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In the Chapel Performance Space on the fourth floor of the Good Shepherd Center4649 Sunnyside Ave. N, Seattle (SW corner of 50th & Sunnyside in Wallingford)

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    8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only)

    Beth Fleenor (clarinets/voice/electronics) and Ryan Oslance (drums/objects) join forces to bring volcanic improvisations and subtle release inducing harmony to the Chapel. Oslance is known internationally from his work with power math rock duo, the Ahleuchatistas (Tzadik, Cuneiform Records), while Fleenor has been heard with Wayne Horvitz, Bobby Previte, King Crimson's Trey Gunn, and her own projects including Crystal Beth and the Workshop Ensemble.

    The Amplified Clarinet Trio (Beth Fleenor, Amy Denio, Craig Flory) presents all improvised music with electronics, on one of the worlds most dynamic instruments. With extremely different styles and tones, these are clarinetists with a love of exploration interested in expanding the playground of this three-century old instrument.

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  • 08/10/13--20:00: Noisegasm + Distorrent
  • 8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only)

    Noisegasm is Greg Weber and Brad Anderson, a two piece ensemble that explores the loud and distorted side of Electronic music. Greg plays guitar and synth and is the sound engineer for this project. Brad plays electric piano and synth. Both make extensive use of fuzz pedals and other distortion devices.

    Distorrent is Brad Anderson and Clonal Machina, a two piece ensemble that explores the experimental, ambient side of electronic music. Clonal Machina lays down continuous, multi-layered textures that are punctuated by Brad's synth lines and textures. The mood is generally relaxed, but has moments of intensity.

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    8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only)

    Jacob Peck is a composer and multi-instrumentalist currently based in Oakland, CA, whose music interweaves realms of the avant garde with various musical traditions of the world. Some of his deepest influences include Sun Ra, Karlheinz Stockhausen, Phish, and John Coltrane. A passionate and energetic performer, his performances are alive with an improvisational essence of exploration, discovery, adventure and love.

    Derek M. Johnson is a musician and visual artist from Olympia. Drawing from no single idiom or source of inspiration, Johnson has been cultivating a live performance consisting of hand-treated, slide-mounted film, projected via slide projectors against a melange of acoustic solo cello, looped and destroyed tones, all emanating from his cello and massive array of effect pedals.

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    8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only)

    Text Score A Day is a conceptual twitter account producing one experimental text score every day, consisting of a body of work ranging from the satirical to the humorous to the profound. Its authors are an international mix of composers, performers and visual artists, creating pieces with close connections to the event scores by the comparably diverse set of Fluxus artists from the 1960's, whose reliance upon language as a method of notation, remarkable reduction of material and aesthetic stance make them clear antecedents.

    The concert will feature seminal, yet rarely performed, works by the following Fluxus artists: George Brecht, Dick Higgins, Takehisa Kosugi, Tomas Schmit and Robert Watts, as well as a selection of pieces from Text Score A Day. The program will focus on works with a strong sound component, emphasizing the interconnected sonic and formal possibilities available to such a notational system. The concert is organized by Robert Blatt coauthor of Text Score A Day, who will perform with a small ensemble of local Seattle musicians.

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  • 08/24/13--20:00: David Dunn
  • 8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only); presented by Nonsequitur.

    Composer and sound artist David Dunn presents works highlighting complexity in natural and human-made systems. These compositions reveal and amplify hidden auditory features of the natural world, sounds outside of normal human perception, interactions between artificial intelligence systems and living creatures, and models of chaotic change endemic to the kinds of forces currently shaping our environment. 

    Along with three short pre-recorded works involving environmental sounds, Dunn will also perform Thresholds & Fragile States, a live work using self-built non-linear chaotic oscillators capable of generating an infinite variety of “auditory behaviors” emergent from their status as autonomous electronic systems. Based upon the theory of “biological autonomy” and new principles in cognitive science, these circuits represent an alternative design philosophy for the creation of electronic sound synthesis. More akin to living systems than information processing devices, they produce a dazzling assortment of complex noises and any sounds produced by the circuits emerge as a type of “conversation” that exhibits repetitive action at a local level but tremendous global diversity over extended time periods. The control of circuit parameters determines a range of instabilities and structural couplings between nested chaotic circuits, allowing these autonomous behaviors to emerge.

    David Dunn is a composer who primarily engages in site-specific interactions or research-oriented activities. Much of his current work is focused on the development of listening strategies and technologies for environmental sound monitoring in both aesthetic and scientific contexts. He is internationally known for his articulation of frameworks that combine the arts and sciences towards practical environmental activism and problem solving. As a pioneer in the fields of acoustic ecology, bioacoustics, interspecies communication, and scientific sonification, he has composed a body of innovative and experimental musical work and has contributed to projects as diverse as sensory enhancement of healthcare environments, intervention strategies for forest and agricultural pests, reducing sensory deprivation problems in captive animals, and the design of international broadcast networks. As an expert wildlife recordist, Dunn has invented microphones to record such phenomena as the sounds of bark beetles within trees and underwater invertebrates in freshwater ponds, and the design of self-organizing autonomous sound systems for interaction between artificial and natural non-human systems. Underlying all his work is a common regard for music as a communicative source with a living world.

