Project W re-heated: REVISED TIME

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**NOTE: Our original plan short-sightedly neglected to factor in the 2018 Women’s March, which we support and plan to attend.  

We therefore will play not at 1:00, but at 3:00 p.m.  Please make note of the change — apologies for any inconvenience.  (One year of Trumpism has been pretty damned inconvenient — for women and for the world.)

If you weren’t around (or old enough) to see this trio open for Sonic Youth in 1998 at the Moore, it’s too late.  You might be able to find a copy of their eponymous 1996 cassette, but I wouldn’t get your hopes up.  Besides, bands that live in the gap between punk and free jazz aren’t necessarily a Seattle rarity anymore, anyway.  But it might be argued that the original (mid-’90s) incarnation  of Project W might be one reason for that.

Two (or three, depending on who your counting) of the bands members haven’t lived in Seattle for years anyway, so it’s not that you just haven’t been paying attention — they haven’t played in, like, forever.  But the most recent incarnation of the group (c. 2004) will head back into the familiar unfamiliar in a one-off outing this Saturday afternoon at Gallery 1412.

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As imagined.

Project W — a revisitation

Wally Shoup (alto saxophone)

Brent Arnold (cello)

Greg Campbell (drums etc.)

Saturday, January 20th. 3:00 PM 1:00 pm. Gallery 1412.  $5-15 donation.

 projwatNOEven more imaginary-er.

 

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Satchel Henneman Jan. 26th

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Jan. 26th 8pm

donations accepted

Satchel Henneman performs a concert of solo classical guitar works and a series of stories. Works by JS Bach, Franz Schubert, Luciano Berio and Marguerite Brown, paired with personal recounts, Henneman presents a night of variety, expression, and virtuosity.

 

Program:

 

JS Bach’s Second Lute Suite BWV 997

The Partita is laid out in four movements, only the last two of which — the Sarabande and the Gigue — are of the dance variety usually found in a Baroque instrumental suite. Instead of following the opening Preludio of the Partita with an allemande and a courante, Bach provides a fugue of extraordinary density and very unusual form.
The Preludio is of the through-composed, entirely non-improvisational variety. It is written in two voices throughout, the higher one florid and of great flexibility, the lower moving mostly in steady quarter notes. This magnificent movement is of a peculiarly resigned tone, powerfully expressive but never indulgent. One hardly gets a sense of virtuosity as the sixteenth notes unfold, and yet the movement is of great difficulty.
The Fuga is an extraordinary example of its breed. Rather than a continuously developmental kind of contrapuntal piece that climaxes at the end, this fugue is written in true da capo form, with the opening forty-eight bars of music reprised after a contrasting central section. The subject of the fugue is absolutely stunning, featuring a dramatic leap of a major seventh and some tense, rising chromaticism.
The Sarabande is laid out in two equal halves, each of which begins ponderously — and with a little imitation between the treble and bass — but soon moves on to roving sixteenth notes.
Bach chooses to provide a Double at the end of the graceful Gigue proper, filling in all the rhythmic gaps of the original version of the dance with smaller ornamental notes while retaining the basic harmonic and melodic shapes. A final arpeggio plunge draws a resonant conclusion.

A Set of Songs by Franz Schubert: Lob Der Thranen, Standchen

Lob der Tränen (In Praise of Tears, (D. 711), from 1818, was once one of Schubert’s most popular songs: it was included in the first volume of Peters edition of the songs and was apparently frequently sung in recital and at home. It is easy to understand why: the melody is intimately melancholy but with a lift at the end of each of the four strophes that brings comfort and consolation. August von Schlegel’s poem “Lob der Tränen” is itself is much more melancholy and even agonizing with its images of tears and sorrows, but Schubert’s setting seems deliberately to ignore these qualities and to dwell less on pain and suffering than on comfort and consolation. The warm triplets of the piano accompaniment, the quiet rapture of the vocal melody, and the Schubertian balance between major and minor make Schubert’s Lob der Tränen one of his most soothing songs.

Sequenza XI by Luciano Berio

A Polyphonic Mode of Listening

A Set of Solos by Marguerite Brown: Altostratus Undulatus, Crown Shyness

Marguerite Brown is a Northwest born Seattle composer, teacher, and multi-instrumentalist. Her work is focused on exploring the concept of cross-culturalization of different musical traditions.

