Tender Buttons + Syrinx Effect

The SF Bay Area’s Tender Buttons (Tania Chen, piano/electronics/toys; Gino Robair, modular electronics; Tom Djll, modular/circuit-bent electronics) rewinds classic electronic musics in a swarm of devices and languages, composed in the moment via a shared esthetic of severe improvisational methods. Friendly spirits Fluxus, WDR, Cage, On-U and Kling Klang are never far away.

“Hope in gates, hope in spoons, hope in doors, hope in tables, no hope in daintiness and determination.” — Gertrude Stein, from Tender Buttons

Tania Chen is a pianist, experimental musician, free improviser and sound artist, working with pianos, keyboards, found objects, toys and lo-fi electronics. She has performed the music of John Cage, Earle Brown, Schoenberg, Webern, and Chris Newman. She is equally known for free improvisation, collaborating with musicians including Roger Turner, Lol Coxhill, Alan Tomlinson, Terry Day, Wadada Leo Smith, Jon Raskin, Bruce Ackley, and Henry Kaiser, while last year Tania toured John Cage’s Indeterminacy with Steve Beresford and Stewart Lee.

Gino Robair has created music for dance, theater, radio, television, silent film, and gamelan orchestra, and his works have been performed throughout North America, Europe, and Japan. He has recorded with Tom Waits, Anthony Braxton, John Butcher, Terry Riley, and Lou Harrison, and he is one of the “25 innovative percussionists” included in the book Percussion Profiles.

Tom Djll is a composer, improviser, and occasional writer on music, educated at the Colorado College, the Creative Music Studio and the Mills College Center for Contemporary Music. He has worked with Pauline Oliveros, “Blue” Gene Tyranny, James Tenney, Rova Saxophone Quartet, Fred Frith, Vladimir Tarasov, and Frank Gratkowski. Djll’s Grosse Abfahrt project is documented on recordings from the EMANEM and Creative Sources labels.

An acoustic-electric duo with endless possibilities, Syrinx Effect plays their own blend of folk punk jazz. They easily switch between dreamy ambient loops, catchy pop riffs and found sounds, all the while paying homage to their free improv roots. Naomi Siegel plays trombone with guitar pedals and Kate Olson plays soprano saxophone with laptop and other toys. The duo got its start curating the Racer Sessions in Seattle, and has gone on to perform prolifically around the US, collaborating with many of the mainstays of the improvised music scene such as Wayne Horvitz, Robin Holcomb, Elliott Sharp, Bobby Previte, Stuart Dempster, Allison Miller, Rene Hart. Syrinx Effect makes music that is authentic and expressive, employing everything from simple folk melodies to abstract, ambient noise. Each piece is a meditation, an exploration, and sometimes a romp.

Presented by Nonsequitur.

Julio Lopezhiler & friends

Seattle and Victoria, BC improvisers and composers collaborate on a program of new music and improvisations. Centered around questions of identity, agency, and cohabitation, the music makes its home in the liminal spaces between sound, noise, and silence, extending the voices of individual players and instruments as well as the sonic ecologies within which they exist.

improvisations by:
Lori Goldston, cello
Greg Kelley, trumpet
Julio Lopezhiler, violin
Kimberly Manerikar, open piano
Troy Schiefelbein, bass

a new piece for ensemble, composed/choreographed by Lopezhiler, featuring:
Marguerite Brown, gender
Austin Larkin,violin
Sierra Klingele, voice/electronics
Julio Lopezhiler, violin/viola
Kimberly Manerikar, open piano
Troy Schiefelbein, double bass

Further Records: Raica, Chris Davis, Spacement

Seattle label Further Records go deep and immersive with their third showcase at the Chapel. Ambient drones and strange electronic modulations utilizing guitars, effects, and modular gear, provided by a stellar cast of Raica, Chris Davis and Spacement.

