KRGA Archive


Kristian Garrard: From Electroacoustic to Acoustic

Luke Bergman and Kristian Garrard at Aphonia Recs Showcase April 2008

Kristian Garrard (KRGA) & Luke Bergman are Thousands.

In the past 4 and a half years our label has gone through many changes and growth spurts. Our artists are no exception. I have seen many of them play their first shows, go on tour, later to dissolve, reform and reinvent themselves. Kristian Garrard is one such individual.

I recall meeting him very early on in the Aphonia Recordings journey. Ben had met another Max/MSP composer and was extremely eager to have Kristian release something under his moniker KRGA. Later we would tap Kristian to play many of our showcases. Ben and Kristian even hosted a Max/MSP workshop at Gallery 1412, detailing the cryptic under the radar manipulations that many disavow as mere knob twiddling and laptop music. Yes, Kristian performed with a laptop but the results were simultaneously engaging, sedative, dynamic and, at times, frightening. Some of the best performances I witnessed during our run of showcases were shows in which KRGA was the headlining act.

By the summer of 2009 it was clear Kristian was onto other material. By this time he had released his first EP Magic Wand [AR014] and the full length June [AR016CD]. Both were mere snapshots of a larger musical genius at work. I had known that Kristian had been a drummer in the band Joules and that he was a blossoming master of electroacoustic improvisation. It was with his formation of Lonesome Shack and Thousands that is became clear that there was little Mr. Garrard could not do.

A few months back I passed by Kristian on Ravenna Boulevard where we both live – we are neighbors as well. I had no idea that this casual passing was on the brink of Thousands getting signed to UK imprint Bella Union. Yes, the very same Bella Union that signed Seattle’s Fleet Foxes in addition to Andrew Bird, Wavves and Midlake. Very good company, indeed. Hearing the news that they had been signed took me back to a show that Kristian and Luke had played at one of Kristian’s last appearances at our showcases.

Fully expecting to hear KRGA’s signature hum and layered developing/enveloping textures, I asked what he and Luke were doing there with a guitar and an upright bass. “Are you gonna hook that up to your (Max/MSP) patch?” I joked. Kristian something like, “Oh we are just going to play acoustic… no mics.” I knew some direction had changed for Kristian and while I knew him to be a consummate performer, he and Luke’s short set that night headlined a night of ambiant and noise music like no other. The strains of Kristian’s particular weaving chords, half resolutions and sustains and Luke’s persistent and hardy upright bass backbone ended the evening with a tribute, a lullaby that later would morph into Thousands.

Recently they have been playing sold out shows, completed a successful tour of Europe and were rightfully praised in Seattle’s alt-weekly The Stranger. Mr. Reighley describes their sound: “Like a shadow that cannot be divided from the entity that casts it.” Well said, and best of luck to our pals, Luke Bergman and Kristian Garrard.

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Upcoming Releases: Mangled Bohemians CD, Derek M. Johnson LP, Phantom of the Opera DVD and a New Compilation!

The first few months of 2011 are going to be exciting for experimental music! We are indoctrinating many new artists and new media into our release schedule, including our first vinyl release and our first DVD/Film release. New to the fold are Rachel Carns, known primarily as an amazing musician, pioneering the Queercore movement in the Western U.S. She is also a graphic designer extraordinaire and post modern Renaissance woman. Derek M. Johnson will also be offering his first ever full length release. Although no stranger to the Aphonia universe by virtue of being the artist most frequently appearing at Aphonia Showcases and sponsored events, Johnson here will offer a full length record for the first time. More on all of this later.

First up, as has been recently announced, is Mangled Bohemians new album At the Edge of Earth currently available for pre-order here. This new venture from James Lee of Portland is a swirling mass of psychedelia, meandering ambient soundscapes and as has been featured as of late in Mangled’s live shows, vocals from Lee.

