Carrie DeCunzo Mirande is a musician and multi-disciplinary artist who works in performance, video, installation, theater, and sound. She started making computer music in 2014 and over the last decade has released on Discreet Music, Hold Tapes, No Rent Records, and her own imprint, KSX Solutions. She received her MFA in Electronic Music and Recording Media from Mills College. Carrie will share music from her recent LP, My Shadow, released early this year on Discreet Music (Sweden). My Shadow was inspired by Carrie’s failed attempt to set the Book of Luke to music and deals with the beauty and frustration of imperfect expression. She will also debut music from Infinite Bliss, her forthcoming record of intimate songs and abstract electronics created over the past six years. 

Lebanese-American artist Nour Mobarak (b. 1985, Cairo, Egypt) lives and works between Bainbridge Island and Athens, Greece. Mobarak excavates violence and desire in organic and societal bodies – the compulsions, and glitches in a person or nation state. Her body and body of work acts, in voice, sculpture, sound, performance, writing and video, as one hybrid part under current geopolitical conditions. Her works have been shown at  the Museum of Modern Art, NY (2024-2025); Castello di Rivoli, Turin (2024-2025); Miguel Abreu Gallery, NY (2025, 2021, 2019); Sylvia Kouvali, London and Piraeus, (2023, 2017); MIT List Visual Arts Center, Cambridge(2022); Schinkel Pavillon, Berlin (2023). Mobarak’s work is currently included in both the 2026 Whitney Biennial, New York, and In Interludes and Transitions: the 2026 Diriyah Contemporary Art Biennale in Saudia Arabia. She has performed at Western Front, Vancouver; the Hammer Museum, LA; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, SD; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe Oto’s TakuRoku (London), and Ultra Eczema (Antwerp), and is included in the Whitney Museum Library’s Special Collections.

Curated by RM Francis for Nonsequitur’s NonSeq series.

A one-night-only live recording for The Westerlies’ Songbook EP series. Night 2 of Westerlies Fest 2026 features a live recording session at the Chapel, featuring brand new compositions from the group.

The Westerlies, “an arty quartet…mixing ideas from jazz, new classical, and Appalachian folk” (The New York Times), hold a singular space in modern music. From Carnegie Hall to Coachella, the GRAMMY-nominated quartet has upended presumptions of the brass tradition to create music that is “folk-like and composerly, lovely and intellectually rigorous” (NPR Music).

Comprising Riley Mulherkar and Chloe Rowlands on trumpet and Andy Clausen and Addison Maye-Saxon on trombone, the ensemble has relentlessly composed, arranged, adapted, recorded, and toured over the past fifteen years with the precision of a string quartet, the audacity of a rock band, and the charm of a family sing-along. Across ten critically acclaimed albums, The Westerlies have earned “a unique reputation for exploring the emotional textures of American music” (DownBeat), championing living composers and collaborators including Caroline Shaw, Nico Muhly, Conrad Tao, Bill Frisell, Wayne Horvitz, and Robin Holcomb.

(Photo: Kevin Condon)

Join The Sound Ensemble as they present beautiful recently composed works to celebrate ten incredible years of music making! Returning to where we started, the Chapel, we will perform a favorite oldie from our previous programs, a new composition for our Local Composer Fanfare Competition and a beautiful song cycle honoring the transformative history of contemporary music. You won’t want to miss out on this incredible performance and a chance to celebrate our decade of making music together.

Program:

A Wisdom Seldom Seen (6’) Sarah Bassingthwaighte
Life Must Go On (4’) Eldar Hudiyev
Moments Colorés (18’) Faye Chiao

       Intermission

Chamber Symphony (20’) Daron Hagen

Presented by Modular Seattle.

Light Time Delay (Théa-Martine Gauthier) uses field recordings, granular synthesis, bespoke software, hardware DSP engines, sound design, data sonification, and poetry to create long-form ambient performances. Her works form a basis of energy exchange and are designed to evoke a feeling of intensity, movement and space. This original performance will feature a synthesizer modeled on a computational physics simulation of a black hole, sonification of Voyager One’s Triaxial Fluxgate magnetometer instrument data from the 1979 fly-by of Jupiter and a unique acoustic resonator. Théa-Martine is also part of the Exposure Therapy collective and was featured on the collective’s first release Eat The Sun Beam Flaring.

