In today’s world, it is bold to approach Music outside of the ravenous cravings of the “music industry”, to invest yourself wholly in the power of the ephemeral. But I wish to do so tonight. This will present itself as an evening of continuous sound, of and through solo electric guitar, but it is a container for something else entirely. There won’t be any acrobatics nor stage theatrics, or any visual enhancement. Probably a good idea to just sit back and enjoy the ride. Still, if you feel compelled to dance, do! if you feel compelled to nap, please do! Snoring is entirely optional and at your own risk. Welcome and thanks for taking the leap!”

Curated by Beth Fleenor for Nonsequitur’s NonSeq series.

(photo: Karen Moskowitz)

Presented by Roman Numeral. Doors at 7:45 pm, concert at 8. This concert will be recorded and filmed live. Please be aware of equipment and keep noise levels to a minimum. Thank you.

An acoustic & multi-media concert celebrating the release of the new album Of Blood and Memory by To End It All, featuring: Joy Von Spain – voice, piano; Rachel LeBlanc – voice; Susana DuMett – voice; Jackie An – violin; Lori Goldston – cello; Masaaki Masao – sound collage; Vanessa Skantze, Kaoru Okumura, Douglas Ridings – Butoh dance + video projections; w/ opening solo percussion by Greg Campbell

Here we illuminate sorrow, grief, loss, and how losing one integral to our sense of place in the world expels us from the houses of confidence, confuses the mind, propels our hearts through places of knives, anger, nostalgia, fondness, flagellation, acute pain, smoldering anxiety, sunken affect, tension, blankness, bliss, relief, in no predictable or necessary order.

Rituals and traditions cannot offer all that’s needed as time races on. How can we continue once we’ve lost the physical presence of one so cherished? We meet these moments sometimes with fullness, or in retreat, in terror or in calm acceptance, each day both a whisper and a thousand hours, each night both meditation and curse. These songs are meant as temples of mourning, of fire, of blood, of memories, built upon the loss of mothers, of grandmothers, of every past and future beloved.

A wide-ranging evening of experimental and improvised music in a variety of settings: compositions for computer by Carl Stone; talking machines/tapes/percussion/lap steel from the improvisational trio of Robert Millis, Dave Abramson and AF Jones; and spectral acoustic drone by Portland’s Broken Crow.

A pioneer of live computer music, Carl Stone has been hailed by the Village Voice as “the king of sampling” and “one of the best composers living in (the USA) today.” He studied composition at CalArts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. Recordings of his music have been released on New Albion, CBS Sony, Toshiba-EMI, EAM Discs, Wizard Records, Trigram, t:me recordings, New Tone/Robi Droli, Unseen Worlds and various other labels. A winner of numerous awards for his compositions, grants from the National Endowment for the Arts, the Rockefeller Foundation and the Foundation for Performance Arts he has toured all over the world and is based in Japan.

The trio of Millis, Abramson and Jones have toured and worked together in several projects, last year releasing Live at the Good Shepherd Chapel on the UK label Sound Holes. Robert Millis is a sound artist and guitar player, Fulbright Scholar, and Guggenheim recipient known for his work with the Sublime Frequencies record label and Climax Golden Twins, and his explorations of early recording through projects like Indian Talking Machine and Victrola Favorites. AF Jones is a composer, and sound designer, improvising with lap steel, guitar and electronics. Recent sound design work includes the acclaimed What Is Man and What Is Guitar?: Keith Rowe. He runs the Laminal mastering studio and curates the Marginal Frequency performance series and record label. Dave Abramson is a drummer and percussionist who has recorded, performed and/or toured with Eyvind Kang, Secret Chiefs 3, Wayne Horvitz, Climax Golden Twins, Lori Goldston, Wally Shoup, Greg Kelley, Boredoms, among many others. He is known particularly for his work with Diminished Men.

Broken Crow is the trio of Caspar Sonnet (lap steel, pump organ), Joel Nelson (crank synth), and Sam Klapper (violin). Drawing from a contemporary take on acoustic folk/drone music, the trio settles into arched landscapes of spectral sound, using extended/prepared techniques and altered tunings to blend interdependent vestiges of vaguely familiar timbre, texture, and noise.