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    8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only)

    Musician/sound artist/producer and Climax Golden Twin Robert Millis returns from his recent journey as a Senior Fulbright Research Scholar in India, studying India’s early 78rpm Gramophone recording industry and working with Indian record collectors, archives, and artists. Naturally, he made field recordings — odd sounds, animal life, human life — and worked with Indian sound artists, curators, and musicians on contemporary projects in conjunction with his research into the earliest voices and instruments recorded in India. One foot in the past and one in the present. He was critic in residence for a sound art residency at the Delhi-based contemporary arts organization Khoj and created an installation based on his research for theFundación Botin in Santander, Spain as part of the exhibit La presencia del sonido. Tonight he'll draw more on these experiences, rather than the Gramophone/78rpm research, improvising and experimenting with the resonances and dissonances of overlapping tanpura drones and field recordings in a quadrophonic, immersive environment. “India is not at all a quiet country: the sense of personal space — both physical and auditory — is unique. This makes approaching sound art practices and listening in India a very different experience than in a place like Seattle. The peacefulness of the Chapel will be a lovely opportunity to get inside some of the sounds I recorded in India. Literally, perhaps, inside a droning tanpura.”

    Matt Shoemaker returns from his own recent extended sojourn to Indonesia. Sourced from both natural and electronic means, he manipulates sound in an affected and often grotesque manner, so as to convey compositions that uniquely imagine a space encrypted to the point of vanishing definition. His essential technique is one of obsessive artifice. It is the clarity of nuance and attention to detail that contrasts and balances any intended obscurities. Using environmental recordings, resonating objects, and discordant electronics, he will be presenting work exploring feedback, noise, memory, and accidental refinement.

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  • 09/05/13--20:00: Seattle Composers' Salon
  • 8:00 PM; $5 - $15 sliding scale suggested donation at the door. The Seattle Composers’ Salonfosters 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! Composers for this month: Mark Wilson, Eric Scribner, Peter Freeman, Angelique Poteat, Cole Bratcher.

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    8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only); presented by Nonsequitur.

    Seattle electronic guitarist Vance Galloway presents Triptych, a three-part suite for solo electronic guitar, signal processing and field recordings based on the shifting perceptions of time and place, familiarity and belonging that occur when traveling:

    A disorienting wash reveals itself to be nothing more than a common sound heard through the filter of a new space.

    A familiar sound is stretched and held in time to the point of becoming entirely foreign.

    A complexity of interactions and unseen richness is revealed through recursive feedback.

    Portions of the performance will be in complete darkness, while others will include the work of internationally renowned video artist Tarik Barri. Special guest Charles Stanyan opens the evening with a Seattle premier of several new pieces for electronics and processing.

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  • 09/13/13--20:00: Ask the Ages
  • 8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only).

    Ask the Ages is a Seattle-based avant-jazz band. Formed in 2010, the group includes Greg Campbell (drums and percussion), Steven Bell (Vibraphone ), Brian Heaney (guitar), Kate Olson (sax/woodwinds) and John Seman (bass). Influences are Sonny Sharrock, Sun Ra, Alice Coltrane and Pharoah Sanders. This special gig features Geoff Harper playing bass and Jacques Willis on drums. We will be playing the tunes of Ask the Ages and other pieces.  

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    8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only)

    French Hornist Tom Varner and saxophonist Eric Barber present an evening of music by the iconoclastic trumpeter Don Cherry, including the entire 1965 piece Complete Communion. They are joined by bassist John Seman and percussionist Paul Kikuchi. Their second set will feature compositions by Cherry's European Quartet, with vibraphonist Ben Thomas will joining the quartet.

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  • 09/19/13--20:00: Danse Perdue
  • 8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only).

    A night of butoh/sound improvisation with Vanessa Skantze (movement) and Epos Nemo Latrocinium (sound). Epos Nemo Latrocinium is: Noisepoetnobody Jones, Vox Vespertinus, Dean Moore and Scott Yolanda Adams. Danse Perdue and Sierra La Fey will perform a series of scenes about light.

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  • 09/20/13--20:00: Ostrowski/Theriault + Gyre
  • 8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only); presented by Nonsequitur.

    Matthew Ostrowski: Glove controlling Max/Msp-electronics + Doug Theriault: Guitar controlling Max/Msp-electronics. Expect to hear electronic transformations of acoustic and electronic sound sources and manipulation of those transformations live without an escape route...

    Matthew Ostrowski (NYC) is a pioneer in live electronic arts, having worked as a composer, performer, and installation artist for over 20 years, exploring alternative controllers, multimedia, and theater. An unreconstructed formalist, he has had a continuing interest in density of microevents, rapid change, and using technology to stretch the bounds of perception and experience.

    Doug Theriault (Portland) is concerned with the development of live electronic music systems on custom-made instruments of his own design. Mostly known for his highly idiosyncratic guitar work, he uses varied organic and electronic sound instrumentation, light gradients (sensors), space and performative movement in connection with the conceptual development of live electronic music systems that he has created.

