March 6th Tristan Gianola NOLA // Crystal Beth solo // Robin Holcomb

Solo sets by Tristan Gianola (in town from New Orleans), Beth Fleenor and Robin Holcomb, with each other joining one another for other special musical excursions.
March 6th 2018 / 8P.m./ Sliding Scale $5-15

Tristan Gianola is a guitarist and composer, recently relocated to New Orleans, LA from Seattle, WA. Working in many styles and described as “flagrantly virtuosic” (Dave Segal, The Stranger), Gianola flexes his versatility as a guitarist while rooted in his studies of contemporary classical composition and conducting at Cornish College of the Arts. With many styles and sounds in his fingers and compositions, genre bending meets aggressive and unpredictable bombast in Gianola’s music.

Composer/clarinetist/vocalist Beth Fleenor harbors a strong love for variety & all sonic manipulation, moving freely through genres such as rock, jazz, classical, contemporary chamber, Slavic & American folk, metal, musique concrete, ambient & pop. Her work has been heard internationally from 100,000 seat rock festivals, maximum-security prisons, and performance art in rural bars, to art galleries, bunkers, sidewalks, sacred spaces, and some of the most prestigious concert halls, museums, clubs and theaters in the country. Believing that “art is the discipline of being,” Fleenor uses sound to open the channels of communication between and within individuals and environments. Her work as been heard in live music, recordings, theater, performance art, installation, modern dance, and film. She believes that an emphasis on creativity in a culture gives rise to creative solutions to social problems.

Pianist, composer, librettist, singer and songwriter Robin Holcomb has performed internationally as a solo artist and the leader of various ensembles at venues including Carnegie Hall, The Meltdown Festival, The United Nations, Teatro Manzoni, the Moers Music Festival, The Festival of Perth, The Hong Kong Arts Festival, Arts at St. Ann’s, the Guimarães, Verona, San Francisco, Vancouver and Earshot Jazz Festivals, Roulette, Royce Hall at UCLA and the Seattle Opera House.

Suggested $5 – $15 donation


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Feb 16th A Cucks Orchestra / Extraordinary Pigeons / Psychic Pain

Feb 16th

8pm    sliding scale admission

free if you will listen


A Cucks Orchestra: The legendary, seminal, noise jazz ambient classical band Cucks is going on tour and is kicking off the parade at gallery 1412! They invite anybody with an instrument (or not) to come on stage and join them for the most artistically expressive piece known to man.

Extraordinary Pigeons: Known as one of the most powerful noise acts in the Seattle area, Extraordinary Pigeons will most likely destroy everything at gallery 1412 using only sound waves . Make sure to bring protection for all of your senses.
Psychic Pain: known for creative instrumentation, this noise is not to be underestimated. Combining extremely advanced composition techniques with interesting experimentation, Psychic Pain could very well be one of the greatest musical artists of all time.
~There will be another act, and it will remain a mystery until the time comes for its appearance~

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MARCH 29th  8 pm


3/29/18 — Seattle, WA @ Gallery 1412 w/ Blessed Blood. 8-11pm.

suggested donation of $5-15






A Stick And A Stone is the project of vocalist-composer Elliott Harvey. Often joined on strings and vocals by Maria Boyer and Stella Peach, with a steady flow of guest musicians, A Stick And A Stone crafts haunting, minimalist, choral-ridden song-spells laced with ambient field recordings and poetic imagery. Performing as an openly trans and disabled artist, Harvey’s work is devoted to shedding light on the unseen and unheard. A Stick And A Stone uses music to converse with nonhuman life forms, fallen friends, and mysterious forces with reverent inquiries into surviving and restoring our fractured world. When not recording at home in the woods of occupied Chinook terrain, A Stick And A Stone has been found performing in cathedrals, galleries, festivals, public rituals and punk houses since 2007.
Indira Valey is a queer Latina multi-disciplinary performance artist and avant-garde musician. She channels powerful songs that reverberate with the voices of her ancestors and speak directly to modern audiences. Her ancient-sounding, resonant voice is a force of nature, and she utilizes a unique palette of instruments (flugelhorn, timpani, kalimba, bike wheel, and electric guitar) with effects pedals to create mesmerizing and memorable live performances that are ever-changing due to her spontaneous improvisational magic.

Amnesia Anhedonia is a performer and videographer based in Seattle and Chicago. Their work is informed by diasporic Rroma and indigenous Quileute ancestry, in dialogue with Queer genealogies, and in process with experiences of crisis and catharsis as a consensual sex worker and survivor of pre-verbal trauma. Their artwork is a vessel for liminal spaces of communion.


Blessed Blood is an electronics-based project by Seattle’s Rachel LeBlanc. Utilizing hardware effects to expand upon the natural resonances of singing, she processes harmonies into ecstatic hymns, wherein ethereal vocals glide above pulsations and sharp angles. The sound is informed by the artist’s life-long home of the PNW, traditional music forms and choral assemblies, and the exploration of history both personal and cultural, resulting in what is at once familiar and unsettling.


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The Seattle Improvised Music Festival – 2/10/18

8 pm
$5-$15 sliding scale donation
2018 SIMF kickoff show at Gallery 1412
The Seattle Improvised Music Festival (SIMF) is the longest-running festival in the US dedicated solely to music that is completely improvised: no scores, no plans, no safety net. This is truly “music of the moment,” allowing artists from diverse musical backgrounds to meet up in an atmosphere of spontaneity, intuition, playfulness, and discovery.
Lisa Cay Miller, Piano (Vancouver)
Melanie Sehman, Percussion  (Bellingham) + Mike Gebhart, Drums (Seattle)
Miller + Bonnie Whiting, Percussion (Seattle)
Lisa Cay Miller is a pianist and the director of Vancouver’s New Orchestra Workshop Society.  Her work combines jazz, modern composition, and free improvisation in a vibrant and challenging context.
Melanie Sehman and Mike Gebhart improvise music that draws on the languages of experimental, contemporary music and free improvisation. Incorporating drums & traditional percussion, found instruments, gesture, extended techniques, singing & body percussion to create works that explore the immediacy of human interactions and perception.
Bonnie Whiting performs, commissions, and composes new experimental music for percussion. She seeks out projects involving non-traditional notation, interdisciplinary performance, improvisation, and the speaking percussionist.
Expect an explosive final set combining all four musicians.

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Project W re-heated: REVISED TIME


**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.


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


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.




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



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

Watershed group (St. Paul, MN) – indiscernible samples remarkable textures, grit , bite, sleep until otherwise.

Forrest Friends – A lovely spastic / sleepy adventure into dark warehouse parking lots, flamboyantly decorated living rooms, and now closed coffee shops. 777 .   (

Cucks –  Parking garage avant rockers noise and whispers (

Adam Levitt – I felt that inside my skull   (

FHTAGN – Spatial generative ensemble led by former cult leader Blake Degraw (

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