8pm on January 26th, 2017 at Gallery 1412, 1412 18th Ave

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TRASH _ __ _Watershed group/ Forrest Friends/ Cucks/ Adam Levitt/ Fhtagn

January 21st

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music at 8pm / all ages / $5 suggested donation

Watershed group (St. Paul, MN) – indiscernible samples remarkable textures, grit , bite, sleep until otherwise.
https://watershedgroup.bandcamp.com/

Forrest Friends – A lovely spastic / sleepy adventure into dark warehouse parking lots, flamboyantly decorated living rooms, and now closed coffee shops. 777 .   (https://soundcloud.com/forrest-friends)

Cucks –  Parking garage avant rockers noise and whispers (https://cucks.bandcamp.com/)

Adam Levitt – I felt that inside my skull   (http://adamlevitt.bandcamp.com/)

FHTAGN – Spatial generative ensemble led by former cult leader Blake Degraw (https://fhtagn.bandcamp.com/)

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Benefit for Prisoner Solidarity: QRY~/~DoomII~/~Nightspace~/~EPB

January 12th 8 pm

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A benefit event for John Henry details below

Featuring,
QRY: an African trans woman sludge noise doom punk w/ screaming. Electric bass & distortion.
https://qqrryy.bandcamp.com/

Edge Petal Burn: a Boston-based project fronted by straight edge scorpio potato, Olivia West. Inspired by Kate Bush, plants, enemies, and Korean-American identity.
https://www.facebook.com/pg/edgepetalburn/about/?ref=page_internal
https://ricebabies.bandcamp.com/

Doom II: the enemy of progress, from Bad City, Olympia.

Nightspace: the dreamcore space punk you know and love, visiting home from New York.
https://nightspace.bandcamp.com/

We are raising funds to send directly to comrades of ours who are incarcerated and living on the front lines of climate change.
There will be an opportunity to hear about their stories, how to support, and to get involved in local and global struggles for prison abolition and collective liberation. Read about John’s story here: https://freeheathjohnhenry.wordpress.com/about/

Contact 羅雅 if you want to vend at the event or support in any way!
[Accessibility info TBE]

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Jeff Witscher//die Reihe//Kaori Suzuki//RM Francis

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Saturday, January 6, 2018, 8pm. $5-15 sliding scale.

Join us for an evening of experimental electronic music, featuring the hybrid concrète/digital synthesis constructions of Jeff Witscher, die Reihe’s conceptual deconstructions of dance music genres, and a presentation of a multichannel work by Kaori Suzuki, with an opening set by local artist RM Francis.

Jeff Witscher was born in 1983 in Long Beach, California and currently manages his own ​custodial & maintenance company Vincent’s Expert Cleaners in Portland, Or. He has recorded under a few different names, Rene Hell perhaps being the most known. He is an avid chess player​ & focuses on sound composition utilizing his computer accompanied by videos for his live performances. He’s currently working on an LP for Alter. Recent solo recordings include ​Stockfish, Fy Monkey Sisaj Kura, Cob Music, ​Bifurcating a Resounding No!, Meclu, & Vanilla Call Option.
https://soundcloud.com/rnpetalgaz

die Reihe is the moniker of composer and sound engineer Jack Callahan. Taken from the journal of contemporary music of the same name edited by Herbert Eimert and Karlheinz Stockhausen, die Reihe has primarily focused on clinical deconstruction of contemporary music tropes. His music has been released on Ascetic House, NNA Tapes, Anomia, Salon and his own Bánh Mì Verlag, an imprint dedicated to contemporary experimental music and culture.
https://nnatapes.bandcamp.com/album/housed

Kaori Suzuki (b. Tokyo) is a composer of electronic and electroacoustic music living in Oakland, CA. Her musical works are concerned with inner-sensory responses and transformative states, often emphasizing duration and dynamics through meticulous synthesis techniques. Her projects include her handmade instrument building platform Magic Echo Music, various solo/collaborative compositions with analog synthesis, and solo computer music utilizing spectral properties of transducer-driven objects combined with the use of auditory distortion products and other inner-ear phenomena. She has performed at various venues in the Bay Area and Pacific Northwest including Jack Straw Productions, Chapel Performance Space, Debacle Fest, TUFFest (Seattle, WA), S1 (Portland, OR), Berkeley Art Museum, Studio Grand, CCRMA (SF Bay Area), and recently the San Francisco Electronic Music Festival. She holds a master’s degree in Electronic Music and Recording Media from Mills College.
https://www.youtube.com/watch?v=Q2FeY140twA&t=1472s

RM Francis is an artist based in Seattle working with computer-generated sound via recordings, installations, and performances. His work is primarily informed by historical electroacoustic practices and posthumanist philosophy. He has performed at numerous festivals in the US, including Debacle in Seattle, 2 Day in Portland, Diffusion in Baltimore, and Human Festival in Philadelphia. His 2017 release Hyperplastic Other, a multimedia work utilizing chocolate and sound, is published by nada. Francis is also a member of the networked computer music ensemble Mesh Collaborative.
http://rmfrancis.net/

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Jacob Neenan and an amplified band.

