Rob Angus has been composing and performing in Seattle since the early 1980s. Having studied electronic music at the Boston School of Electronic Music and Penn State University, he became more interested in manipulating acoustic sounds. These days he tends to make acoustic music that often sounds like electronic music. Listen on BandCamp.

This is a live recording in four parts – actually, four live recordings.
The first two are older pieces played on two Mirage sampling keyboards, the third combines sampler with winds and horns, and the fourth uses a bell, gong, cymbal, percussion, trombone and cello, but no sampler.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Samantha Boshnack (trumpet, flugelhorn) and Chris Credit (tenor & baritone saxophones) have worked together for 13 years. They played together for five years in the modern jazz sextet Reptet, which featured all-original compositions from each member of the band, released two albums and a single, and toured extensively. In 2011, Boshnack started creating her own ensembles featuring her compositions exclusively. Credit is a member of Boshnack’s 14-piece alternative chamber orchestra, B’shnorkestra, which has released two albums and played many NW performances including Earshot Jazz Festival; he also plays in Boshnack’s group Seismic Belt, whose performances include Festival of New Trumpet Music and Winter Jazzfest in NYC.

This duo project draws on their rich musical relationship, exploring compositions and improvisations in an intimate, agile, and unconfined setting. This performance, recorded at the Chapel by Steve Peters, features three previously un-released Boshnack compositions and concludes with a free improvisation.

(00:00) Small Beast
(08:55) Little Ball of Energy
(17:10) Song for the People’s
(22:35) Improvisation

(photo: Chris Davis)

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Nital Etch is Kevin Lewis. Primarily a string player, operating out of Seattle. He enjoys hard labor, paying bills, and sleeping.

Desperation
Compiled 11/19/2020: Cello, lap steel guitar, synth/electronics. Dark neoclassical, ambient, drone seasoned with doom.

00:00 Onward Forever
01:58 Persona Non Grata
07:00 Cloth Mother
09:25 Feed The Crows (Tweed Session)
19:40 Despondence
23:23 Wednesday 6:16 PM
24:48 Hurrah Hurrah

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

First meeting in Seattle’s lost iconic venue, Cafe Racer, Heather Bentley (viola) and Dio Jean-Baptiste (drums) have been celebrating their ongoing experimental listening fest for audiences of one to hundreds. In live streams, VJ collaborations, recordings, dance collaborations, concert halls, and house concerts, they’ve been locking ears and wielding sounds for over five years and have no plans to stop. (Venmo: @Heather-Bentley)

(Photo: Alissa Jean-Baptiste)

Digital album available on BandCamp.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Gyre is an experimental electronics trio formed by Michael Shannon (Eye Music, Aono Jikken Ensemble, Yuan, Earnerve), David Stanford (Eye Music, Aono Jikken Ensemble, Gamelan Pacifica), and Carl Lierman (Eye Music) in January of 2012.

Gyre’s sound making practice is inspired by the helical swirls found both in nature as well as the philosophical ideas of the Gyre by writers such as W.B. Yeats; spirals and cycles of creation and disintegration, forming currents and shapes of sound that can take on a life of their own. We work entirely with electronics: Oscillators, internal and external feedback circuits, transducers, misused effects. As such, instability plays an important roll in our exploration; a commitment to realizing the creative power of unpredictable connections: present in the moment, everything is next.

Recorded at the Baumhaus 11-14-2020

(00:00) Session 1: A Method of a Cloak

“A single climb to a line, a straight exchange to a cane, a desperate adventure and courage and a clock, all this which is a system, which has feeling, which has resignation and success, all makes an attractive black silver.” Gertrude Stein, Tender Buttons

The sudden (straight exchange) intersections in the opening few minutes, followed by the emergent forms (all of which [are] a system), the embedded feeling of the three of us rediscovering and reactivating our practice after a lengthy, forced hiatus.

(28:14) Session 2: Curves

The revelation of phase, over time, frames. What will the future shape be?

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

A sound artist, Fulbright scholar, and Guggenheim fellow, Robert Millis has authored or co-authored books (Indian Talking Machine and Victrola Favorites) produced compilations and documentaries for the Sublime Frequencies record label, (including Paris to Calcutta: Men and Music on the Desert Road and This World is Unreal Like A Snake in a Rope), composed for radio (“The Gramophone Effect” for Documenta14) and film (the cult horror film Session 9), and released numerous recordings as a solo artist, as Climax Golden Twins, as Telescoping or as Idol Ko Si. Recently he was part of A Slightly Curving Place at Berlin’s Haus der Kulturen der Welt.

