Samantha Boshnack: “Uncomfortable Subjects” CANCELED

Unfortunately this event has been postponed, future date TBA. Please stay tuned…

Kaley Lane Eaton: cedar / the end of the line

Composer, pianist and vocalist Kaley Lane Eaton celebrates the release of her new debut solo album cedar, featuring Seattle luminaries Tom Baker (guitar), Heather Bentley (viola), Leanna Keith (flutes) and Ha-Yang Kim (cello). She also premieres a new work, the end of the line, featuring Chris Icasiano on drum set and vocals, Kayce Guthmiller on viola and vocals, Sarah Pizzichemi on violin, and Eaton on lead vocals, piano, and electronics.

cedar is an electro-chamber pop song cycle that is equal parts origin story and manifesto. Written in the dead of lockdown and the west coast wildfire crisis of 2020, cedar ties the loss of mother, to the loss of societal intuition, to the loss of beloved landscape that we collectively face. Eaton’s orientation in both art song and ambient IDM, intertwined with the virtuosity of Seattle’s best neo-jazz and classical improvisers, captures a distinct Pacific Northwestern aesthetic: tuneful beauty, solitude, and destructive noise.

the end of the line is Eaton’s newest song cycle: “Forged in my mind over many months during and after my reading of Richard Powers’ The Overstory, the end of the line articulates the experience of passing time through the lens of various important trees in my life: the native forest my own age grown from seed in my childhood front yard, the beloved hemolocks, sequoias, redwoods, and Douglas firs I’ve come to know and love on my daily commute, the Jeffrey pines of California, my kitchen table made of Western red cedar, the mystical bristlecone pines of the Great Basin. As the stories of these trees intertwine with my own human narrative, I can hear the elusiveness of time. We cannot grasp it, it moves without us, it leaves us behind, it ages us, it precipitates loss and birth. It will never end.”

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.

Celebrating Jim Knapp

Jim Knapp (July 28, 1939 – November 10, 2021), composed music for big band and chamber ensemble. This evening will celebrate Jim’s life and music through a short sample of chamber ensemble and big band music from the Jim Knapp Orchestra, led by Jay Thomas, and Scrape, led by Heather Bentley.

Doors open at 7 PM. Please note that our maximum occupancy tonight is 85 people, so be sure to use the ticket link to reserve a place.

COVID-19 PROTOCOLS: Masks covering nose and mouth are optional but strongly preferred.

Lightbath/Giselle Gabrielle Garcia/Planar Drift

Basement State presents an immersive evening of light and sound featuring Lightbath, Gisselle Gabrielle Garcia, and Planar Drift. Visuals will be provided by Former and set break music by Herr Shield.

Composer and improviser Bryan Noll explores time and space with his musical project, Lightbath. Taking inspiration from Brian Eno’s view of composers as gardeners, Noll plants musical seeds with his synthesizers and, through improvisation, guides their development and growth into pieces that unfold in the present moment.

Giselle Gabrielle Garcia is a performing artist living in the PNW. She is known for mixing classical composition structures and harmonies with electronic music and pop, using synthesizers including the Juno-60, piano, and Buchla music easel. Her background as a pianist, dancer, and scientist lend themselves to the strong technicality as well as musicality and emotional presence of her work. She lives in Olympia, WA, where she works as an electronic musician, circus artist, and coach.

Planar Drift is the musical project of Seattle’s Duffy Kingsolver. He forms sonic textures in multiple genres using analog and digital synthesis. He is a founding member of Basement State. 

Basement State is a Seattle-based live electronic music collective that curates in-person and online events where resident artists and guests perform LIVE original music across an array of electronic genres. Their first compilation release, Vol. I, was released on cassette and in digital form in August 2021.

VACCINATIONS/ MASK

To help ensure the health and safety of those in attendance and vulnerable populations in our community, we will be requiring proof of vaccination and a mask for entry. Additionally, we will be limiting attendance to help provide space for social distancing. Because of this, we HIGHLY recommend purchasing a presale ticket to guarantee admission.

Proof of vaccination can be a vaccination card or photo of vaccination card. A face mask covering your nose and mouth must be worn at all times in the Good Shepherd Center. You will be asked to leave without refund if these rules are not followed.

SAFER SPACE

We do not tolerate actions or displays of sexism, bigotry, racism, transphobia, homophobia, misogyny, and ableism. Any form of harassment will involve immediate removal from the show and a lifetime ban from future Basement State events.

PHONES /TALKING

Out of respect for performers and other attendees, please silence and avoid using phones during the performance. Please minimize all conversations with other guests during performances.

The Silences Between, Night 2

A two-night exploration of sound, space, and silence.

