Doors at 7:30; Feel free to bring blankets or cushions to sit/lie on the floor.

Seattle-based collective/label Jade Plain shares an audiovisual journey featuring electronic atmospheres generated using a medley of hardware samplers and synths dancing with live reactive visuals, sculptural artwork, textiles, and puppetry playfully arranged by Enereph, Jon Scheid, and Nick Bigelow.

Connie Fu is Enereph, an artist bringing music and art together in imaginative ways. She has released music on Heterodox, Velvet Lab, and Handsmade.

Jon Scheid is a PNW-based multi-instrumentalist and composer. He delivers a dense, psychedelic sound that incorporates punk, prog, krautrock, pop, 21st century minimalist, and avant-garde influences. Scheid is a member of Seattle-based band Dreamdecay and U Sco, a Portland-based noise rock trio.

Nick Bigelow is a musician and video artist who is half of allotrope ijk, a multimedia art collective formed in 2019 to create live performance tools using custom software and synthesizers for audio/visual entertainment. He recently performed Longest Night 2021 with fellow modular artists at the Northwest Film Forum which consisted of immersive visuals with quadraphonic sound.

Southern seeds sown on Ohlone Land in 2019, Ana Cuevas’ one-woman ethereal electronic project Mind Mirage sprouted summer 2020. She’s currently on her first tour which is supporting the reissue of her debut EP, Burn to Grow Greener.

August started as a solo project from August Eliason based out of Anacortes, WA that explored drone, folk, noise, improvisation and holds a consistent theme of dense orchestral arrangements. August has since adapted into a band of varying members performing in different lineups depending on the scenario and expands into different aspects of what could be considered a musical collective headed by August Eliason.

Balcony View is the project of James Chancellor “Chance” Bridges, formerly of Birmingham, AL. It explores soundscapes in varying styles, from soft ambient to noise to drone/doom, using any instruments and noise makers he can get his hands on. Performances vary wildly and rely heavily on improvisation.

Sombra, the alchemist of rest, creates soundscapes under the name Sonora Enjambre, promoting rebellion and regeneration.

Bicoastal duo Slingshot (Jessica Lurie, saxophone, flute, electronics, toys; and Heather Bentley, viola, cello, violin, electronics, whatnot) draws on their collective musical experience on the concert stage, bandstand, circus, garage, and from their influences of the West Coast, East Coast, Bottom Coast, Top Shelf, junk drawer, Balkan, Symphonic, American, Classical, Jazz, composed and improvised melange that make up their stellated imaginating in the sonic realm to create musical happenstances and happenings that could be deep, moving, beautiful, alarming, silly, or really any adjective that suits the moment.

Slingshot will be joined by special guests Aniela Marie Perry, cello, and Greg Campbell, percussion for a second set. Very special guests, actually.

THIS SHOW HAS BEEN CANCELLED AT THE LAST MINUTE. APOLOGIES FOR ANY INCONVENIENCE OR DISAPPOINTMENT.

Kate Olson (saxophones) and Rocky Martin (drums) will navigate a set of visual scores on canvases, as well as collaborate on movement cues, spoken word cues, and live painting cues, stretching the boundaries of the traditional roles of the instruments within a duo setting. Then FORAGER, Rocky Martin’s band, featuring Martin Budde (guitar), Julian Weisman (bass), and Jackson Cotugno (tenor saxophone), will perform earnest, daring, adventurous quartet compositions written by all four members.

This evening of curated music is dedicated to the present moment, to clean air and water, to soil free of pesticides, showcasing music that is carefully foraged for audiences yearning to experience intimacy and inclusion. Inspired by plant life, film music, martial arts, the beauty of the Pacific Northwest, and the powerful gift of friendship and community amidst the post-pandemic era, this will be an evening to remember and celebrate.

Kieran Daly will play monophonic guitar solos focused on idiomatic forms of bending, buzzing, honking, stepping, tuning, and their improvised ordering in time. Opening set by A.F. Jones. 

Kieran Daly is a musician currently residing in Chicago. Using improvisation and iterative nonlinear processes as primary means for constructing a mostly monophonic music from first principles, his prolific work has been featured by publications such as Chicago Reader, Lateral Addition, Lana Turner Journal, Pitchfork, Trilobite, Triple Canopy, and Wire Magazine. Recordings of his work have been released by Flea, Hibari, Marginal Frequency, and most significantly, Madacy Jazz, an imprint co-operated with Sam Sfirri since 2014. 

A.F. Jones is a Dallas-born, Washington-based musician, composer, and sound designer. His live sets are fully improvised, emphasizing the use of guitar, lap steel, or pedal steel. Al is currently involved in several projects, including ‘what’ and Telescoping. Past projects include MANKINDA and Buck Young. As a sound designer and filmmaker, his most recent film is 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 of the same name.