This work is about wind up gramophones, Victrolas and Edison cylinder players. I use them as chambers for feedback resonances alongside deconstructed fragments of 78rpm records, and reconfigured surface noise. Related to my Related Ephemera LP, recently released on the Helen Scarsdale Agency, it’s about fragility, overtones, texture, and memory; an insomniac falling asleep.

A few found sounds, a Japanese sho, and a guitar make appearances, but otherwise all the sounds were derived from old phonographs and recordings. Some sections were performed live, and some assembled in my studio. Ko Ishikawa played the sho.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Doug Haire lives on NoBeHi and is generally associated with music.

Here are three pieces inspired by our lives in 2020. The first is a complex drone soaked in an ether bath. I’m finding that all the elements of drone music say the most when the nights grow long. The second track is about all that can happen between 11 beats per minute. It’s this larghissimo thinking that I bring to the Oregon desert. And finally, the sound of the end of town. A place where the street dead-ends and the countryside returns. A place where you find yourself just thinking about stuff. The local and the cosmic.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Joshua Limanjaya Lim is an experimental, electronic artist who uses modular and hardware synthesizers to create ambient / lofi music. He embraces minimalism, as well as the beauty contained within a sound’s imperfections.

This 3-movement piece makes use of sounds both natural and synthetic – from pianos, oscillators, and wind chimes. Elements are mangled and stretched to create slow-moving and meditative soundscapes, while melodies interweave and blend into interesting harmonic relationships. This minimal ambient improvisation acts as a guide through self-reflection and contemplation.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Bonnie Whiting performs new experimental music, seeking out projects that involve the speaking percussionist, improvisation, and non-traditional notation. Her second solo album, Perishable Structures launched in 2020 and places works for speaking percussionist within a context of storytelling. 2021 brings the premiere of Through the Eyes(s): an extractable cycle of nine pieces for speaking/singing percussionist collaboratively developed with composer Eliza Brown and nine incarcerated women, and the world premiere of a new percussion concerto by Huck Hodge with the Seattle Modern Orchestra. She is Chair of Percussion Studies and an Assistant Professor of Music at the University of Washington.

Control/Release (2020) is a companion to my piece Control/Resist (2017). The earlier work is a musical expression of two sides of political action: the private daily work of sustained resistance and the less frequent acts of public demonstration/shared experience. It is punctuated by crowdsourced recordings from the Indianapolis Women’s March on 1/20/17 and eruptions of cathartic white noise. In the days after the 2020 election in the US, relieved and exhausted, I was compelled to think about how long-term, sustainable political action might evolve in the coming months. Control/Release (2020) explores a near-continuous soundscape of gradually-shifting, purely acoustic white noise punctuated by various bells/resonant pot lids, extending the cathartic moments from the earlier work to become constant, noisy, ambient drones.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.

Faith Coloccia is an artist and musician who works under the names Mamiffer and Mára. Her recordings have been released on SIGE records, Karlrecords, Room 40, Hydra Head and Touch. She is the co-founder of the experimental music label SIGE Records.

Voice III Continuum

Halfway through the shutdown and the pandemic I started going through all of my cassette field recordings from when my son was first born. The current state of our collective consciousness was layered on top of the sounds recorded before I knew that the events and hungry ghosts of 2020 were even a possibility. I couldn’t unhear the “Before” and “After” of this year. Recordings of the past are now laced with a heavy urgent present.

The work I have been doing with the recordings corresponds to my son learning language, first abstractly and now more concretely, as he learns individual letters removed from their subjects. How does communication develop if sounds are missing, or if time or limitations take a consonant away? What if you cannot be heard, or if someone has forgotten how to listen? Communications through click and vibration. There is a window of time where language can take root in a child, along with ideas that the language carries. How does this information become a story, passed down through families? In making this song, I was reaching for a sound antidote, and a lineage prayer.

Source material: cassette field recording of Needle Creek on Vashon Island while walking with my then 2 year old son, 2018.

Voice and Organ recorded and mixed at home August-October 2020 by Faith Coloccia. Mastered by Kevin Ratterman.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is commissioning ten Seattle artists each month to create a series of streaming audio sessions of previously unreleased material.