The Silences Between is a mini-festival featuring a variety of music for voice, guitar, cello, and electronics, loosely based on themes of sound, space, and silence.

The first evening (April 28), a singer renowned for her adventurous vocal performances will perform her solo vocal show Sor Juana and the Silences, which uses text from the 17th-century Mexican feminist poet and nun Sor Juana Inès de la Cruz. 

For the second performance (April 29), the duo Sbot N Wo will be joined by celebrated cellist Lori Goldston and guitarist Mark Hilliard Wilson. The group will premiere new work as well as improvising together.

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

The Silences Between, Night 1

A two-night exploration of sound, space, and silence.

The Silences Between is a mini-festival featuring a variety of music for voice, guitar, cello, and electronics, loosely based on themes of sound, space, and silence.

The first evening (April 28), a singer renowned for her adventurous vocal performances will perform her solo vocal show Sor Juana and the Silences, which uses text from the 17th-century Mexican feminist poet and nun Sor Juana Inès de la Cruz. 

For the second performance (April 29), the duo Sbot N Wo will be joined by celebrated cellist Lori Goldston and guitarist Mark Hilliard Wilson. The group will premiere new work as well as improvising together.

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

Blevin Blectum + Cruel Diagonals + Dialing In

An evening of intimate experimental electronics.

Blevin Blectum (born Bevin Kelley) has been called a “celebrated icon of deviant and cerebral electronic music”. Often observed in the wild, far and wide, alongside fellow laptop/hokeypoker/snaustamer Kristin Erickson (aka Kevin Blechdom) in psychedelic combination as Blectum from Blechdom. She currently resides in Seattle, and has recently released Deep Bone (Blectum from Blechdom, on the Deathbomb Arc label), Anti-Ark (SAGAN aka Blevin + Lesser + Wobbly, on Broken Clover), and All Day I Dream About Singularity (as solo-alter-ego Synopterus on the Parisian label Darling Dada).

Since 2016, Los Angeles-based multimedia artist, Cruel Diagonals (aka Megan Mitchell), has been creating critically acclaimed experimental electronic music and intriguing visuals. Harnessing her background and training as a classical and jazz vocalist, she possesses an instinctual adventurousness and an acute sense of the most chilling and moving atmospheres and timbres, favoring fluidity of tones over the grid-like modes of much electronic music. Marked by a grave ethereality, releases such as Pulse Of Indignation (2018), Monolithic Nuance (2018), and A Dormant Vigor (2021) feature beautiful singing amid discordant, sinister electronics.

Dialing In is comprised of one Reita Piecuch, one turntable, some tape loops, and a whole lot of etcetera. She started recording in 2002 with several releases over the years on New Zealand labels such as Celebrate Psi Phenomenon and Pseudo Arcana and with various collaborators such as Herb Diamante and Campbell Kneale. She still records on the same Tascam cassette four track that provides its own analog distortion by way of dust and grime. Dialing In does not play that many shows, and doesn’t play any piece more than one time, so you’ll never hear the same thing twice. She is going to attempt to play this show without excessive volume.

COVID-19 PROTOCOLS: All audience members will be required to wear a mask covering nose and mouth. Windows will be open, weather permitting.

Caroline Kraabel

Originally from Seattle, Caroline Kraabel is a London-based improviser, saxophonist, artist and composer. She conducts and plays with the London Improvisers Orchestra (LIO). Sometimes she improvises solo while walking in London and elsewhere (broadcast over several years on Resonance
104.4 FM as Taking a Life for a Walk and Going Outside). She releases ephemeral solo pieces as part of Lonely Impulse Collective and works with many other excellent improvisers, including Robert Wyatt, Maggie Nicols, John Edwards, Louis Moholo, Cleveland Watkiss, Hyelim Kim, Pat Thomas, Susan Alcorn, Sarah Washington, and Charlotte Hug.

During 2020-21 Kraabel performed live (off- and on-line) and while walking through London; made and shared many recordings of duo and solo live improvisation; made a piece of performance art for APT Gallery; created a number of socially distanced large-group pieces for the LIO; was artist-in-residence at UNCOOL in Poschiavo, Switzerland; and worked on her 40-minute music/film piece about lockdown London (London 26 and 28 March 2020: imitation: inversion), which received its avant-première at London’s Café Oto on 25 February 2021, is available on the Jazzed app, and won the 2021 Ivor Award for Sound Art Composer.

Tonight she’ll perform a solo set, followed by a set of conducted improvisation with an ensemble of local improvisers: Abbey Blackwell, bass; Haley Freedlund, trombone; Kayce Guthmiller, viola; Leanna Keith, flutes; Susie Kozawa, objects/homemades; Carol Levin, harp; Ebony Miranda, cello; Kate Olson, soprano sax.

