Tim Root: Kerplunk

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

Pianist, composer, and experimentalist Tim Root premiers his new Music/ Theatre/Performance work, Kerplunk for amplified instruments, voices, electronics, movement and foot-Foley. Blending Kagel, Kaprow and Kafka, Kerplunk tells the story of an abduction, a girl with a missing leg, an unhinged veterinarian and a fateful bus ride. Featuring Beth Fleenor (amplified clarinet, voice), Eric Barber (sax, electronics, spoken text), Bill Horist (prepared guitar, canine autopsy) and Tim Root (inside/prepared piano, electronics, voice).

A founding member of San Diego’s notorious Sledgehammer Theatre and Director of the industrial performance collective Bob, Tim Root has been creating new music/theatre/performance hybrids for more than 30 years. Kerplunk continues his practice of blending still-life theatrical narrative with improvisation, noise and electronics.

Inverted Space

Presented by UW School of Music. Inverted Space is a new student-led ensemble devoted to performing the music of our time. Tonight we present a program of music by UW student composers:

Anthony Vine, work for saxophone and electronics

Abby Aresty, Efflux for flute, clarinet, violin, cello, and percussion

Jeffery Bowen, Stalasso II for flute, violin, cello, and piano

Joshua Archibald-Seiffer, Piano Trio for violin, cello, and piano

Yigit Kolat, rejected for flute, violin, cello, and piano

Kim Rivera, The Flock Becomes Empty for flute, clarinet, violin, cello, piano, soprano, and speaker

Magma Festival

Presented by Hollow Earth Radio. Of Magic (Lori Goldston, cello; Paul Hoskin, low reeds; Dave Abramson & Paul Kikuchi, percussion); A White Hunter (Oak); Bad Luck (Neil Welch, sax; Chris Icasiano, drums); Scorpio Scorpio Scorpio

Rinus van Alebeek + Paris Hurley

Presented by Nonsequitur. Berlin-based Dutch artist Rinus van Alebeek is a writer, lo-fi sound artist, and Director of Staaltape, the cassette offshoot of esteemed label Staaplaat. Paris Hurley (Seattle) is known primarily as a violinist (Degenerate Art Ensemble, Jherek Bischoff, Kultur Shock) and increasingly as a dancer and performance artist. Tonight they each present very different works for multiple cassette recorders.

Quasar Saxophone Quartet

Presented by WA Composers Forum. The Montreal-based Quasar Saxophone Quartet is dedicated to premiering and promoting contemporary music that is multi-dimensionally conceived. Quasar explores different aspects of artistic creation from instrumental music to live electronics, from improvisation to instrumental theatre. The quartet brings new works by Canadian composers and Seattle composer Donald Stewart. PROGRAM: Facing Death by Louis Andriessen; TDU/Q by Giorgio Magnanensi; Du souffle by Philippe Leroux; world premiere by Donald Stewart; Brumes matinales et textures urbaines by André Hamel

Carver Audain + Rafael Anton Irisarri

Presented by Nonsequitur. New York-based composer Carver Audain creates immersive sound environments using digital signal processing and editing techniques on a variety of environmental and instrumental recordings. His recent works explore harmonic structures comprised of slowly shifting sound fields that merge and transform within their physical surroundings. Rafael Anton Irisarri is a Seattle-based composer, multi-instrumentalist, curator, producer, and interdisciplinary artist predominantly associated with post-minimalist, drone, and ambient music. He debuts a new piece for electric guitar, synthesizer, and digital looping objects.

Distorrent + Noisegasm

Distorrent is a collaboration between the sonic textures of Clonal Machina and the fuzzed out synth lines of Brad Anderson. Noisegasm is a keyboard based electronic project featuring Greg Weber (synth, sound engineering) and Brad Anderson (synth, electric piano). They create short works that are most often abstract textures of sound.

Victor Noriega/Gust Burns: 2 Trios

2 Trios is a new recording featuring pianists Victor Noriega and Gust Burns leading two separate ensembles with the same backing rhythm section of bassist Jeff Johnson and drummer/percussionist Greg Campbell. The recording was produced with assistance from Jack Straw's Artist Support Program.

Seattle Composers' Salon

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: Matthew James Briggs, Doug Palmer, Marcus Oldham, Tom Baker.

Awesome Personalized Instruments With 3D Printing

What artist hasn't was standing in their preferred music store and thought, "If only I had enough money I would buy that in a heartbeat"? Due to 3D publishing this may be a subject put to rest. Scott Peak, artist and 3D developer, has printed the first instrument and by doing so has brought up all kinds of musical technology opportunities.

3D publishing is the process of developing a three-dimensional item from a digital design that has been designed on a pc. Design guidelines are sent in a computer file from the pc to the 3D printing device, where it chooses the correct components and "prints" them together part by part to form the item. This method of production allows an unmatched amount of personalization and provides available means of development to the community.