Jacob Neenan

Ruby Dunphy

Joseph Oakes

Trevor O’Loughlin

Noel Kennon

 

Thursday 14th / Music at 8pm.  / Open to all

 

 

 

 

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Dec. 15th Mxd kd mixtape: Homecoming Release Party

Dec. 15th

7:30 – 10:30

Suggested Donation but come and listen if you are unable.

 

 

Join Malcolm Friend in celebrating the release of his debut chapbook, mxd kd mixtape. Alongside Malcolm reading his work, featured readers and artists will showcase their own work.

About Malcolm:

MALCOLM FRIEND is a poet originally from the Rainier Beach neighborhood of Seattle, Washington. He received his BA from Vanderbilt University and his MFA from the University of Pittsburgh. He is the author of the chapbook mxd kd mixtape (Glass Poetry), and has received awards and fellowships from organizations including CantoMundo, VONA/Voices of Our Nations, Backbone Press, and the University of Memphis. His work has appeared or is forthcoming in publications including La Respuesta magazine, Vinyl, Word Riot, The Acentos Review, and Pretty Owl Poetry. He currently serves as a Poetry Editor for FreezeRay Poetry

About the featured readers:

JASMINE SCHWARTZ is a Filipinx QTPOC artist from Seattle, WA. Their work confronts different facets of diasporic existence, including anti-blackness in the non-black community. With their work they aim to decolonize artist spaces, provide comfort, and a solid place from which to begin healing. They are currently in process to put out a chapbook of their own titled Remember Me This Way which will be available in the coming months.

JESSE BERNSTEIN was born and raised in Beacon Hill. He has been working with youth with 4 and half years in Seattle, Los Angeles, and New York and currently works at the North Seattle Boys & Girls Club as the Education Director. He is a Spoken Word Artist and most of his themes revolve around race, gender, politics, philosophy, life, death, childhood, family, and his experience working with youth. In his spare time he enjoys watching movies and TV Shows (right now The Wire, She’s Gotta Have It, and Mr. Robot), spending time with family and friends (including non-humans), performing, and living life.

LE’CHANTE’ RAIWALUI: “Motherhood is the ultimate test of balance between holding my daughter in one arm and deflecting the chaos of the world with the other, all while practicing unconditional love towards myself, my spouse, our daughter and others around me. So naturally mother-earth and life as I know it became the muse to my current work. Where I paint the image of my transition from a young woman being raised by my mother, to a mother myself raising a young woman. Every piece is my written guide to her as she becomes more aware of herself and the world around her. Between my involvement in the world and between raising a queen, Ive found just enough time to balance a glass of wine with a pen and notebook, to craft imagery by word for all women everywhere to relate to.”

ROBERT GAVINO was raised on occupied land called Renton, land of Coast Salish peoples. Born to Filipino immigrants, Robert traces their lineage to land-owners by Bikol volcanoes, landless farmworkers in Calumpit, and property-owners in Malabon. Robert’s creative & cultural work reflects their queer & non-binary life, their community organizing, & their clumsy navigation of the generational blessings & traumas of their family in diaspora. The focus of Robert’s community organizing as a non-black person in black youth-led movements like No New Youth Jail & Block the Bunker is to foster collective power through cultural & healing work. This work is Robert’s way of sharing their learning on this very clumsy, imperfect journey of liberation.

About the featured artists:

RAYCHELLE DUAZO is a queer femme Filipina-American visual artist from the Pacific Northwest. Artistically, her specialities include portraits, comics, and typography. Her work focuses on themes of love, heartbreak, loss, memory, identity, and place. She has spoken on QPOC art & activism panels both in Seattle & NYC, is an alumni of the VONA Voices Graphic Novel Program (2014), and is an active member of the Seattle-based comics artist collective, The HAND.

DEREK OBISO DIZON is a Filipino American cultural worker and grief companion residing in occupied Duwamish Territory. Born to immigrant parents from the Philippine Islands, the art Derek creates are expressions of a path in navigating and reclaiming the spirit, memory, and stories of his Ilokano, Cebuano, and Bikolano ancestry. Derek believes cultural work and artistic expression can be used as a vessel for healing and resistance for all peoples around the world who have been impacted by centuries of violence. Much of Derek’s work centers stories of intergenerational grief and liberation.

JULZ BOLINAYEN is a trans Ilokano queer femme dedicated to cultivating deeper relationship with plants and the Earth, and supporting intergenerational healing through Philippine plant-based tradition.

About mxd kd mixtape:

In his debut chapbook mxd kd mix tape, Malcolm Friend offers us a speaker on the fringe of becoming. If he were a superhero this would be his origin story. The musicality & rhythm that is promised in the title more than delivers, but what Friend also delivers on are poems forged within the many rooms of his identity. & these rooms are decorated with poetic craft & a keen knowledge of the songs that have shaped him. This collection, & Friend are a valuable addition to America’s poetic landscape. I look forward to many more work from this fresh new voice. — Yesenia Montilla, author of The Pink Box

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