Angels 4 Carrots is an art project that uses field recordings to make sound sculptures of deep bass dub poetry. It kind of lives in an improv ecosystem of late night road trip radio scanning, ocean dubstep, acoustic backyard lysergic jams, reflecting-pool drone, and other soulful scenes. Experimental Freedom for all! Based in Olympia WA, member of various Associations: YardSaleForWorldPeace.Org, Shelter Soundsystem, Quantum Poetry Institute.

Levitt/Morrow/Novak is a trio comprised of Adam Levitt, Silas Morrow and Rebecca Novak. They will present an improvisation for piano, cornet, saxophone, flutes, percussion, and an assortment of objects.

Stacy’s World: Flame-grilled, radiant dream, reduced and distorted by the warped mind of Seattle’s ultimate prankster.

Berlin based composer-performers Catherine Lamb and Bryan Eubanks present the N. American premiere of Lamb’s monumental electronic work Wave/Forming (Asrum), a 4 channel work for 2 digital synthesizers in rational intonation.

Catherine Lamb and Bryan Eubanks are musicians and composers originally from the Pacific Northwest. They moved to Berlin in 2013 after founding the collective and label Sacred Realism with bassist and composer Andrew Lafkas in New York. They have become an integral part of the vibrant underground (and above ground) music culture of Berlin and Europe in both areas of contemporary composition (Lamb) and improvised music (Eubanks). Lamb is easily one of the most important composers of her generation having already written a large body of work in what she terms “extended rational intonation” – expanding on the theoretical and aesthetic possibilities of Just Intonation. She has been commissioned by many of the leading ensembles in contemporary music including the JACK Quartet, Klangforum Wien, Musikfabrik, and her own collective ensemble, The Harmonic Space Orchestra.  Eubanks is extremely active as an improviser in electronic and electro-acoustic settings and is regarded for a raw and idiosyncratic approach to his instruments and collaborations.  He has worked extensively with artists such as Xavier Lopez, Joe Foster, Jean Paul Jenkins, Jordan Paul, Toshimaru Nakamura, Tetuzi Akiyama, Gert-Jan Prins, Michel Doneda, Chris Heenan, and in the quartet Oceans Roar 1000 Drums (with Todd Capp and Andrew Lafkas), and the newly minted Understated Songbook with Koen Nutters and Samuel Hall. A tireless explorer of sound and connection, he routinely reinvents his instrumental approach and currently focuses his music on analog and digital synthesis and electroacoustic saxophone.

For this special concert at the Chapel in Seattle on July 29th, Lamb and Eubanks will give the first performance in North America of Lamb’s 2019 fully electronic work Wave/Forming (Astrum).  The piece is unique in the composer’s catalog for a couple of reasons. One being that it is entirely electronic, there are only a few early examples of such experiments. Two, the piece is in many ways a collaboration with Bryan Eubanks and Xavier Lopez, whose long running project Natural Realms was the basis and inspiration for the work. In 2019, the trio received a small commissioning grant from INM Berlin to develop the piece together.  Laura Tunebridge describes Wave/Forming (Astrum) succinctly in the liner notes to the release on the UK label All That Dust: 

“wave/forming (astrum) continues some of Lamb’s experimentation with pointillism, in which short articulations — points — interact and build towards lines that lengthen into what Lamb calls a ‘more total form’. These are like fugue states, in both psychoanalytic and musical senses. Whereas memory might be temporarily erased in the former, in the latter, fugues build connections. Surface figures are spirited away yet patterns emerge in time, through long arcs of harmonic transformation, and in space, as sounds shift between foreground and background of the stereo fields. While the experience feels organic, the complex, layered material is produced by two synthesisers, built and played by Bryan Eubanks and Xavier Lopez. Their digital fixity allows for the precise tuning necessary for the underpinning harmonic series gradually to be revealed. Each arpeggio, or arch-like figure, slowly expands, its pitches bursting into a star cluster. Their articulation, duration, speed and volume transforms as one ‘arp.’ daisy-chains to the next. Heard in the binaural version, they also move from a frontal position to fully surround the listener’s headspace. Finally, ‘arp.’ is replaced by ‘sweep’, descending bell-like through the harmonic series. The quiet dancing stops and the world seems emptier and fuller.”

This event will be supported by a duo performance from A.F. Jones and Casey Adams.

Elijah Bossenbroek, despite taking ten years of piano lessons, he has consistently gravitated towards composing his own musical compositions rather than performing existing works. At the age of 18, he enlisted in the Marines, where he continued his musical endeavors, even bringing a keyboard with him to the desert of Kuwait during the Iraq War.

Currently in his forties, Bossenbroek’s albums have achieved remarkable success, amassing over a million streams per month through various streaming platforms. He eagerly anticipates the opportunity to bring his compositions to life on stage.

