Subvector Colloquy

Wielding between them electric twang machine, select dynamically modulated crossblows, Italian battle zither, and the fearsome 3-button gargle tube, the four wizards of Subvector Colloquy return to the stage with an evening of freshly unimagined thaumaturgical delights: spells, incantations, enchantments – perhaps even a cryptid or two.

Tom Baker spends most of his time inventing modes of flight, and trying to get lift. He practices and practices, working on the length of the running start, size and texture of the wings, the speed and rate of acceleration of the flapping. He has enjoyed momentary freedom from gravity, and vows to keep trying for sustained orbit. Meanwhile, he also makes music. 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.

Silica Gel / Jr. Mint Prince / August / Ornament & Crime

An evening of avant-garde folk, free improv, and ambient music. 

Silica Gel adapts medieval texts into lush noise ballads & composes original art songs for two voices, custom electronics, percussion & various strings. Their sound is a unique synthesis of Early music with improvisation and folk elements that create a spacious & highly textured sound world. Coming out of the Birmingham, Alabama experimental music scene, they have toured nationally. 

Formed in 2018 while studying at Mills College, Jr. Mint Prince draws from freak folk, free improvisation, spoken word poetry, computer music, deep listening, and performance art. 

Since 2021 August has worked voraciously in various shapes and sizes and a myriad of lineups that have encompassed the shapeshifting discography that inundates hypnotic folk, ambient, drone, noise, free improv, and colorful doom. Residing in Anacortes, Washington; August’s music is representative of the ocean, mountains, clouds, and trees at their core duality.

Ornament & Crime is percussion noise.

Seattle Guitar Circle: Simple Songs

Seattle Guitar Circle, an eight-piece acoustic guitar orchestra, performs collaborative repertoire for layered guitars and voices including structured improvisation that sounds composed and composed collaboration that sounds improvised. This 2023 ‘Simple Songs’ performance brings to life new arrangements of pieces by Charles Ives, Chick Corea, Erik Satie, Hanai Rani, John Coltrane, Jon Brion, Jonny Greenwood, Leo Brouwer, Meredith Monk, Robert Fripp, Ryuichi Sakamoto – as well as new work from composers within the core SGC team.

Seattle Guitar Circle was founded in 1993 by Steve Ball, Bill Rieflin and Bill Van Buren. For 30 years, they have been playing eclectic, polyrhythmic prog chamber music arranged for large acoustic guitar ensemble all over the Seattle area. Seattle Guitar Circle has many related sub-groups such as Tuning the Air (seven years of weekly shows at Freemont Abbey), Tiny Orchestral Moments (seven-plus years of workshops and live shows) and Argentina’s Electric Gauchosrecording and performing in Seattle since 1997. This international community was initially born via Robert Fripp’s Guitar Craft workshops that began in 1985. Each SGC performance is a combination of tightly-arranged chaos, layered guitars “circulations” – where each guitarist plays one note at a time in evolving melodies.


Drawing inspirations from jazz, folk song, improvised music, visual score, martial arts/dance, spoken word, plant life, the beauty of the Pacific Northwest, and the powerful gift of friendship and community amidst the post-pandemic era, ‘FORAGER’ – depicts original music that is foraged, (biodynamic & without pesticides), expressing the musical subtlety, flexibility, vitality, and synchronicity of all four of its members as composers, artists, and friends. Alaska native Martin Budde, Seattle native Jackson Cotungo, Julian Weisman and Rocky Martin perform original compositions that stretch the boundaries of the four instruments within their traditional settings, and do their part to create a sonic and energetic environment of carefully crafted landscapes of rhythm, harmony, melody, texture – metal and wood music – for all to share resonance and feed the ear – from soil to skin; no fear.

Forager will record their debut live concert album, celebrating all found, foraged, harvested, and curated things; audiences are encouraged to bring their own foraged items. 

Rocky Martin will be presenting paintings and visual art on display and for sale.

Doors open at 7:30.

Lainie Fefferman / Jascha Narveson / Raica

Please note that our building’s elevator is now back in service!

Three sets of electronic music exploring voice, audience-phones-as-instrument, controlled feedback, and ambient space jams.

Lainie Fefferman will use a combination of vocal processing and networked sample triggering to create jaunty grooves and ambient soundscapes that leave the listener woozy like the end of a five-course rooftop meal.

