Seattle Scene: March 9-24, 2017

From Seattle’s Wayward Music Series:


Chapel Performance Space at Good Shepherd Center

4th Floor, 4649 Sunnyside Ave. N, Seattle 98103 (corner N 50th St. in Wallingford)

Every month, Nonsequitur and a community of like-minded presenters and artists offer ten concerts of adventurous music in an informal yet respectful all-ages setting: contemporary classical, free improvisation, the outer limits of jazz, electronic music, microtonal/new instruments, sound art, and other extraordinary sonic experiences.

Honey Noble + Carbon Quartet
Thu. March 9, 8 PM; $5 – $15 at the door

Honey Noble is a project headed by songwriter and vocalist Katie Jacobson. On this gig they will be doing a theatrical performance, part concert and part play titled “The Monster”. Carbon Quartet (Rulon Brown, soprano sax, Nick Torretta, alto sax, Kevin Nortness, tenor sax, Chris Credit baritone sax), a saxophone foursome that performs some of the most exciting and dynamic quartet music on the planet.

Austin Larkin
Fri. March 10, 8 PM; $5 – $15 at the door

Violinist Autsin Larkin and a group of 21 musicians Metal Cups of Different Hues – a field of tiles, a field of bells, a choir of bells, megaphones, forged gongs tuned to the harmonic series, tempered piano and violin. Material qualities of sound sources and structural aspects of the sounds are unified, bringing focus to the corporeality of the music and interaction of place.

Seattle Modern Orchestra
Sat. March 11, 7 PM; $25, $15, $10 online

Double Portrait celebrates the centennial of American composer Robert Erickson and the 80th birthday of legendary Seattle trombonist and composer Stuart Dempster. Erickson crystallized the American pioneering spirit in music, and the three works on this program give a glimpse into this underrated artist. SMO will also feature works by Dempster, including S.M.O.R.E.S., a world premiere. Interview with Dempster at 7:30.

SAT. 3/18 – GIFT tapes presents Matt Carlson + Jeff Witscher + Jason E. Anderson

THU. 3/23 – Cursive plays music by Peter Nelson-King, Dennis Riley, Ronald Roseman, Judith Shatin, Chinary Ung, Ralph Vaughan-Williams

FRI. 3/24 – Lori Goldston & possibly others TBA, tribute to Genviève Castrée

5049 Records Podcast Episode 106 – Lester St. Louis 

Source: 5049 Records.

Lester St. Louis is a young cellist & composer who you will be hearing a lot from in the coming years. Born in Queens, he has been living in Brooklyn since he was seventeen, immersing himself in the city’s music scene. He has performed with Joe Morris, Dre Hocevar, Chris Pitsiokos and others, has presented several solo concerts, programs a music series in Brooklyn and for the past several years has managed the Lower East Side venue Spectrum.

AMN Picks of the Week: Sult + Lasse Marhaug / Mens & Kouw / Eivind Opsvik / John Zorn / Perelman-Shipp

English: description: Lasse Marhaug photograph...

Here is where I post, at a frequency of about once a week, a list of the new music that has caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended.

Sult + Lasse Marhaug – Harpoon (2017)
Radboud Mens & Matthijs Kouw – 1 (2017)
Eivind Opsvik – Overseas V (2017)
John Zorn – The Garden of Earthly Delights (2017)
Ivo Perelman / Matthew Shipp / William Parker – The Art of Perelman-Shipp Volume 1: Titan (2017)

Musique Machine Reviews

Merzbow, prominent Japanoise musician, in 2007

Source: Musique Machine.

Dosis Letalis/Ropes – The Infernal Depths
Vomir/Train Cemetery – Split
Ufosonic Generator – The Evil Smoke Possession
Aborym – Shifting.Negative
Renaldo and the Loaf – Gurdy Hurding
Hexa – Factory Photographs
Merzbow – Hanakisasage
OGROFF(aka Mad Mutilator) – OGROFF(aka Mad Mutilator)- DVD
Official Music Team – Sonkillage Vol3
Frank Bretschneider – Isolation
Maeror Tri – Sensuum Mendacia/Somnia
Laster – Ons Vrije Fatum
Gandalf – Journey To An Imaginary Land

Folk, Experimental Electronics, and Avant-Garde Music in Ireland 

Source: Bandcamp Daily, an overview of this “genre.”

There’s more than a few comparisons to be made between a contemporary underground in Ireland and the US-based movement dubbed by writer David Keenan back in 2003 as “New Weird America.” While both the Irish and U.S. scenes have roots in 1960s music, they also refuse to sit comfortably within the auspices of “folk.” The American groups Charalambides or MV & EE dealt in acoustic guitars and sprawling verses, but they also relied on heavy doses of dissonance and improvisation, filling out their sprawling discographies with psychedelic sidelong experiments. Similar rumblings have been taking place in Ireland.