Please note that our building’s only elevator is still out of service, so the only way to access the Chapel is via a couple flights of stairs. We apologize for the inconvenience.

Drummer Sean Meehan (NYC) began performing during the late 1980s, presenting his increasingly refined and reductive approach to the drum set at small, informal spaces and artist-run festivals as well as more prestigious venues. For nearly twenty years he and Tamio Shiraishi presented their summer concert series, always in different interstitial locations throughout New York City. Three of these concerts have been documented on LP on the Fusetron and GD Stereo labels.

Meehan’s most recent projects include a highly abridged audiobook of Hermann von Helmholtz’s seminal text from 1863, On the Sensations of Tone (2017), and Magazine (Sacred Realism, 2022), a piece for solo cowbell. He was featured in a recent issue of the music journal Sound American.

Seattle remains an important place for Meehan as many of his most treasured and enduring friendships and musical partnerships formed here. Tonight he’ll play a solo set with snare drum and cymbals using a range of idiosyncratic and temperamental techniques, often at the mercy of the instrument and room, but ideally some control (composition) will be evident.

tondiue is the vessel conveying the musical expressions of Seattleite Cameron Kelley. These expressions take shape as productions and performances that span a wide range of psychedelic sounds from deep listening to ecstatic dance, all while exploring the sacred roots of afrofuturistic sound design. Hypnotic rhythms, expansive atmospheres and tactile textures form the environments heard and felt in tondiue’s world. Cameron also co-operates local record label and underground event series Apt E, and is part of the organizing group for Group Hum, a local up and coming experimental arts and music festival. For this set Cameron will be joined by two revered veterans of the Seattle experimental community:

Sue Ann Harkey has been a part of Seattle and New York’s underground music and visual arts scenes for decades. Her work, which has been referred to as “futurist folk,” blends philosophical and political lyrics with improvised music inspired by free jazz, electronic, folk, and Middle Eastern and African elements. Harkey discovered improvisational music’s power in 1979, when she began playing guitar with friends; this led to her exploration of the harp-guitar and the 12-string guitar, which she played with mallets, bows, plectrums, and rods, and which also featured alternate tunings and metal discs woven between the strings. By 1980, Harkey formed the cassette label/political pamphlet distributor Cityzens for Non-Linear Futures (CNLF) and the improv group Audio Letter.

Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, producer, writer and teacher from Seattle. Her voice as a cellist, amplified or acoustic, is full, textured, committed and original. A relentless inquirer, her work drifts freely across borders that separate genre, discipline, time and geography.

Doors at 7:30; no one turned away for lack of funds.

Curated for Nonsequitur‘s NonSeq series by Lori Goldston.

Please note that our building’s only elevator is still out of service, so the only way to access the Chapel is via a couple flights of stairs. We apologize for the inconvenience.

An evening of experimental electronics in support of the new album, Fractured Whole, by Cruel Diagonals.

Since 2016, Los Angeles-based multimedia artist, Cruel Diagonals (aka Megan Mitchell), has been creating critically acclaimed experimental electronic music and intriguing visuals. Cruel Diagonals has recorded for respected labels Beacon Sound, Longform Editions, and Doom Trip while taking her sound into deeper strata of textural complexity and vocal dexterity. Marked by a grave ethereality, releases such as Pulse Of Indignation (2018), Monolithic Nuance (2018), A Dormant Vigor (2021), and Fractured Whole (2023) feature beautiful singing amid discordant, sinister electronics.

Raica has been producing, performing and deejaying in Seattle for 25 years. She runs Further Records, which is both an online record store and label releasing adventurous underground electronic music.   

Kole Galbraith is a musician and sound artist originally from Wenatchee, Washington. He settled in Seattle after living in Germany, Mexico, and Austria. While traveling, Kole immersed himself in improvised experimental music across multiple genres ranging from free-jazz, harsh noise, new-music, and metal.

Please note that our building’s only elevator is still out of service, so the only way to access the Chapel is via a couple flights of stairs. We apologize for the inconvenience.

Marco de Carvalho (guitar and vocal) & Mirta Wymerszberg (flute, vocal, and bandoneon) invite everyone to experience beautiful original and traditional music from Brazil & Argentina with great rhythm and a fun repertoire. Marco, originally from Rio de Janeiro, and Mirta, from Buenos Aires, bring to life the culture and feel of their cities with magical chemistry and deep artistic knowledge of their roots.

Luke Fitzpatrick presents an evening of exciting and fresh new solo works for violin, electronics and voice. Drawing on his experience in the Harry Partch Ensemble, Luke will present newly commissioned works by composers Kerrith Livengood, Sam Krahn, Marcin Pączkowski and Luke Fitzpatrick that meld the violin/electronic aesthetic with an added vocal element. The concert will also feature a “golden” classic: a work for violin and electronics written for Luke by Jeff Bowen. This work was first premiered back in 2016 and will be presented in a newly revised state.  

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.

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.