Jascha Narveson will play a set of controlled feedback using the sound of the room as a starting point to launch into an atmospheric slow burn that sounds like a mini weather system.

Raica will have her modular synth called Bebe play a generative set of ambience and sound efx to drip in and mellow to.

NonSeq: Noel Brass Jr. + Intervales

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Intervales is the electronic/ambient music project of composer, electronic musician, and drummer Alex Vittum. Performing with acoustic percussion, synthesizers, and live video processing, he is obsessed with hypnotic and melodic themes, and has an enveloping, contemplative sound that is playful, sentimental, and at times ominous.

Alex’s formative percussion studies were with noted jazz drummer Milford Graves, which brought a unique and expansive approach to his music. Alex’s love of electronics, percussion, and instrument building eventually drew him to Mills College, where he obtained an MFA from the Center for Contemporary Music. Modular synth pioneer Don Buchla then asked Alex to join his team, beginning a long commitment to exploring sound and music technology. Today Alex makes ambient music under the moniker Intervales, a term that originates from his New England roots.

Noel Brass Jr. is a composer/keyboardist/educator in Seattle by way of the Chicagoland area, inspired by ambient, blues & cosmic soul. Influences can be traced to sci-fi soundtracks, film noir, ND the legacy of improvisation and afro-futuristic jazz. Founding member of Afrocop, Noel will be joined by current drummer & multi instrumentalist Andy Sells, a long time Seattle veteran (FCS North, Cascadia 10, Select Level). Noel and Andy have worked together for years in various projects and different offsets, and plan on bringing a certain rarefied beauty, balance and soulfulness to the evening.

Curated for Nonsequitur‘s NonSeq series by Paul Kikuchi.

Future Museums/Elrond/New Frontiers/Karen Gamble

SFI Recordings presents an Evening of Inner Reflections featuring performances by the troubadour of modern new age music, Future Museums, along with duo Elrond, who will be performing a set of tranquil synth soundscapes augmented by crystal singing bowls, as well as the live debut of Seattle’s New Frontiers (who released their debut album (of) Inner Dimensions on SFI recordings in 2021), and energetic work and a guided meditation led by accredited yoga teacher and hypnotherapist Karen Gamble. Doors at 7 PM, music at 7:30.

Future Museums (Austin, TX) is the moniker of producer/multi-instrumentalist Neil Lord. Using a broad spectrum of influences ranging from ambient & new age, to long form free improv and kosmiche excursions, Future Museums aims to investigate psychedelic music from a kaleidoscopic angle. Since 2009, the project has absorbed dozens of collaborators and amassed a catalog of almost as many releases. When performing live, solo or with an ensemble, the aim of Future Museums’ spirit is to guide the listener gently by the hand into a phantasmagoric fugue state, in an attempt for a collective synesthesia.

Powerhouse electronic duo Elrond (Portland) is Ian Gorman Weiland (Antecessor, Hot Victory) and Vern Avola (Avola, EMS, Prizehog, Bear Spray). They provide a wide range of genre spanning soundtracks to usher in the bleak dystopian future now seemingly assigned to the human race. From hard hitting beats with relentless melodic sequences, to ambient slow burn, swamp slogging drones, Elrond bestows lush analog tones and digital arpeggios to the masses. The two-piece, most often accompanied by multiple tables of wire strewn analog and digital gear, combine their musical backgrounds of noise, metal, classical, and techno to conjure unique compositions. Be it melodic dance, deep listening, or somber reverb wall drone, Elrond can be considered a project that refuses to allow scenes, labels or genres to define it. Elrond is love.

Seeking an awakened consciousness through a sonic journey to our inner dimensions. All New Frontiers material has been manifested through the vessels of APC and JTK. This is Post Energetic Music for the Positive Nihilism Movement.

Opening and closing energetic work and a guided meditation led by Karen Gamble, a Yoga Instructor, Energy Worker and Hypnotherapist. In this evening’s program she will set the mood with a guided meditation into self-awareness and love. Karen thrives on connection and participation so if you are inclined, follow her lead and let yourself tap into your own energy centers. To finish off the evening there will be a group experience to move into our hearts and connect with our individual and collective soul’s journey. 