Presented by Nonsequitur. (Photo: Giuseppe Tamponi)

Caroline Kraabel will also be performing at Cafe Racer for the Racer Sessions on April 10.

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.




NonSeq: Dakota Camacho – MALI’E’

Láthalom Gi Matan Guma’! Welcome to the Face of the House 

MALI’E’ is a Matao-CHamoru performance research project re(k)newing the spirit of embodied musicality as oral history and prophecy. Three locally-based Matao-CHamoru multi-disciplinary artists – roldy aguero ablao, Lourdez Puti’on Velasco, and Dakota Camacho – explore new expressions of the ancestral practice of exchanging memorized and improvisatory verses called MALI’E’ and kantan chamorrita, sharing an insight into the MALI’E’ creative process through a multi-disciplinary ritual activation, improvisatory verses, chant compositions, and sonic choreographies. 

The artist-researchers are blessed to be working working with a steward of fino’ håya, Jeremy Cepeda, who has provided his original chant compositions as guiding material for sonic choreographies that tell the artists’ family stories. Cepeda has spent years under guidance by his mañaina (elders) in his family and wider community, while also conducting his own personal research into the language. He has composed a series of original chants that contain teachings from his elders and the findings of his research.

Dakota Camacho is a multi-disciplinary artist / researcher working in spaces of indigenous life ways, performance, musical composition, community engagement, and education. Camacho holds a Masters of Arts in Performance Studies from Tisch School of the Arts at New York University, and graduated from the University of Wisconsin-Madison with a Bachelor of Arts in Gender & Women’s Studies as a First Wave Urban Arts and Hip Hop Scholar. Camacho is a chanter, adjunct instructor, and core researcher for I Fanlalai’an Oral History Project based at the University of Guåhan. 

​Camacho co-founded I Moving Lab, an inter-national, inter-cultural, inter-tribal, and inter-disciplinary arts collective that creates community and self-funded arts initiatives to engage and bring together rural & urban communities, universities, museums, & performing arts institutions. Camacho has worked at festivals, universities, and community organizations as a public speaker, facilitator, composer and performer across Turtle Island (USA), Aotearoa (New Zealand), Australia, Sweden, and South Africa.

Curated by Leanna Keith 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.

Marcin Pietruszewski: Workshop + Performance w/ RM Francis

Workshop + Concert: $15 (Register for workshop)
Concert only: $5 – $15 sliding scale

WORKSHOP (6 PM): Compositional Work with the New Pulsar Generator (nuPG)

The focus of the workshop is composition with a digital audio technique called pulsar synthesis and its instrumental incarnation the New Pulsar Generator (nuPG). The nuPG program is a standalone (Mac OS) application implemented in SuperCollider 3 programming language that incorporates a graphic as well text-based (live-coding) control over synthesis parameters. After introducing a brief historical and technical context of the technique of pulsar synthesis, the central theme of the workshop will be the compositional application of the New Pulsar Generator and its various extensions. We will look at the structure and function of essential elements of the program (pulsars, envelopes and sequences) and their combination, as well as extended compositional methods (e.g., Xenakian sieves, parameter modulation, LPC and Wavelet based cross-synthesis with other sound sources).  

The participants will get a copy of the software with the documentation to install on their machines (Mac OS 12.14 or earlier only).

CONCERT (8:30 PM sharp): A solo set by Marcin Pietruszewski featuring work using the New Pulsar Generator application, with a short opening set by RM Francis who will present two sections from AToGRNN Prism, a multichannel work featuring 45 MIR-based machine-listening agents voicing divergent interpretations of a single sonic event..

Marcin Pietruszewski (born 1984) is a composer and researcher engaged in sound synthesis and composition with computers, exploring specific formal developments in the tradition of electroacoustic music and contemporary sound art, as well as extra-musical domains of auditory design, computational linguistics and psychoacoustics. He works across performance, multimedia installation and radio productions probing the dynamics between formalism of synthetic sound and its material realisation. He has collaborated extensively with musicians and composers — e.g.,  Jan St. Werner, Florian Hecker, Marcus Schmickler, Tristan Clutterbuck, Jules Rawlinson and Lauren Sarah Hayes — as well as graphic design company NORM, philosopher Chris Schambaugh, choreographer/dancer Agnes Cebere, and the Laboria Cubonics Collective.

RM Francis is an artist working with computer-generated sound in Seattle. His work has been released on ETAT, Conditional, and CO-DEPENDENT, among other labels; his most recent release, Every Single Person Has Some Muscle, for six synthetic voices, was released on FLEA. He is also a member of the collective/label $ pwgen 20.