    Gyre (Seattle) is an experimental electronics trio formed by Michael Shannon, David Stanford, and Carl Lierman. The group's working method relies on the use of non-standard configurations of a wide cross-section of analog and digital electronics. Each creates discrete circuits between these elements that, while they can sustain sonic form, are not always stable. Sounds generated entirely with oscillators, internal and external feedback circuits, simple sound generators, microphone captures, digital processing, forming swirling loops of sound layers.

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  • 09/21/13--20:00: Paul Hoskin
  • 8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only).

    Announcing the annual contrabass clarinet solo courtesy of Paul Hoskin. An eighty-minute adventure sounds the Chapel Performance Space. Hoskin's solo life began with multiple reed instruments lasting for hours. He "simplified" by 1990—contrabass clarinet only. Given cassette recording, the initial presentations were of ninety-minute length. As he ages [and switches to CD recording], eighty-minute episodes started in Seattle 1996. Hoskin's approach may be labeled spontaneous composition. Improvisation—as a label—does not provide for a thorough investigation of his solo work. Language qua metaphor is one way of approaching. Periods of "jazz melody" live with extreme sonic exploration. The entire dynamic field, a five octave range, multiphonics never heard—all are in evidence. In literal terms, Paul Hoskin is the only person to do this—worldwide, NOW.

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    8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/check only); Supported in part by the Seattle Office of Arts & Culture CityArtist Project.

     mer is a new 40-minute piece for chamber orchestra that traces the many facets of human consciousness, awareness, and experience. This minimalist sound-painting by Seattle composer John Teske will be premiered by the Broken Bow Ensemble, a 26-piece group of strings and woodwinds. Guided by local tide data, the orchestra will slowly transform sound through time, unraveling layers of pitch and rhythm.

    Seattle-based composer John Teske writes innovative contemporary concert music for soloists, chamber groups, and chamber orchestra. Founder of the Broken Bow Ensemble and a series of “any ensemble” performances (featuring music written for flexible instrumentation), he focuses on enhancing the listener experience, utilizing extended techniques and guided improvisation to create pieces that are well-crafted while maintaining a human and organic feel. His recent work includes site-specific performances in Seattle parks and at the Seattle Center, Space Weather Listening Booth (a hybrid electroacoustic installation and acoustic performance piece in collaboration with Nat Evans), and compositions for chamber orchestra.

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  • 09/27/13--20:00: Gust Burns
  • 8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only).

    Gust Burns presents work from the past 5 months that is comprised from bird song (wood thrush and lark sparrow), record reviews, field recordings, dubplate record, silence, audition, jazz standards, and strolling. Performers include: Gust Burns - piano, voice; Jacob Zimmerman - alto saxophone; Greg Campbell - percussion; Wilson Shook - turntable; Phristian Pincock - trombone + others tba.

    Gust Burns is a Seattle-based composer and pianist. Burns is recognized for his virtuosic and critical voice and technique as an improviser. He is author of the recent set of compositions REAL BOOK and makes various work with materials including jazz compositions, text, and audition. In addition to his own creative work, Gust Burns has for the past decade been director of the long-standing Seattle Improvised Music Festival. He directs and edits the online music and text journal Eulachon; he was co-founder of the experimental music space Gallery 1412.

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  • 09/28/13--20:00: Hanna Benn + Kelly Wyse
  • 8:00 PM; $5 - $15 sliding scale suggested donation at the door (cash/checks only)

    Hanna Benn and Kelly Wyse present new and pre-existing works for solo piano, choir, and various chamber ensembles. Benn presents her own new compositions, Wyse performs solo piano music of John Cage, Phillip Glass, Debussy, and Jarrad Powell.

    Hanna Benn is a composer, vocalist, and arranger currently residing in Seattle. She is a graduate of Cornish College of the Arts, where she studied composition and sacred vocal music. She is the lead singer and co-founder of Pollens (Tapete Records), a Seattle-based experimental pop band. Her works and arrangements have been performed by various ensembles including St. Marks Cathedral Choir (Seattle), Indianapolis Symphony Orchestra, Saint Helen's String Quartet, Seattle Chamber Players, and Opus 7.

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  • 10/03/13--20:00: DAS Oboe
  • DAS Oboe performs six modern works, including five world premieres. The program will include works by Doug Buchanan, Jin-Hwa Choi, Sean Doyle, Gary Powell Nash, Michael Rickelton, and Ursula Sahagian.

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  • 10/04/13--20:00: S. Eric Scribner
  • Composer S. Eric Scribner presents music for piano, string bass, found objects and found sound. A new piece, SoundScroll IX: this is a sparse, hour-long piece for double bass, piano, and found sound. Mike Sentkewitz will play the bass. Also, Keith Eisenbrey and S. Eric will play four short Seattle Pieces, improvisations for piano and found objects, over dense collages of found sound.

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    An evening of international ambience, featuring live sets from minamo (Tokyo), Loscil (Vancouver, BC) and Marcus Fischer (Portland).

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  • 10/11/13--20:00: Synthesizer Night
  • An evening of experimental/ambient/soundscapes for electronic instruments by Fejj, Pulling Out the Light, Rainbow Wolves, and David Stutz.

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