An Anomalous Wave is a collaboration between Alan Foote and Matt Kelly of Seattle, WA. Built from mutual affinities for abstract and minimalist music, AAW build pieces from improvised ideas to create a unique wall of sound. This set will feature original compositions from their repertoire that demonstrate their ability to channel light through darkness.

Marc Barreca has been recording and performing electronic music since the mid-1970s. His most recent releases include the solo Palace of Lights CDs A Penchant for the Useless (coming in Spring, 2026) , A Discourse of Mist, Recordings of Failing Light, and The Empty Bridge, a Three Point Circle (Steve Peters, Marc Barreca and K. Leimer) CD, Fluorescent Grey, a Young Scientist (James Husted and Marc Barreca) digital album, Strange Beliefs, and a vinyl collaboration with K. Leimer, Arrhythmian. Many of his early solo works and recordings with pioneer electronic music trio Young Scientist have been re-released by Bureau B, Vinyl on Demand, Cherry Red, Scissor Tail Records and Freedom to Spend.

Visuals by Accuraci, which is the solo project of Seattle-based artist Daniel Weaver.

Faith Coloccia is an American artist and musician. She is most known as being the founding member and primary songwriter for the post-rock band Mamiffer. She is a label owner, graphic designer, pianist and more. A creative who likes to explore all forms of artful communication and feeling.

Vern Avola is a composer, multimedia artist, instructor, and champion of friendship, based in Portland, Oregon. Known for their solo project Trigger Object, as well as performances under the monikers EMS, Avola, and Dirty Centaur, Avola’s work thrives in the unpredictable, messy corners of life, weaving together deep electronic soundscapes, raw energy, and a wry sense of humor.

Raica is the cavernous and beautiful project of renowned DJ and Further Records headmaster Chloe Harris, Raica walks a fine musical line between lucid animation and blurred darkness.

Electric cellist, vocalist and composer Jami Sieber is a celebrated pioneer of her instrument with an inspiring and fearless style of performance that has been recognized internationally. Employing looping devices and electronics to create sounds never before associated with the cello, Sieber transforms her solo instrument into an orchestra of sound that opens the heart, defies the mind, and sets the body dancing. Sieber’s musical path moved from classical to folk to rock/pop where, within her popular band Rumors of the Big Wave (1985-1995), she garnered the coveted Northwest Area Music Association (NAMA) Award for Best Rock Instrumentalist. From there she launched her solo career, performing original compositions around the world and diving into dynamic collaborations with an extraordinary spectrum of singer/songwriters, dancers, poets, visual artists, improvisers, and instrumentalists that span the globe. 

In this performance, Jami will be performing solo, her original work that spans a career of 45 years and 9 independently produced recordings along with some new compositions. Arrive prepared to be taken on a musical journey led by her multiple layers of electric cello, gorgeous melodies, poetry, and story. This will be her final concert in Seattle before moving to Minneapolis, MN.  

Curated by Gretchen Yanover for Nonsequitur’s NonSeq series.

Sh’ma is the project of musician Trevor Eulau and Tony Lefaive, among other collaborators, aimed at bringing together contemplative practice, meditation, and elements of Jewish mysticism together with various types of improvisation. Sh’ma is the Hebrew word for “listen”, and also the name of the central mantra and prayer in Jewish meditation. It is precisely what we seek to embody in this project, a state of deep listening, both to the spontaneity of music in the room, as well to the music waiting to be sung. 

As part of an ongoing exploration of music and spiritual practice, this concert will be an extension of previous concerts in this series. Trevor and Tony have developed a deep, attuned, and spontaneous improvisational space. They will be joined by a third performer, to be announced. 

Berlin-based double bassist Rebecca Lawrence performs Imaginary Light, a program that combines contemporary and early solo double-bass works using extended techniques and alternative tunings to expose, expand, and illuminate the instrument’s sonic compass.