Percussionist Bonnie Whiting (Seattle), pianist Lisa Cay Miller (Vancouver B.C.), and clarinetist James Falzone (Seattle), celebrate the release of Six Artifacts, a new recording on Falzone’s Allos Documents label. Recorded by Steve Peters at the Chapel in Seattle, Six Artifacts documents a series of raw, unedited improvisations between 3 distinct instrumentalists. 

Lisa Cay Miller (she/her) lives and makes music on the unceded traditional territories of the Musqueam, Squamish and Tsleil-Waututh nations. She has performed with many great musicians all over the world, including Ken Vandermark, Nicole Mitchell, Butch Morris, Ingrid Laubrock, John Dikeman, Ig Henneman, Michael Moore, Wilbert de Joode, Jasper Stadhouders, Vicky Mettler, Kenton Loewen, Dylan van der Schyff, Peggy Lee, Joshua Zubot, NOW Orchestra, NOW Ensemble and many more (Vancouver). Miller is the Artistic Director of the New Orchestra Workshop Society (NOW), proudly presenting Vancouver improvisers in regular concerts and workshops. She has released recordings on the greenideas (Sleep Furiously, Q, waterwall) and Trytone (682/281) record labels. Miller’s compositions have been premiered internationally by mmm…(Tokyo), L’Ensemble SuperMusique, le GGRIL, Quatuor Bozzini (Montreal), Vancouver New Music, Standing Wave, Turning Point Ensemble, Rachel Iwaasa, and Hard Rubber Orchestra, among others.

Bonnie Whiting (she/her) performs, improvises, and composes new music for percussion. Exploring intersections of storytelling and experimental music, her work is often cross-disciplinary, integrating text, music, movement, and technology. Her debut album, featuring a solo-simultaneous realization of John Cage’s “45′ for a speaker” and “27’10.554″ for a percussionist” was released by Mode Records in 2017, and her second album, Perishable Structures, launched on the New Focus Recordings label in 2020. Whiting is a core member of the Seattle Modern Orchestra and she has performed with the country’s leading new music groups: Ensemble Dal Niente, International Contemporary Ensemble, Talea Ensemble, and red fish blue fish percussion group. Bonnie uses Innovative Percussion sticks and mallets, and she is Chair of Percussion Studies and the Ruth Sutton Waters Associate Professor of Music at the University of Washington. 

Clarinetist, penny whistle player, composer, and improviser James Falzone is an acclaimed member of the international jazz and creative music scenes, a veteran contemporary music lecturer and clinician, and an award-winning composer who has been commissioned by chamber ensembles, dance companies, choirs, and symphony orchestras around the globe. He leads his own ensembles Allos Musica, Elaía Ensemble, Renga Ensemble, and the duo Wayfaring with Chicago bassist/vocalist Katie Ernst, and has released a series of critically acclaimed recordings on Allos Documents, the label he founded in 2000. James performs throughout North America and Europe, appears regularly on Downbeat  magazine’s Critics’ and Readers’ Polls, and was nominated as the Clarinetist of the Year by the Jazz Journalist Association. He has been profiled in the New York Times, The Chicago Tribune, New Music Box, and Point of Departure, among many other publications. Also a respected educator and scholar, James is the Dean of Cornish College of the Arts in Seattle, Washington. He is a Backun clarinet artist and plays penny whistles made by Chris Abell.

Lori Goldston and Aaron Michael Butler present Sarah Hennies’ concert-length work The Reinvention of Romance.

The Reinvention of Romance “for cello and percussion comprises some 90 minutes of spare, economical gestures, played not quite in sync… [resulting in] an extended sequence of simple figures arranged in succinct packets, each repeated at length until a timer prompts moving on to the next… Weaving together the kinds of fragmentary figurations with which Morton Feldman might have evoked twirling mobiles or intricate tapestries, Ms. Hennies instead evokes the slightly akimbo biorhythms of lives intimately conjoined.” – Steve Smith (The New York Times)

Sarah Hennies (b. 1979, Louisville, KY) is a composer based in Upstate NY whose work is concerned with a variety of musical, sociopolitical, and psychological issues including queer & trans identity, psychoacoustics, and the social and neurological conditions underlying creative thought. 