Wayne Horvitz/Gravitas Qt. + The Westerlies

Led by pianist/composer Wayne Horvitz, Gravitas Quartet explores the intersection of chamber music and improvisation, with a broad palette of texture, sonority, rhythm, and ensemble fluidity, and a unique instrumentation. Horvitz’s wide-ranging compositions provide a compelling platform for untethered improvisations, woven together by the dynamic ensemble interplay of four master practitioners: Wayne Horvitz (piano), Peggy Lee (cello), Sarah Schoenbeck (bassoon), and Riley Mulherkar (trumpet).

The Westerlies, “an arty quartet…mixing ideas from jazz, new classical, and Appalachian folk” (New York Times) are a New York-based brass quartet comprised of childhood friends from Seattle: Riley Mulherkar and Chloe Rowlands on trumpet, and Andy Clausen and Willem de Koch on trombone. From Carnegie Hall to Coachella, The Westerlies navigate a wide array of venues and projects with the precision of a string quartet, the audacity of a rock band, and the charm of a family sing-along.

Inverted Space: Bearing Fruit

Inverted Space presents an evening showcasing both the seeds and fruit of American Experimentalism. Starting with the early seeds, the group will perform John Cage’s Nocturne and 6 Melodies as well as Varied Trio by Lou Harrison. Then we will present two works by Vera Ivanova for solo piano, Black Echo and Karkata. Fresh off Seattle Symphony’s performance of Together, This Journey, Inverted Space will play a piece Charles Corey wrote for the ensemble in 2018 entitled Courtship Dance of the Jungftak. Finally, local legend Marcin Pączkowski will finish the harvest with his newly composed piece for violin, piano and percussion.

Odd Partials

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Clarinetist Rachel Yoder and composer Greg Dixon join forces as Odd Partials, transforming the clarinet through effects pedals, Max/MSP, and modular synthesis, in compositions by Yoder, Dixon, Jenni Brandon, Jessi Harvey, and William O. Smith.

Clarinetist Rachel Yoder is a Seattle-area contemporary music specialist and instructor of clarinet at Western Washington University. This program features the world premiere of her composition Domestic Loops, for bass clarinet, effects pedals, and fixed media. Domestic Loops explores the repetition and cyclical nature of domestic work and caregiving through prerecorded sounds of appliances and voice with live clarinet looping—at times gritty and noisy, at times beautiful.

William O. Smith is well known to Seattle fans of experimental music. Evening Ritual (2019) was the last solo clarinet work he composed. Written for Rachel Yoder, it presents an otherworldly theatrical ritual in which a clarinetist wanders the stage—finding clarinet parts, intoning Latin, and making mysterious but beautiful sounds.

Jenni Brandon’s Cacophony for clarinet and delay pedal uses effects to envelop the listener in birdsong, while Jessi Harvey’s Tater Dreams takes the humble potato as inspiration for improvisatory clarinet explorations based on a graphic score, poetry, and notation.

Composer and sound engineer Greg Dixon embraces electronic music in all forms, from analog synthesis to Max/MSP and video game music. Serpent Hors Devours is an improvisatory modular synthesis composition created specifically for this event.

Rachel Yoder and Greg Dixon join forces as Odd Partials, a clarinet and electronics duo that performs pre-composed interactive compositions and live improvisations. The duo has appeared at the International Computer Music Conference, Society for Electroacoustic Music in the U.S. (SEAMUS) conference, the Wayward Music Series, and the University of Wyoming New Frontiers Festival.

In addition to an improvisation integrating the clarinet into a modular synth patch, on this program Odd Partials performs the live premiere of Dixon’s Mirror Lake II, which explores musical concepts of variation, reiteration, reflection, and transformation. Inspired by the poem “A History of the Sketch” by Richard Hugo, Mirror Lake II explores themes of youth, aging, revision, death, and the meditations, reflections, and daydreams of a stoic hermit sitting quietly by a lake. The performer begins on bass clarinet and finds their way through the poem, recalling youth on the E-flat clarinet and middle age on B-flat soprano clarinet, ending back on bass clarinet. The technician acts as the subconscious, adding effects, recording phrases and manipulating them or recalling them later, independent from the performer’s intentions. The effect is a journey through memory and a meditation on a lived life, with a stream-of consciousness form grounded in the repetitions, obsessions and other machinations of the human mind.