Also on the way is a brand new series of tracks from Olympia, Washington’s Derek M. Johnson. Mr. Johnson has been cultivating a live performance consisting of hand treated slide mounted film, projected via slide projectors against a melange of acoustic solo cello, looped and destroyed tones, all emanating from Johnson’s cello and massive array of effect pedals. Though Johnson’s live show is abstract and often dark in tone, his new LP (release date forthcoming) is subtly beautiful, timeless and varied. It’s themes cover emotional extremes: beauty, anger, melancholy and rain. It should prove to be a truly exciting release as it will be the first ever vinyl release from Aphonia Recordings. There will a limited first run and we will announce a pre-order sale in the near future.

In addition, is an ensemble piece for the 1925 silent film The Phantom of the Opera. Back in December of 2008 Aphonia Recordings hosted a showcase featuring the ensemble (Rachel Carns, Heather Hall, Daniel Buscher and Derek M. Johnson) at the Gallery 1412 collective in Seattle, Washington’s Central District. The resulting recording and performance was so remarkable that we soon decided to create a DVD release of this live performance. The release has been somewhat delayed but we are now set to release it in the next couple of months. The packaging will include cover and insert designs from Rachel Carns and will be hand assembled by the crack Aphonia Releases & Promotions Lab Team. You can listen to our original podcast previewing the show here – it features portions of the debut performance at the Olympia Film Festival.

Original Show Poster designed by Rachel Carns

And last but not least we will be releasing a sampler compilation that will feature new/unsigned aritsts as well as Aphonia stalwarts Paintings For Animals, KRGA, Desolation Wilderness, Darwinsbitch and much, much more! In fact, it will be so crazy good that you will probably want to buy one for your mom as well.


APHONIA FEST 2009 – JUNE 4, 5, 6 (( THURS // FRI // SAT ))


Hello Everyone,

I wanted to let you know about a festival that we (Aphonia Recordings) will be hosting during the first week of June. As a celebration of 2+ years in business, we have organized this three day festival featuring friends & artists across the region & the country. In classic Aphonia-fashion, the festival will showcase a synthesis of Electroacoustic, Microtonal, Performance Art, Avant-Pop, & New music. As always, we hope to see you there….

-Ben Robertson

Desolation Wilderness is a West Coast band. They left the parking lots and the malls, the high schools and the valleys, and found their home at the summer night overlook. Taking the sounds of the cities below & amplifying them into a pitched resonance, they write slow burners & warped guitar/synthesizer/vibraphone ballads influenced by drone music, the photorealistic art of Robert Bechtle, & musique concrete (with pulse included). Desolation Wilderness has released music with a variety of labels, including Aphonia Recordings (In Love With Anything 2007). They hit the studio again & recorded New Universe for release on K Records in August 2009. Itching to leave the studio again, Desolation Wilderness will be touring extensively in support of New Universe.

(b. 1971, Washington DC , US )
Since arriving in Seattle in the mid-nineties, Bill has established himself as a highly regarded performer, composer and improviser. He has appeared on over 50 releases and has performed hundreds of concert around the world. In addition to his solo endeavors and work with bands Master Musicians of Bukkake, the Paul Rucker Ensemble and Ghidra to name a few, he has collaborated with a wide range of artists including John Zorn, Secret Chiefs 3, Ruins, Bill Frisell, KK Null, Vidushi Sumitra Guha, Kinski, & Aiko Shimada among many others. In practice, Bill’s prepared-guitar tactics will stun.

Mood Organ is the solo project of Seattle-based musician Timm Mason. Timm is best known as the bass player for diverse acts including funk juggernaut Eldridge Gravy & the Court Supreme, psych-rock supergroup Midday Veil, and instrumental hip-hop cover band Hamburger Pimp. Mood Organ is a platform for exploring different modes of listening and intersections between musical (& non-musical) genres. Each Mood Organ performance is unique; recent performances have included a solo performance on electric bass, a duet between saxophone and amplified objects, and a solo composition for harmonium and prepared piano. Work is nearly complete on the first full-length album “Visiting a Burning Museum “. Also in progress is a series of solo performances inspired by the classical elements and their associated platonic solids. For the Thursday show, Mood Organ will be presenting Quietus 3. Quietus is an improvised drone ensemble with fluid membership. I’m nailing down the complete lineup but it will at least include Skip Milford (electric fiddle), Emily Pothast (vox), David Golightly (analog synth), and myself on bass.