Rebecca Lawrence grew up in Seattle and, following studies in Los Angeles, Paris, and Frankfurt, moved to Berlin in 2025. Her work with the double bass draws on more than four centuries of musical practice, bringing together historical awareness, contemporary experimentation, and a deep curiosity for sound. Influenced by interests ranging from social movements and feminism to anthropology, ritual, and natural systems, she collaborates closely with leading composers in today’s European music scene. At the same time, a search for simple musical truth and harmony led her to study early music, which evolved into endless experimentation with the sonic possibilities of early instruments in contemporary contexts.

Rebecca is a member of the Berlin based Ensemble Kollektiv, and plays often as as a guest with a wide range of ensembles and orchestras, including Ensemble Modern, the Freiburg Baroque Orchestra, the Basel Sinfonietta, the Folkwang Kammerorchestra, Klangforum Wien, Deutsche Kammerorchester Bremen, and others.

In 2026, she’ll record her first solo album with producer Weston Olencki, supported by a grant from the German Orchestra Foundation, exploring the possibilities of contemporary improvised pieces and arrangements on historical instruments.

James Falzone presents his new solo project, When Will Soon Be Then? Rooted in small acts of beauty as a means of protest, James’ solo project weaves improvised and planned elements, incorporating clarinet, penny whistles, piano, and percussion. Joining James will be special guests Omar Wiley, spoken word, and Giordana Falzone, movement. The Chapel performance begins a 10-city tour, taking When Will Soon Be Then? throughout the Midwest, East Coast, and New England. 

John Bischoff (b. 1949, San Francisco) is an early pioneer of live computer music. He is known for his solo constructions in real-time synthesis as well as the development of computer network music. His recent performances combine hands-on analog circuitry and digital synthesis in open dialog. Sonic attributes in one domain inform music unfolding in the other. The ebb and flow of discontinuity in these systems spontaneously generates form. He has been active in the experimental music scene in the Bay Area for over 40 years as a composer, performer, and teacher. His performances around the US include NEW MUSIC AMERICA festivals, Roulette and Experimental Intermedia in New York, and the Lampo Series in Chicago. He has performed in Europe at the Festival d’Automne in Paris, Akademie der Künste in Berlin, STEIM in Amsterdam, and Fylkingen in Stockholm. He is a founding member of the LEAGUE OF AUTOMATIC MUSIC COMPOSERS, the world’s first computer network band, and co-authored an article on the LEAGUE’s music that appeared in “Foundations of Computer Music” (MIT Press 1985). He is also an original member of THE HUB, a band he has performed and recorded with for over 3 decades. He was on faculty for many years in the legendary Music Department at Mills College. Recordings of his work are available on Artifact Recordings, Lovely Music, Tzadik, 23Five, Centaur, and New World Records.

Notes on tonight’s performance:

In recent years I have been composing solo pieces using custom analog circuits in tandem with digital synthesis. The circuits produce audio and sub-audio pulsewaves in response to hands-on actions by the performer. Three of the pieces I will perform — “Bitplicity”, “Tone”, and “Visibility Study” — have the following features in common:

• as pulsed tones come to life, they sound at the loudspeakers and may trigger digital sound directly at the same time
• the pulsed tones are also analyzed by the laptop for elapsed time between events. The timing of subsequent digital synthesis generated by the laptop is driven by this performance-acquired timing data — no pre-performance timing data is employed
• as the laptop generates sound it is open to interruption and re-animation by ongoing circuit actions. The very ground of each circuit action is a physical interruption — a disturbance in a continuous tone or silence.

“Calliope” is a different case—it is a take-off on Leon Theremin’s RHYTHMICON which automatically reiterates its tones at rates corresponding to the ratios of pitches selected by a performer via a keyboard. Theremin’s instrument is so beautifully elegant, and sonically quirky at the same time, that I wanted to build a digital synthesis version on the same principles — but where the instrument has internal drift in multiple dimensions. As the pitch combinations persist, they appear to disassemble in time.

(photo: Orpheus Roswell, 2025)

Curated by RM Francis for Nonsequitur’s NonSeq series.