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. 

Brian Fergus + Rob Angus

Portland-based composer Brian Fergus merges the ukulele with electronics, presenting his solo arrangements of soundtrack music written by the German composer Florian Fricke for the Werner Herzog films Aguirre, the Wrath of God (1972), Heart of Glass (1976), and Nosferatu the Vampyre (1979).

Seattle electronic music veteran Rob Angus will perform his own compositions for Mirage sampling keyboards, loopers, and digital processing.

Brian Fergus is a lifetime musician and music educator. He earned his Masters Degree in Electronic Music composition in the 1980s at Mills College, where he studied with David Rosenboom and Anthony Braxton, and took classes with Lou Harrison, David Tudor, Conlon Nancarrow and Fred Frith. Fergus is professor emeritus of City College of San Francisco, where he taught Electronic Music, Composition, and Music Theory for more than twenty five years. In 2014, stepping down from his job at CCSF to move to Portland, Oregon, he opened Woodstock Ukulele Studio, a venue for rehearsal, recording, and private and group instruction. Brian’s book of arrangements of classical and traditional music for ukulele solo and duet, Ukulele Adventures, was published by Empire Music in 2018.

Rob Angus studied electronic music at the Boston School of Electronic Music, and music composition and film at Penn State, where he met Brian. He has performed in improvising duos and trios, bands, performance pieces and dance pieces, in clubs, festivals, galleries and museums.

COVID-19 PROTOCOLS: Masks are optional for this event.

Lori Goldston & Dave Abramson

Lori Goldston and percussionist Dave Abramson perform new and improvised solos and duos.

Lori Goldston has performed prolifically throughout the Pacific Northwest for decades, and tours throughout the US, Mexico, Canada, Australia and Europe. Her work is emotionally charged and nuanced, drawing connections between far-flung idioms, and exploring timbral thresholds of her instrument. She collaborates with a wide range of composers, actors, film makers, bands, writers and choreographers, including Earth, Nirvana, Jessika Kenney, Eyvind Kang, Mark Mitchell, Duane Linklater, Stuart Dempster, Vanessa Renwick, Lynn Shelton, Embryo, Jim Fletcher, Lonnie Holley, Steve Von Till, Ellen Fullman, Mirah, and many, many more.

Dave Abramson is a drummer and percussionist. He grew up playing in the hardcore and metal scene on the east coast and studied visual arts in upstate New York, where he began to play improvised and experimental music. Since moving to Seattle in 2002 he has recorded, performed and/or toured with folks such as Eyvind Kang, Secret Chiefs 3, Wayne Horvitz, Climax Golden Twins, Lori Goldston, Paul Hoskin, Wally Shoup, Greg Kelley, Boredoms, etc. Abramson is a member of the bands Master Musicians of Bukkake, Diminished Men, Spider Trio, Telescoping, and has composed music for the Maureen Whiting Dance company since 2004. He has toured throughout the U.S., Europe and Canada and can be heard on albums released by Tzadik, Sub Pop, Drag City, Abduction, Conspiracy, Web of Mimicry, and Important Records.

COVID-19 PROTOCOLS: For the safety of all, please wear a mask covering nose and mouth to this event.

Forest Fest (Night 2)

FOREST FEST brings a NYC/San Diego-based, collective percussion quintet, The Forest (Gustavo Aguilar, Leah Bowden, Andrew Drury, Lesley Mok, and Michael Wimberly) to Seattle for two nights of sonic exploration with percussionist Bonnie Whiting, clarinetist James Falzone, and the UW Percussion Ensemble. Using drums as wind instruments, dustpans played with violin bows, and inspiration from Ed Blackwell, M’Boom, Contemporary New Music, Asian percussion traditions, and more, FOREST FEST challenges 21st century musicians and listeners to find new pathways to a habitable future in a forest of possibilities.

April 1 Program:

Sound Field 1 (world premiere)
composed by The Forest (Debut Performance)

(D)ruminations for Edward Blackwell: Mu First Part & Mu Second Part (world premiere)
composed by Andrew Drury, with guest performers James Falzone (clarinet), Bonnie Whiting (percussion)

Presented by Continuum Culture & Arts, FOREST FEST was instigated by Seattle native Andrew Drury in collaboration with Bonnie Whiting and James Falzone. Since moving from Seattle to New York in 1998 Drury has been called “one of most innovative and bold drummers on the modern music scene” (All About Jazz), and “a phenomenon to watch perform as his playing often transforms the instrument itself” (Free Jazz Blog). Both nights utilize timpani, mallet instruments, gongs, drum sets, concert bass drum, hand drums, piano, small percussion instruments, and found objects.

This event is made possible with the support of Continuum Culture & Arts, a non-profit organization, and Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from the Andrew W. Mellon Foundation. This event is also supported by the University of Washington Music Department, Cornish College, and Common Tone Arts.

COVID-19 PROTOCOLS: King County & WA State have lifted their mandate requiring masks and proof of vaccination. Masks are recommended but optional for this event.

Forest Fest (Night 1)

FOREST FEST brings a NYC/San Diego-based, collective percussion quintet, The Forest (Gustavo Aguilar, Leah Bowden, Andrew Drury, Lesley Mok, and Michael Wimberly) to Seattle for two nights of sonic exploration with percussionist Bonnie Whiting, clarinetist James Falzone, and the UW Percussion Ensemble. Using drums as wind instruments, dustpans played with violin bows, and inspiration from Ed Blackwell, M’Boom, Contemporary New Music, Asian percussion traditions, and more, FOREST FEST challenges 21st century musicians and listeners to find new pathways to a habitable future in a forest of possibilities.

March 31 Program:
Trio (Bonnie Whiting, Lesley Mok, Leah Bowden)
UW Percussion Ensemble
Solo (Andrew Drury)
Duo (Bonnie Whiting, James Falzone)

Presented by Continuum Culture & Arts, FOREST FEST was instigated by Seattle native Andrew Drury in collaboration with Bonnie Whiting and James Falzone. Since moving from Seattle to New York in 1998 Drury has been called “one of most innovative and bold drummers on the modern music scene” (All About Jazz), and “a phenomenon to watch perform as his playing often transforms the instrument itself” (Free Jazz Blog). Both nights utilize timpani, mallet instruments, gongs, drum sets, concert bass drum, hand drums, piano, small percussion instruments, and found objects.

This event is made possible with the support of Continuum Culture & Arts, a non-profit organization, and Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from the Andrew W. Mellon Foundation. This event is also supported by the University of Washington Music Department, Cornish College, and Common Tone Arts.

COVID-19 PROTOCOLS: King County & WA State have lifted their mandate requiring masks and proof of vaccination. Masks are recommended but optional for this event.