Gabriel Tuzzolino Will and Ian Thomas Ackerman are two members of a loose collective of musicians also including Warren Lee and Danny Sasaki. They are bent on exploring the outer limits of tonality as it exists within nature eschewing the harmonic imprecision of equal temperament. Harsh dissonances are revealed as delicate sonorities by the temporal stretch of the music.

L.A. Lungs was formed in the summer on 2005 in a Tacoma studio apartment by Afterthought Lung (nee Nathan Markiewicz) and Leeward Lung (nee Lori Peterson). What began as a “studio” project became a “functioning” live act by the summer of 2006, with L.A. Lungs making their live debut at the, now defunct, No Tomorrow concert series in Seattle . L.A. Lungs continue to perform around the Pacific Northwest and have been fortunate enough to share bills with artists such as Acre , Wesley Borden, Cabinet of Natural Curiosities, Crank Sturgeon, The Dead Air Fresheners, Steve Fisk, Forest Friends, Gowns, Bill Horist, Derek Johnson, Mattress, Myrmyr, POWRFL POWER, Shearing Pinx, Talbot Tagora, Your Drugs My Money, and many others. In their loose arrangements L.A. Lungs use variances in phrasing, the inconsistencies of live electronic sound manipulation, and acoustic/amplification variables to create semi-improvised compositions that can vary drastically in tone, rhythm, and emotive qualities from one performance to the next. Visitors to the Aphonia Fest can look forward to the possibility of hearing work from LA Lungs recent Aphonia Recordings release, Most of the Time We Do Not Realize We are Shedding Our Skins 2008, as well as newer material.

Kristian Garrard’s project, KRGA, aims to combine the sounds of any and all instruments around into thick, swarming clouds of tones using self-built sampling software. He uses emphasis on drones and moving textures to create warm and dense atmospheres. Most pieces are created using only one or two instruments as source material to be processed & resampled in the software environment, Max/MSP. Past works have used utilized the ubiquitous 60 hz ground-hum, a “personal massager”, as well as more traditional instrumentation. In performance, deconstructed sounds swirl around the room, as patiently created beds of tones build into a complex organic storm.

Unicorns in the Snow is the one-woman project of Kansas City-based composer, performance artist, & social worker, Julia Vering. The project’s roots are grounded in earlier attempts to explore empathy in a visual context. Her most recent work, “The Aviator”, is a miniature opera inspired by the narrative of an aging, anti-social pilot, obsessed by the inimitable power of flying planes. In the final act, recorded the day after the aviator’s death, reveals the primal collaboration of the artist and her elderly muse, commencing in a primal scream accompanied by violent arthritic movements of the performers’ neck and hands.

Mangled Bohemians (PDX) are an intensely atmospheric two-piece band featuring massively effected guitar and electronics. Mining heavily from the post-punk tradition of the likes of Glenn Branca, Savage Republic , Heathen Earth era Throbbing Gristle, and Sonic Youth’s SYR releases, Mangled Bohemians create long spacey drones that melt into beautiful washes & pseudo-melodies.

Heavy drones, overtone melodies & the sound of the land – Paintings for Animals is the vocal electro-acoustic music of Pearson Wallace-Hoyt. The sound possesses an archaic resonance connecting the human voice with an Earthen narrative of the landscape, flora, fauna & human ritual of both pre & post-history. Started in 2001 & transformed for live presentation in 2007, performances have taken place at art, dance & music galleries, warehouses, bars, cafés, DIY venues & live radio. Paintings music has been used in film, for video, installation & with dance.