Lori Goldston and Aaron Michael Butler are composer/performer/improvisers based in Seattle. 

Audience members are invited to bring yoga mats or blankets to settle into this immersive sonic landscape, or to explore and navigate the resonant pockets of the wonderfully reverberant chapel space throughout this 90’ performance. 

Gregory Allison creates with a single violin a sound that travels across great landscapes. He has toured the world with violin in hand and is endlessly inspired by the instrument’s journey around the globe, especially it’s use in South Indian Classical music. His live performance blends the Indian Classical melodic improvisation with his classical sensibility as a film composer, offering the listener a sonic journey through time and space. He will performing his 2021 debut album Portal in its entirety, along with new compositions for amplified violin and string quartet.

Slow Meadow, lead by Houston-based multi-instrumentalist Matt Kidd, provides ambient melodies that serve as the perfect soundtrack for moments of reflection and mindfulness in today’s fast-paced world. With a foundation of piano, string orchestration, and an ever-evolving electronic palette, Slow Meadow has traversed the borders of neoclassical and minimalist electronics and delivers a deeply personal and transportive experience that speaks directly to the ebbs and flows and mundanity and marvels of life. With sublime patience, understated elegance, and surreal atmosphere, Slow Meadow savors the present, remembers the past, and imagines what could be.

Eyvind Kang and Jessika Kenney are a duo interested in geomusicalities. Their albums include Azure (Ideologic Organ 2023), Cypress Dance (Ed. Mariana Calo & Francisco Queimadela), the face of the earth, Aestuarium (2012, 2011 Ideologic Organ/Endless), Reverse Tree (Black Truffle), Seva/Fixiones (self-released cassette). As a duo they have worked with poet Anne Carson and randomizer Bob Currie, and the bands Sun City Girls, Sunn O))), and Animal Collective. Together they composed Concealed Unity and Siheung Tablatures for orchestra, choir, and soloists for the Tectonics festivals in Reykjavik, Athens and Glasgow. Their most recent collaboration was the installation Spokane River Sound Action, shown at the Gonzaga University Urban Arts Center (GUAAC) in 2022.

Kenney was the singer for punk bands Cause and Ex Nihilo, and later for ASVA. She has recorded the music of Alvin Lucier and Jarrad Powell, and has collaborated with Niloufar Shiri, Lori Goldston, Holland Andrews, Trimpin, Simone Forti, and Mulati Suryodarmo. Her compositions include the solo album Atria (Sige), and vocal music for the film Midsommar (dir. Ari Aster). She has made several sound and video installations including Anchor Zero, filling five rooms at the Frye Art Museum in Seattle (2015). Kang is a violist and composer who has released many albums, including Sonic Gnostic (2020, Aspen Edities) and Ajaeng Ajaeng (2020, Ideologic Organ). He has worked with a wide range of musicians including Bill Frisell, Laurie Anderson, Skuli Sverrison, Hildur Guðnadóttir, and many others. He is a disciple of spiritual jazz violinist Michael White, and a lifelong student of North Indian “classical” music with Padma Bhushan Dr. N Rajam. Since 2020 he has focused on the viola d’amore.

Faith Coloccia is an artist and composer based in Vashon, WA. 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, Philip Jeck, Aaron Turner, Circle, and Eyvind Kang. Her work has been released on SIGE Records, Karlrecords, Room40 and Touch. Tonight Faith will present a piano and vocal song that has been developed over a three-year period. The composition is based on isolated time fragments of field recordings, concentrating on the strange emotional clarity that comes with sleep deprivation and constant thought interruption.

Casey Adams is a Seattle-based drummer, builder and creator of electro-acoustic noise. In his work and research he is interested in the de/construction of sound and space, and the exploration of the ambience that exists between. As a performer, Casey attempts to fuse disparate and peripheral sounds while exploring movement, tension, intensity and the materiality of auditory experience; pursuant of a moment that never arrives. They will be presenting work for solo percussion.

Curated by Kole Galbraith for Nonsequitur‘s NonSeq series.