Violinist and composer Marielle Jakobsons (Thrill Jockey) performs selections from her new album The Patterns Lost to Air, pianist and composer David Wesley Golightly (Midday Veil, Hair and Space Museum) returns to Seattle with original compositions for solo piano, and synthesist and composer Chloe Harris as Raica, performs original ambient dreams.

Marielle V. Jakobsons is an award-winning composer and interdisciplinary artist known for creating immersive, transportive sound worlds. Blending lush synthesizers and expressive strings, her music interweaves minimalistic patterns with moving melodies. Her latest album, The Patterns Lost to Air (2026), unfolds as a resonant world of pulse, shimmer, and melodic bloom. The work asks: What happens when we release our grip on familiar patterns—in sound, in self, in memory—and allow them to transform in the air around us? Jakobsons has released albums on Thrill Jockey, Students of Decay, Mexican Summer, Root Strata, and Important Records, and has performed at venues and festivals across the U.S. and internationally. She has received awards and residencies from organizations including the Djerassi Resident Artists Program, American Composers Forum, Brush Creek Foundation, and NEXMAP. Her work has been praised for its “astral elegance” (The Stranger) and “exquisite balance of melancholy and hope” (Pitchfork).

David Wesley Golightly is a composer, synthesist, and pianist known for his synth work in bands such as Midday Veil and Hair and Space Museum. For his new album, Seven Songs for Solo Piano, David returned to the instrument he learned as a child, transmuting the sound world of analog synthesis to the manual domain of acoustic piano. In so doing, David reconnected with the simple, immediate joy of making sound and following where it leads.

Chloe Harris (aka Raica) has been an integral and influential figure in the Pacific Northwest music community for over two decades. Her contributions as a musical artist, producer, DJ, mentor, record label owner (Further), and record shop owner have helped lay the groundwork and build the foundation upon which rests the current success of Seattle’s underground electronic music scene. 

Lauren Rodriguez has been playing and touring North America and Europe in independent rock bands for over 15 years, most recently as one of the lead vocalists and bass players in the post-punk outfit Terminator. In between tours and photography projects, Rodriguez has been composing cello works that play with the instrument’s polarities through repetition, delving into the push and pull of emotions that swell in tide-like repetitions. These passages embody the feeling of observing the quiet secrets revealed as one explores the low tides along the Pacific Northwest beaches in the middle of the night.

Sandesh Nagaraj is a composer and performer born and raised in Bangalore, India. His works have been featured in Rolling Stone, Metal Injection, Score Follower, and various blogs across the United States and Europe. Since 2006, he has toured with various groups, performing at venues and festivals throughout India and the US. He is half of the experimental duo Till the Teeth, with Jonathan Rodriguez. Sandesh will present solo works for electric ukulele inspired by lullabies from India and Iran. Accompanying Sandesh on a couple of pieces is Kian Farahani, an Iranian kamancheh player based in Seattle who has devoted over two decades to the study and performance of Persian traditional music.

Meadowgoat is warm dungeon synth, buzzing noise, and overgrown drone descend from the blistering sun down verdant meadow and into creeping soil.

Polt is a Seattle-based instrumental group of rotating members (currently Ben Miller, Hannah Groenke, Ezra Williamson, Dan Coles). The band is a reflection of each member’s vast pool of inspirations, including music, film, literature, poetry, and visual art. They create slow moving soundscapes that could loosely be defined as post-rock, using a wide array of instruments: electric and acoustic guitar, banjo, accordion, drums, hurdy-gurdy, piano, and synthesizers. Polt is in the process of making a new album, set to be released later this year.

Finnegans Wake by James Joyce Part II, Chapter 3
Performed with acute attention to musical detail, by Neal Kosaly-Meyer

The gargantuan eleventh chapter of James Joyce’s final novel, performed in its entire 4 1/2 to 5 hour length (including multiple intermissions), in an adventurously wild and musical performance, taking full advantage of the dramatic and liturgically suggestive qualities of the Chapel space.

Since 2014, Neal Kosaly-Meyer has been performing the successive chapters of James Joyce’s final novel Finnegans Wake, with careful attention to the book’s special musicality. Performances have been presented annually at the Chapel, and around the world, including Portland, Antwerp, Mexico City, Dublin, Glasgow and Basel. This year he presents the extraordinary and central Part II, Chapter 3, one of the two very longest chapters in the book. Any Joyce chapter is masterfully composed, and performed live communicates a cumulative and symphonic flow, hence the decision to present this enormous chapter in its entirety on a single evening. Three intermissions will be observed to insure everyone’s survival.

This eleventh chapter of the Wake delivers the experience of a long noisy evening at the Mullingar Pub, complete with wild yarns told, and radio and T.V. blaring in the background. Like the patrons and proprietor of the pub, we’re all likely to experience delirious exhaustion before it’s all over, but stay to the end if you can manage it: James Joyce has a magical way of winding up an episode, and this chapter is no exception to that rule.