Derek is an Olympia native and can’t seem to ever get away. He frequently performs solo acoustic/electric cello throughout the Northwest with an ever changing, direct animation slide show. He’s been a member of Bloodclot, Dead Air Fresheners, Le Ton Mite, Frequency dB, and the unfortunately named Superfly 2000. Collaborations include: Unwound, Thollem McDonnas, Jeremy Jay, Ben L Robertson, Arrington de Dionyso, Bob Marsh, among others.

The magnetic vortex that is eastern Washington is perhaps best reflected by the banshee like howls and tortured vocal treatments that hover over the fractured rhythms and found-sounds of Ryan Leeds’ project, Daedelum. Leeds is interested in exploring the boundaries of traditional instrumentation & dissecting, reassembling, & colliding the parts with electronic gestures and commentaries. The music is aurally diverse and intentionally oblique. The compositions are informed as much by Leeds ‘ upbringing and education as by his various employment stints, including work as a recording engineer for a books-on-tape factory, a camera operator for a local news affiliate, a graphic designer, and currently as a CAD technician.

Aphonia Recordings founders, Ben L. Robertson & Andrew Senna team-up as The Precambrian. In concept, The Precambrian is a constantly evolving interactive synthesis environment/instrument, engineered by Robertson using the graphical programming language, Max/MSP. In its current incarnation, The Precambrian utilizes a slide zither & various pitch recognition algorithms to coax out microtonal intervals derived from a graphical system of 11-limit, just intonation matrices & traditional Arabic Maqams. Additionally, Senna (armed with a handful of piezoelectric transducers, microphones, field recordings) executes a series of absurd narratives & synthetic onomatopoeia, indicative of both his sound design work for film & theater.


1st Aphonia Recordings Comp Now Available Online!

For the first time we are releasing the first ever Aphonia Recordings compilation. Originally only available on CD it now is available on the our website at less than $5!!! Artists on the compilation include Darwinsbitch, KRGA, Marriage + Cancer and special compilation only track by Aphonia Recordings co-founder Ben L. Robertson.


Buy Now / $4.99


Podcast #18 – Amy Denio and Aphonia Supergroup

Just a short three weeks ago Amy Denio released her first digital only release on Aphonia Recordings. The release entitled, sub-Rosa, is a soundtrack for a multimedia and dance piece of the same name. Directed by Cheronne Wong at produced at the Langston Hughes Performing Arts Center exactly one year ago today, September 18th, 2008. This podcast gives an overview of sub-Rosa’s inspiration and we hope you will listen in for a track from sub-Rosa.

This is also kind of a double header as the second part of this podcast is the recording of our Aphonia Recordings Supergroup. For the Olympia Experimental Music Festival benefit show in June we assembled an all star cast of recording artists from the label including, Derek M. Johnson, The Precambrian, Ph0n0n, KRGA and Gabe Will of Problems. We hope you enjoy.

Podcast #18 – Amy Denio and Aphonia Supergroup


KRGA – ’June’ reviewed by Foxy Digitalis

KRGA’s latest Aphonia Rec. release, ‘June’ was recently reviewed by the online zine, ‘Foxy Digitalis’.
check out the review

click here to preview tracks / purchase this release


Podcast for the Seattle Occultural Music Festival

Listen in as we cover several artists about to perform for the 2008 Seattle Occultural Music Festival. Included in this podcast are Problems (not performing at SOMF but members of Problems are), Agnes Szelag, Paintings for Animals, KRGA and Ben L. Robertson. Listen in to tracks never heard before or previously unreleased and newly released!
Podcast for the Seattle Occultural Music Festival


Series 5 Podcast Part 1: KRGA

Kristian Garrard performs as KRGA on May 2nd at the Gallery 1412 on the occasion of the 2008 Aphonia Recordings Concert Series.

Series 5 Podcast Part 1: KRGA

You can also subscribe to the Official Aphonia Recordings podcast on the iTunes Music Store in iTunes. Just type “aphonia” into the search field and you can subscribe there.