3D photo printers have designed instruments in the last, but this is the first attempt at publishing an instrument. Peak didn't originally anticipate his nasty design to work. He thought that the nasty would click due to the stress of stiffened post, and even if it live through the stress he presumed that the guitar's audio quality would be inadequate. Much to his shock, his instrument didn't click. And it seemed great!

"It's wealthy and full and has an excellent tonal variety," says Peak who has had a lot of time to play with his new instrument. Although the nasty seemed good, he included some timber to create the audio lighter.

Various instruments have already been printed. The personalization element of 3D publishing has designed some pretty amazing guitars such as ones that look like a spider's web and others that are made of entirely of geometrical styles.

3D Systems has joined up with Peak to create a professional line of customized guitars. "If we want it to audio like a Gibson we add mahogany and if we want a [Fender] Strat or Telecaster audio we use maple". Whenever the group has a new idea they flame up the photo printers and test it out, which is extremely cheap.

The collaboration is now scheming to create Gibson Les Paul-style systems from polyether ether ketone (PEEK), which has similar hardness to timber. Along with 3D printing's ability to generate things with complicated inner forms, this provides a variety of sound opportunities.

Thanks to 3D publishing, instrument development is now less expensive and more flexible. The only guitar players who can grumble are those artists who amuse their viewers by striking their instrument on level. Unfortunately for them, these printed designs are extremely resilient and can hold up against even a intense onstage defeating.

Eyvind Kang & Jessika Kenney

Acclaimed duo Jessika Kenney (voice) and Eyvind Kang (viola, setar) play original pieces from their LP The Face of the Earth (Ideologic Organ), as well as repertoire from the classical Persian tradition.

Banned Rehearsal

"Let's try a session playing instruments we don't know how to play." This simple suggestion in June of 1984 among three newly re-united musicians wrought an improvisational project of uncommon longevity and abundance. Nearly 29 years along, and with 830 recorded and numbered sessions behind us, we are still not entirely sure what we are doing. Charter members Keith Eisenbrey, Aaron Keyt, and Neal Meyer will be joined by long-time collaborator Karen Eisenbrey and recent adoptee Steve Kennedy in an evening of noise and exploration.

Sanchez / Greenlief / Ospovat

NYC pianist Angelica Sanchez and frequent Bay Area collaborators Phillip Greenlief (saxophone) and Sam Ospovat (drums) play improvised music — not the free-wheeling sounds you would expect from the purveyors of classic free jazz, but rather music that is improvised with a mind for creating spontaneous themes, melodies and forms that the musicians use as a springboard for variation and development. Seattle saxophonist Jacob Rex Zimmerman and Bay Area guitarist Jameson Swanagon open.

The Best Navy Foxes Music of All Time - Top 5 And Why

1) "White Winter time Hymnal" from Navy Foxes (2008)

Imagine going for a sleigh drive on a warm, but cool winter day. You see the pumpkin heads or scarecrows of plants sleeping and listen to the sleigh alarms buzzing, as the cool air refreshes your respiratory system. That's what White-colored Winter time Hymnal stands for for me. This music is only one line recurring three times. Navy Foxes presents themselves to the musical technology landscape with this individual off of their first record that shows their clean harmonies along with simple instrumentation. The group has gone on to cover more floor than what is proven in this music, but this music condenses them to their essential components. You'll listen to it once and it won't keep you.

2) "Your Protector" from Navy Foxes (2008)

The 8th monitor off of their first appearance record was an anthem. With less (but still quite a few) oral harmonies than White-colored Winter time Hymnal, Your Guard features the group's capability to use instrumentation successfully. The emphasize of this music for me is the flute aspect that describes the personality of the whole music. The tambourine-plus beat contributes to the feeling that this music was published and conducted around a fire somewhere and sang to the celestial satellite.

3) "Blue Variety Mountains" from Navy Foxes (2008)

Again back to the concept of careful instrumentation along with dense harmonies under numerous reverb, Red Variety Hills shows the substance of Navy Foxes. The almost stroking violin aspect that appears to be like it is being conducted in an old-west saloon, places the scenery along with a easy instrument. The music seems like a increase through the timber in springtime with high evergreens all around you and the audio of a reducing flow in the qualifications.

4) "Helplessness Blues" from Vulnerability Doldrums (2011)

Another anthem from the group, Vulnerability Doldrums was the headline monitor from the group's second record. As the droning instrument places the scenery and manages the beat for the first 50 percent of the music. Of all their songs, this one informs me most of a common Simon & Garfunkel track. The second 50 percent of the music is presented along with more instrumentation such as some drums and an instrument. Throughout the music the words perspective in and out of balance... something we've come to anticipate and appreciate from the group at this point.