Small Alien is a man and his machines making music. The solo project of local musician and music teacher, Paul Ehlen, Small Alien’s music explores the full range of sonic and emotional timbres offered by synthesizers and their kin. Small Alien employs all hardware electronic instruments to erect improvised soundscapes of both epic and delicate proportions. (You won’t see a laptop on stage)

Joining Small Alien for this special evening are a number of esteemed guests. Most important is visual artist and filmmaker, Greg McBrady, whose original videos have been dancing with Small Alien’s sounds for over 20 years. They are like Peanut Butter and Jelly, baby. Greg will be projecting an original film created to accompany Small Alien’s music as a full partner in the performance. Also joining Small Alien on stage will be local poet, Katy Ellis, reading from her deeply felt works about water and animals and people and plants. Her presence and words will duet with the music and will be a truly special gift to our audience. Two other secret special guest musicians will also be joining Small Alien for sections of the 2-hour set.

Come join us and be filled with a true audio and visual feast. A meal cooked up for the human spirit, sustenance for our tired hearts in these trying times. Doors 7 PM.

Please take care of the air we share: no artificial fragrances. Yoga mats or other personal seating apparatus welcome. Chairs and floor seating available.

Coming together to listen deeply; to move and to sound playfully, and to attend to a performance in tribute to beloved master musician and teacher, Stuart Dempster. (Please note that the celebration takes place over the course of several hours. No food or drink will be offered at the event, so please plan accordingly. Stuart requests that you bring no presents, just your presence!)

LISTENING TOGETHER (4 – 4:30 PM)
Chapel Performance Space at Good Shepherd Center (4th floor)

Deep Listening session with Brian Pertl and Leila Ramagopal Pertl

PLAYING TOGETHER (5 – 6 PM)
Picnic shelter in Meridian Park, directly behind/west of Good Shepherd Center (weather permitting; if not, we’ll meet in the Chapel) Please note, no amplified sound permitted in the Meridian Park area.

MERIDIAN EVENT for Stuart Dempster on his ninetieth birthday
(for best results, join us for Deep Listening in the Chapel before MERIDIAN EVENT!)

To celebrate Stu,
YOU ARE INVITED
To come together
To sing
To play
To dance
To listen
Spontaneously, improvisingly,

Or

Premeditatedly, composedly, choreographedly,
YOU ARE INVITED
In whatever mode you choose, to remember what he taught us:
YOU ARE INVITED
To always listen
To enjoy the silence
To play the silence
To leave space
To let your doing be transparent to what everyone else is doing
To direct your energy
To play with love
To listen deeply
To direct your energy and play with love towards a specific person or specific persons
To listen for the ending

TRANSITION (6:00 – 6:30 PM)
Chapel Performance Space at Good Shepherd Center (4th floor)

Video installation by Robert Campbell and ROOM. Please enter and exit as you wish, move about the space comfortably.

ATTENDING TOGETHER (6:30 – 7 PM)
Chapel Performance Space at Good Shepherd Center (4th floor)

Poem, “Gold and Oak” reading by Brian Komei Dempster

livingROOM, with original ROOM performers Sheri Cohen, Stuart Dempster, Renko Ishida Dempster, John Dixon and Tonya Lockyer, plus guests Loren Dempster, Neal Kosaly-Meyer, David Knott, Margaret Paek, and Steve Peters.

All are invited to linger following the performance to continue the celebration!

(photo: Danette Davis, courtesy of Earshot Jazz)

The Red Pants Collective, an improvised movement and sound project formed by father/daughter duo Giordana and James Falzone, are joined by movement artists Alia Swersky and Jadi Carboni (Graz, Austria), and sound artists Tom Baker, Heather Bentley, and Greg Campbell. 

Alia Swersky: movement
Giordana Falzone: movement
Jadi Carboni: movement
Tom Baker: guitar, theremin, electronics
Heather Bentley: viola and cello
James Falzone: clarinet, piano
Greg Campbell: drums, percussion, horns

Seattle Collaboration Society presents an evening of interdisciplinary free improvisation. The program begins with a 30-minute improvised performance featuring movement artist, choreographer, and educator Natalie Grant alongside jazz pianist, improviser, and Seattle Collaboration Society founder Jack Ramsey. Drawing on their distinct artistic practices, Grant and Ramsey will create a spontaneous dialogue between movement and sound in real time.

Following the performance, the space will open for a multidisciplinary improvisation session inviting musicians, dancers, painters, visual artists, and creatives of all backgrounds to participate. No prior improvisation experience is required—only a willingness to experiment, collaborate, and engage with fellow artists in a supportive, respectful, and open environment. Audience members who wish to remain for the open session are asked to participate actively rather than observe.

Doors open at 6:30.