Seattle Occultural Music Festival (May 16, 17, 23, 24)


Friday, May 16th @ 8pm, All ages
Gallery 1412
1412 18th Ave

Robin Holcomb
Phillip Arnautoff
Michal Szostalo

Saturday, May 17th @ 8pm, All ages
Dearborn on Woodland [Film night]
4131 Woodland Park Ave N

Voodoo Israel[Portland]
Eric Ostrowski
Tyler Potts
Paintings for Animals

Friday, May 23rd @ 8pm, All ages
Underground Event Center
2407 1st Ave
Agnes Szelag [Oakland]
Cult of Zir [Portland]
Matt Shoemaker
Ben L. Robertson
Tempered Steel
Forrest Friends
Thunder Grey Pilgrim

Saturday, May 24 @ 10:30pm, 21+ w/ID
Rendezvous Jewelbox Theatre
2232 2nd Ave
A Minority of One[Portland]
Red Squirrels
Mood Organ

A two-weekend, community-based festival of esoteric, mystical & psychoacoustic musics, spanning the region’s breadth of generations & genres. Established to integrate Seattle’s diverse experimental arts scene, introduce new local artists & import important outside influence. Generous promotion provided by Aphonia Recordings & Hollow Earth Radio. All shows are all ages & start at 8pm, except the 24th which is 21+ w/ID & starts at 10:30pm. There is a suggested price of $5-15, all donations at the door. The vast majority of proceeds go toward curbing travel costs for performers not from the immediate Seattle area.

The SOMF is featuring JAMES NEILSEN’s multilayered, transcendental paint, pen & collage creations. Dense, salon-style conglomerations of his work, as well as display books, will be assembled & featured for the month of May at Dearborn on Woodland. We hope to introduce his work to a wide & appropriate audience by displaying it in this frequented stronghold of DIY art. Additionally, 100’s of scanned works informed by extreme paranoia, isolation, drugs, violence, exertion, sleeping, wandering, alchemaic & qabbalistic diagrams can be view at

SOMF will present musical performances of/by Robin Holcomb, Phillip Arnautoff, Michal Szostalo, Eric Ostrowski, Derek M. Johnson, Tyler Potts, Paintings for Animals, Agnes Szelag, Matt Shoemaker, Ben L. Robertson, Thunder Grey Pilgrim, KRGA, A Minority of One, Red Squirrels, Mood Organ & many others.

Friday, May 16th @ 8pm, All ages
Gallery 1412
1412 18th Ave


Pianist, composer, singer and songwriter Robin Holcomb has performed extensively in North America, Europe, Australia and Asia as a solo artist and the leader of various ensembles. Recent performances include appearances at Queen Elizabeth Hall (London), Carnegie Hall, The Verona Jazz Festival, The San Francisco Jazz Festival, Hong Kong Arts Festival, Festival of Perth, DuMaurier Jazz Festivals and Arts at St. Ann’s.

Her work has been called ‘remarkable’ (CMJ), ‘stunning’ (Option), ‘entrancing’ (Billboard) and ‘sensitive, descriptive, adventuresome and full of soul’ (Washington Post.) The New York Times had this to say about her difficult-to-define musical style: ‘Robin Holcomb…has created a new American regionalism, spun from many threads – country, rock, minimalism, Civil War songs, Baptist hymns, Appalachian folk tunes, even the polytonal music of Charles Ives. The music that results is as elegantly simple as a Shaker Quilt, and no less beautiful.’


In the 1970s Mr. Arnautoff began work on an expansion of the harmonic resources of the Partch tuning system and built his Harmonic Canon, a large zither-like instrument of 66 strings , played with plectra and requiring a standing player. Years of on-again, off-again research and a number of abandoned projects in composition finally culminated in the composition of SOLILOQUY, begun in the winter of 1998-99 and completed in 2000, when it was recorded and released by Periplum recordings. The work has since undergone numerous revisions.