5) "Montezuma" from Vulnerability Doldrums (2011)

Montezuma informs me a lot of White-colored Winter time Hymnal off of the group's first record, but this music appears to be more like summer months instead of winter. Instead of two connected oral collections we listen to a choir audio assisting the main line as in White-colored Winter time Hymnal. As regular, the easy individuals style instrument manages all of the instrumentation. This music is most comparable to relaxing in a grassy area on a mid-summers day viewing the atmosphere flow by along with my roaming ideas.

Concert Imaginaire

Concert Imaginaire is a unique music ensemble that pushes the boundaries of form and content, drawing listeners into a musical world that is as much psychological as it is visceral. Consisting of voice, violin, bass, synthesizer, guitar and percussion, the ensemble will perform electric chamber music, group free improvisations, and art songs.

Neil Welch + Chris Icasiano

Saxophonist Neil Welch performs music from his new full-length solo album Twelve Tiny Explosions, released on the local label Table and Chairs Music. Cluster, mute, smear, rangy, scream, coo, blast – Welch is an active mover of modern improvisation. Approaching the instrument as more a textural tool, tonight's performance will be inspired by the unique sound of the Chapel. Chris Icasiano, one of Seattle's most inventive drummers and a longtime collaborator with Welch in the duo Bad Luck, opens with a set of solo drums.

Beth Fleenor Workshop Ensemble

Beth Fleenor leads an 11-piece ensemble performing her 2012 conduction work SILT plus music for blindfolded ensemble. Beth Fleenor, clarinet/composer; Michele Khazak, voice; Kate Olson, soprano sax; Chris Credit, winds; Brian Bermudez, winds; Sam Boshnack, trumpet; Paul Kemmish, bass; Evan Flory-Barnes, bass; Michael Owcharuk, piano; Greg Campbell, percussion/French horn; Adam Kozie, drums.

The Best Radiohead Songs of All Time

"Paranoid Android" from OK Pc (1997)

Referred to by many as a Bohemian Rhapsody for a young creation, Weird Android operating system is a real trip. The music informs a tale with and its unique segments take you through different musical technology scenery along the way. Various group associates proved helpful on each area independently, and then they installed them together to type a 6min+ music. This music is definitely one of the most impressive songs of all-time and has to be in any discussion for best Radiohead music of all-time.

"Idioteque" from Kid A (2000)

Jumping and moving surpasses meet with Yorke's serious oral collections. Lyrically, this music is one of the group's most exciting, with highly apocalyptic undertones. The collections themselves stay a bit uncertain and mysterious, but they cause you to feel like a surprise is preparing somewhere. This music provides you ahead like an sea increase. The defeat holds you and doesn't let you go until the end of the monitor. And you probably didn't even observe that this music doesn't have any instrument in it...

"Karma Police" from OK Pc (1997)

Back to Radiohead's milestone record again, Seo Cops was the immediate hit from OK Pc. This music is one of those great performs of art that appears to be like something you observed before, but can't keep in mind where. The music gets to so greatly within of the audience that it resonates with our very humankind. Pay attention to this once and you won't be able to get it out of your go for the next weeks time.

"Codex" from The Master of Divisions (2011)

Words that explain this music include: serenity, comfort, take care of. Codex seems like a amazing desire I once had and, try as I might, couldn't keep in mind. Radiohead shows the art of convenience in this music. Every audio seems clearly believed out, every activity calculated, and every second loaded completely. What an amazing business presentation of stability in music.

"Everything in Its Right Place" from Kid A (2000)

The starting music to Kid A doesn't let you down. It yells out the group's objective to destroy the position quo of recent music. Like Codex (which would come 11 years later), this music is all about wonderful constraint and stability. The music functions just a drum device, key pad, and Tom Yorke's terms. But don't let that deceive you into considering that the music does not have power or speed... it will capture you up like a natural disaster.

Seattle Improvised Music Festival #3

Presented by Seattle Improvised Music and Nonsequitur.

The longest running improvised music festival in North America celebrates its 28th year, bringing together a gamut of Northwest luminaries to meet up with three remarkable visiting musicians: Trio: LaDonna Smith (violin, viola, voice), Tari Nelson-Zagar (violin), Monica Schley (harp); Duo: Craig Taborn (piano), Greg Campbell (percussion); Solo: Tucker Dulin (trombone) 

Seattle Improvised Music Festival #2

Presented by Seattle Improvised Music and Nonsequitur.

The longest running improvised music festival in North America celebrates its 28th year, bringing together a gamut of Northwest luminaries to meet up with three remarkable visiting musicians: Quartet: Tucker Dulin (trombone), Gust Burns (piano), Mark Collins (bass), Jonathan Way (electronics); Solo: LaDonna Smith (violin, viola, voice); Trio: Craig Taborn (piano), Paul Hoskin (baritone saxophone), Mark Ostrowski (percussion)