Marcin Pączkowski: Music for Performers, Accelerometers & Instruments

Marcin Pączkowski presents his first solo composition recital. The evening will feature pieces involving accelerometers and live computer music and will culminate with the performance of Marcin’s doctoral dissertation piece, Deep Decline.

Marcin is a composer, conductor, and digital artist, working with both traditional and electronic media. As a composer, he is focused on developing new ways of creating and performing computer music. His pieces involving real time gesture control using accelerometers have been performed at the Music of Today concert series in Seattle, Washington, Northwest Percussion Festival in Ashland, Oregon, and at the Audio Art festival in Kraków, Poland. As a conductor he is involved in performing new music and premiering new works. He is a conductor and co-director of Inverted Space, a Seattle-based new music collective. He is also a music director of the Evergreen Community Orchestra and co-founder of the contemporary chamber vocal ensemble Pogratulujmy Mrówkom. Marcin received his Masters’ degrees from the Academy of Music in Kraków, Poland (composition and conducting), and from University of Washington (composition). Currently he is a doctoral candidate in the Center for Digital Arts And Experimental Media (DXARTS). He was a grant recipient from Polish Institute of Music and Dance and from Lesser Poland Scholarship Foundation Sapere Auso

Pulse Emitter, Bardo:Basho, Marcus Price, J. Ryan

Pulse Emitter is the musical project of Daryl Groetsch, based in Portland, Oregon. He focuses on hyper-melodic synthesizer music that’s equally transportive and uplifting. Since 2004, he’s released albums on acclaimed labels such as Immune Recordings, Beer On The Rug, Constellation Tatsu, and Aguirre Records, and has toured dates and festivals in Europe and North America. With the recent addition of field recordings and ethnic percussion elements, the music has taking on a tribal ambient, “virtual world music” atmosphere. Music critic David Keenan has said, “No one is making synth music that feels so organic, so rapturous and so ‘in tune’ with the contours of outer and inner space as Groetsch.

Bardo:Basho (Seattle producer Kirsten Thom, co-boss of Elevator) creates hypnotic loops using software synths, drum samples, field recordings, and her own voice to create pastoral and medieval sounding textures. Her music fits somewhere between ambient/new age and techno, with apparent drone and avant pop influences. Having just released her debut self-titled album in March of this year, her sound has evolved from structured songs to slow-changing ragas designed to create a meditative state in the listener.

Unpredictability and adventurousness pervade Marcus Price’s electronic music. He takes elements of IDM, noise, and ambient to build perversely complicated and mangled compositions that keep you guessing and reeling in most peculiar ways. Check out his Four (three) EP for proof.

Seattle local Justin Figiel (aka J. Ryan, formerly known as Lightning Kills Eagle) has taken on a new ambient/new age project under his own name. His debut release, Shimmer, leaps headfirst into sublime meditative territories and drifts on in a self-evolving nature. As new movements and emotions (some melancholic) slowly weave their way in and out of this sonically lush piece the listener is taken on a trek to the inner reaches of their mind.

Jesse Myers: Cage’s Sonatas and Interludes

John Cage’s Sonatas and Interludes are composed for the prepared piano, in which dozens of various-sized bolts, screws, pieces of rubber and plastic are inserted between the piano strings, transforming the sound of the instrument into a complex variety of percussive sounds. Prior to the concert, Jesse Myers will give a lecture on Cage, his philosophies, the preparations, and the music of the Sonatas and Interludes. Come hear this monumental work in its entirety!

Jesse Myers is a Seattle-based concert pianist, recording artist, and teacher. Renowned for his lively interpretations of the solo music of Beethoven and Rachmaninoff, Myers continues to perform a wide range of literature reaching beyond the standard repertoire. In addition to teaching and performing, he actively writes compositional analyses, album reviews, and shares recordings of classical piano on his blog. Jesse Myers has a Master of Music degree in Piano Performance from the University of Washington.

