Inverted Space Ensemble concludes its return in bold fashion. Featured on this program are the Seattle premieres of Vera Ivanova’s Children’s Games and Linda Bouchard’s Liquid States featuring special guest Paulina Michels. The group will also perform Arnold Schoenberg’s magical Pierrot Lunaire, featuring special guests Daria Binkowski, Rose Bellini, and Emerald Lessley. 

COVID-19 PROTOCOLS: For the safety of all present, audience members are required to wear a mask covering nose and mouth.

Inverted Space Ensemble returns with the first of 2 consecutive concerts.  The first concert will feature Philip Glass’ Music in Fifths, Kerrith Livengood’s Scrawl Etude and Julius Eastman’s Stay On It.  This concert will feature special guests Daria Binkowski, Ania Sundstrom and Abbey Blackwell. 

COVID-19 PROTOCOLS: For the safety of all present, audience members are required to wear a mask covering nose and mouth.

Multi-instrumentalist Peter Nelson-King and guitarist Mark Hilliard Wilson are coming together for a unique, adventurous program of contemporary works and improvisation. The pairing of classical guitar with brass instruments, voice and keyboards is an unlikely one, but the musicians have found brilliant contemporary works that explore the fullest sonic possibilities of the featured instruments, and explore even further with an extended, genre-defying improvisation on the second half. Featuring a world premiere work by Carson Cooman written especially for Peter Nelson-King as well as works by Kirk-Evan Billet, Frank Campo, Donald Crockett, and Ricardo Zohn-Muldoon, this one-night concert will be an unforgettable musical event.

Peter Nelson-King is active playing trumpet and piano in various groups and events in Seattle, and teaches those instruments at the Kirkland Academy of Music. He is also a composer as well as a published poet and music writer, and self-published the historical poetry anthology The New Pagans.  

Mark Hilliard Wilson is known for his work creating a space over the last 23 years for classical guitarists to make music together in the Seattle Guitar Orchestra and his performances as cathedral guitarist at St. James Cathedral in Seattle. He has toured across Canada and the US, as well as along the Camino de Santiago and throughout Catalonia.

COVID-19 protocols: Wearing a mask covering nose and mouth is strongly encouraged.

Composer, pianist and vocalist Kaley Lane Eaton celebrates the release of her new debut solo album cedar, featuring Seattle luminaries Tom Baker (guitar), Heather Bentley (viola), Leanna Keith (flutes) and Ha-Yang Kim (cello). She also premieres a new work, the end of the line, featuring Chris Icasiano on drum set and vocals, Kayce Guthmiller on viola and vocals, Sarah Pizzichemi on violin, and Eaton on lead vocals, piano, and electronics.

cedar is an electro-chamber pop song cycle that is equal parts origin story and manifesto. Written in the dead of lockdown and the west coast wildfire crisis of 2020, cedar ties the loss of mother, to the loss of societal intuition, to the loss of beloved landscape that we collectively face. Eaton’s orientation in both art song and ambient IDM, intertwined with the virtuosity of Seattle’s best neo-jazz and classical improvisers, captures a distinct Pacific Northwestern aesthetic: tuneful beauty, solitude, and destructive noise.

the end of the line is Eaton’s newest song cycle: “Forged in my mind over many months during and after my reading of Richard Powers’ The Overstory, the end of the line articulates the experience of passing time through the lens of various important trees in my life: the native forest my own age grown from seed in my childhood front yard, the beloved hemolocks, sequoias, redwoods, and Douglas firs I’ve come to know and love on my daily commute, the Jeffrey pines of California, my kitchen table made of Western red cedar, the mystical bristlecone pines of the Great Basin. As the stories of these trees intertwine with my own human narrative, I can hear the elusiveness of time. We cannot grasp it, it moves without us, it leaves us behind, it ages us, it precipitates loss and birth. It will never end.”

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.

Jim Knapp (July 28, 1939 – November 10, 2021), composed music for big band and chamber ensemble. This evening will celebrate Jim’s life and music through a short sample of chamber ensemble and big band music from the Jim Knapp Orchestra, led by Jay Thomas, and Scrape, led by Heather Bentley.

Doors open at 7 PM. Please note that our maximum occupancy tonight is 85 people, so be sure to use the ticket link to reserve a place.

COVID-19 PROTOCOLS: Masks covering nose and mouth are optional but strongly preferred.

Basement State presents an immersive evening of light and sound featuring Lightbath, Gisselle Gabrielle Garcia, and Planar Drift. Visuals will be provided by Former and set break music by Herr Shield.

Composer and improviser Bryan Noll explores time and space with his musical project, Lightbath. Taking inspiration from Brian Eno’s view of composers as gardeners, Noll plants musical seeds with his synthesizers and, through improvisation, guides their development and growth into pieces that unfold in the present moment.

Giselle Gabrielle Garcia is a performing artist living in the PNW. She is known for mixing classical composition structures and harmonies with electronic music and pop, using synthesizers including the Juno-60, piano, and Buchla music easel. Her background as a pianist, dancer, and scientist lend themselves to the strong technicality as well as musicality and emotional presence of her work. She lives in Olympia, WA, where she works as an electronic musician, circus artist, and coach.

Planar Drift is the musical project of Seattle’s Duffy Kingsolver. He forms sonic textures in multiple genres using analog and digital synthesis. He is a founding member of Basement State. 

Basement State is a Seattle-based live electronic music collective that curates in-person and online events where resident artists and guests perform LIVE original music across an array of electronic genres. Their first compilation release, Vol. I, was released on cassette and in digital form in August 2021.

VACCINATIONS/ MASK

To help ensure the health and safety of those in attendance and vulnerable populations in our community, we will be requiring proof of vaccination and a mask for entry. Additionally, we will be limiting attendance to help provide space for social distancing. Because of this, we HIGHLY recommend purchasing a presale ticket to guarantee admission.

Proof of vaccination can be a vaccination card or photo of vaccination card. A face mask covering your nose and mouth must be worn at all times in the Good Shepherd Center. You will be asked to leave without refund if these rules are not followed.

SAFER SPACE

We do not tolerate actions or displays of sexism, bigotry, racism, transphobia, homophobia, misogyny, and ableism. Any form of harassment will involve immediate removal from the show and a lifetime ban from future Basement State events.

PHONES /TALKING

Out of respect for performers and other attendees, please silence and avoid using phones during the performance. Please minimize all conversations with other guests during performances.

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 17^th-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.

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 17^th-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.

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.