An expansive collective showcase of the current graduate cohort of DXARTS (Department of Digital Arts and Experimental Media) at the University of Washington. 

Participants: Esteban Agosin, Chari Glogovac-Smith, Umut Gunduz, Eleanor Jones, Nicolas Kisic Aguirre, Laura Luna Castillo, Michele Newman, Althea Rao, Sadaf Sadri, Wei Yang, Beau Jeffrey Wood

Curated for Nonsequitur’s NonSeq series by Afroditi Psarra.

Local new/improvised music stalwarts Bonnie Whiting (percussion) and James Falzone (clarinet, pennywhistles, piano) continue their annual collaboration. For this performance they are joined by Vancouver, BC artists Roxanne Nesbitt (piano and ceramics) and Ben Brown (ceramics and drums). Ben and Roxanne will perform on Symbiotic Instruments,a collection of resonant objects made by Roxanne and played by an ever-evolving group of musicians.

Beau Wood, EJ Brannan, Trevor Eulau, Jacob Lipp, and Matt Camgros perform a ceremonial free improvisation that invites listeners to enter a space that is sacred, musical and performative. The group will utilize singing bowls, percussive instruments, bass, and viola.

The group started as an effort to clear heavy energies from a University of Washington music room. The room carried a lot of weight, and Matt, EJ, Trevor and Beau decided to hold a ceremony to help uplift the room and hopefully bring it some radiance and relief. The resulting music was the start of a magical gathering of friends, making music that is present and all-encompassing. This will be the first sharing of this intimate kind of music making with others. 

Trevor Eulau – guitar, singing bowls, voice
Beau Wood – bass
Jacob Lipp – saxophone
EJ Brannan – percussion/drum set
Matt Camgros – percussion/drum set

An evening with two stunningly original bowed string masters:

Judith Hamann (Berlin)
Solo cello and duo with cellist Lori Goldston (Seattle)

Swil Kanim (Ferndale, WA)
Solo violin

Swil Kanim is a US Army Veteran, classically trained violinist, native storyteller/actor, and a member of the Lummi Nation. Swil Kanim considers himself and his music to be the product of a well-supported public school music program. Music and the performance of music helped him to process the traumas associated with his early placement into the foster care system. His compositions incorporate classical influences as well as musical interpretations of his journey from depression and despair to spiritual and emotional freedom. The music and stories that emerge from his experiences have been transforming people’s lives for decades. Because of his unique ability to inspire audiences to express themselves honorably, Swil Kanim is a sought-after keynote speaker for conferences, workshops, school assemblies, and rehabilitation centers, and travels extensively throughout the United States, enchanting audiences with his original composition music and native storytelling.

Judith Hamann is a cellist and performer/composer from Narrm/Birraranga/Melbourne, in so-called Australia. They have “long been recognised as one of Australia’s foremost contemporary-music cellists” (RealTime Arts) and as a composer who “destroys the fiction of the musician who lives and works outside conventional parameters and puts in its place a series of compositions that are fundamentally humane” (Louise Grey, WIRE Magazine). Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process-based, or even ‘nomadic’ approach to creative practice.

Judith will perform studies drawing on their work for cello and humming, and shaking. Here, Judith challenges the boundaries of their instruments, cello and voice, considering how bodily and sonic thresholds offer generative sites of instability and movement, vulnerability and intimacy. Currently their work is focused on an examination of expressions and manifestations of ‘shaking’ in solo performance practice, a collection of new works for cello and humming, and ongoing research surrounding ‘collapse’ and the ‘de-mastering’ of instrumental practice.

Curated for Nonsequitur’s NonSeq series by Lori Goldston.

88 keys, 17 pedals, 12 strings, 4 pickups, 4 wizards, and a medley of metal pipes assemble together to conjure an evening of previously unimagined incantations and spells.

Tom Baker is a composer, guitarist, improviser, electronicist, and educator. He will attempt to employ all 17 pedals on his pedalboard during this show, in honor of his childhood hero, Evel Knievel.

Leanna Keith uses a variety of tubes and air (otherwise known as flutes) to create melodies, textures, and conjurations.

Local speculationist Keith Eisenbrey ponders and putters with the inner workings of music far more hours of the day than the majority of surveyed dentists recommend, and may still be wandering around in an oblique pitch-class dimension.

Jim Knodle continues to outrun the wrecking ball in pursuit of the golden moments of music. He currently gathers select groups of like-minded players for algo-rhythmic performances.

(Graphic: Daniel Husser)