Jonathan Shames, piano

Grammy winner and Tchaikovsky Competition finalist Jonathan Shames performs a unique program that features three 21st-century works: Berio‘s Sonata, Enfance by Joël-François Durand, and Halki by Yiğit Kolat, as well as Debussy’s Prélude, “La terrasse des audiences du clair de lune” and Étude, “Pour les arpèges composés”.

Jonathan Shames’ pianistic career, launched after a prize-winning performance in the final round of the 1982 Moscow International Tchaikovsky Competition, has included performances in Russia, Finland, France, Germany, and Korea, as well as throughout the U.S. Mr. Shames has recorded with the Moscow Chamber Orchestra and the Cologne Radio Symphony Orchestra, toured with the Radio and Television Orchestra of Belgrade, and appeared as soloist with the Seoul Sinfonietta and the symphony orchestras of Seattle, Milwaukee, Indianapolis, as well as the Boston Pops, among many others. As a chamber musician, Jonathan Shames has performed with Charles Neidich, Dale Clevenger, Glenn Dicterow, and the Colorado, Moscow, Audubon and Vega String Quartets, among many others. Together with his wife, pianist Stephanie Leon Shames, he founded and served as artistic director of The Boston Players, a chamber music ensemble that performed from 1992 to 1997.

An enthusiastic exponent of contemporary music, Jonathan Shames co-directs the New Century Ensemble at the University of Oklahoma, where he has introduced works of George Crumb, Henri Dutilleux, Louis Andriessen, Claude Vivier, Luigi Nono and Bernd-Alois Zimmerman. He has also directed the Contemporary Directions Ensemble at the University of Michigan and premiered works there of Betsy Jolas, Stephen Hartke, Daniel Asia and Joël-Francois Durand. (He shares the 2005 Grammy Award for Best Contemporary Recording for the University of Michigan CD of William Bolcom’s Songs of Innocence and Experience.)

Inverted Space: Long Piece Fest 2.3

Inverted Space presents a long piece doubleheader from Seattle-based composers Yiğit Kolat and Kevin Baldwin. A single impulse constitutes the core of Yiğit Kolat’s Messenger of Sorrows: the sound of a rocket hitting a Kurdish house, recorded by the survivors during the curfew imposed on the southeastern town of Cizre in September 2015 by the Turkish government. The imaginary resonances of a destroyed room evolve throughout the piece, affecting all aspects of the music including the score, which becomes a deformed, contorted image that does not communicate musical parameters anymore but impresses a burning, bleeding horizon. Kevin Baldwin’s ici, (291) foi et amour uses graphic notation to explore time-space in a non-linear way.

TOUCH Conference

Touch (est. 1982) is one of the last surviving labels from the turbulent new wave period in London, which uniquely fused art, design and music. Hear artists from the label roster present and demonstrate their work to a discerning audience. Audio-visual.

Philip Jeck uses turntables and sampler to create a unique sonic improvisation, both emotionally captivating and technically involving. Audio only.

Mark Van Hoen, with modular synth and software pushed the analogue/digital envelope to create damaged melodies, drones and dense claustrophobia. Audio-visual.

Daniel Menche – In a genre known for its randomness and chaotic structure, Daniel Menche has established himself as a musician with an uncharacteristic sense of focus and determination. Rather than creating “noise,” he strives for order and cohesiveness. Aural intensity is not a representation of confusion or the chaotic, but a concerted effort to provoke and stimulate the listener’s imagination by generating intensely powerful sounds and music. Audio.

Seattle Composers’ Salon

An evening of music and discussion with Seattle composers:

Sheila Bristow
Steve Escoffery
Clement Reid
Jake Svendsen

The Seattle Composers’ Salon fosters the development, performance and appreciation of new music by regional composers and performers. At bi-monthly, informal presentations, the Salon features finished works, previews, and works in progress. Composers, performers, and audience members gather in a casual setting that allows for experimentation and discussion. Everyone is welcome!