The tuning of the Canon for SOLILOQUY is based on the expansion of a purported scale from ancient Greece to an array of 21 tones. The work itself is continuous, though divided into two large sections, the first a single unit comprising five contrasting episodes, the second an essay in perpetual motion. The subtitle
“A Ritual of Communion with Vibrating Strings” refers to the characteristic resonance of the Harmonic Canon, a resonance that is unceasing to the very end and set into motion by the work’s harmonic and melodic configurations.


MICHAL SZOSTALO has been steadily working on new music: Chamber music, music for film & TV, multimedia events, 3D installations, songwriting, electonis sounds, jazz and improvisation. His compositional works have received a slew of comissions from both Europe & the United State, including the ‘Hermes, Dog & Star’ at the Polish Royal Palace, ‘Train’ for Barefoot Studios in Tacoma & scoring for the film ‘Burning Man’. Szostalo plays piano, accordion, guitar, bass and a variety of exotic instruments and is aslo a member of Croatian/Bosnian folks ensemble Ruze Dalmatinke.

‘Reruns of the Final Battle’ is Szostalo’s String Quartet no. 1 and was originally commissioned in 2003, performed and recorded at an opening of sculpture work by Viktor Szostalo. The piece’s structure references Biblical prehistory, initiation of cilization & apocalyptic trajectory. The electronic tracks range from shifting guitar pulses to walls of layer trumpets to dark clouds of white noise. This largely aleatoric work’s creation was informed by study of mictronalities ranging from Partch to gamelan to the experimental academic synthesis. This rendition will be performed by regional ensemble of players know for their innovation & energy, Eric Ostrowski, Derek M. Johnson, Gabe Will & Ian Ackerman.

Saturday, May 17th @ 8pm, All ages
Dearborn on Woodland [Film night]
4131 Woodland Park Ave N

VOODOO ISRAEL [San Fransisco]

VOODOO ISRAEL’s spiritual drone noise is hot and heavy with the humidity of the crossed wires of internal feedback & the christening winds of pumps organs & overtone singing. His work calls us to listen as Mother Earth is speaking in tounges through the ageless, ratling, and exagerated bone structure of every obsorbed entity.


Eric Ostrowski is a freely-improvising musician and experimental filmmaker based in Seattle, WA. He played guitar and violin as one half of the legendary improv-noise duo of Noggin from 1993-2006. He has been concurrently developing his hand-made film style.


TYLER POTTS believes in spontaneity and in our capacity to learn from things we can’t yet explain. His latest musical endeavors include: improvising with a dancer, playing the auto harp differently, exploring what happens in the length of a minute, singing things that come to mind without thinking too much about it, and trusting first impulses.


Heavy drones, overtone melodies and the sound of the land – Paintings for Animals performs with field recordings, bowed metals, mixer feedback, throat singing, vocal blips, clicks and the buzz of electronics. Started 2001, in Seattle by Pearson Wallace-Hoyt, the project is maintained to provide a platform for the proliferation of spiritually charged noise and a revival of ritualized sound. With members dispersing to Bali, Kolozberg, New York and San Francisco, Paintings continues to craft a truly Cascadian music of chants, esoterica and the sounds of urban & natural environments.

+works from Patrick McMurchie, Jake Sweeney-Samuelson & others

Friday, May 23rd @ 8pm, All ages
Underground Event Center
2407 1st Ave


Agnes Szelag is a composer, performer, and video/audio installation artist. Her work explores the cognitive and aesthetic relationship of sound and visual media in chosen environments. In performance and composition she creates interactive schemes that ride the line between composition and improvisation.

Her work has been featured in the Electronic Music Midwest Festival, the Illuminated Corridor Festival, 60 x 60, Voices on the Edge, at the Stone in NY, and has been broadcast nationally on KQED for the show Spark. She has also executive produced numerous video pods that have aired nationally on Current TV. This fall she will be playing in the San Francisco Electronic Music Festival as myrmyr.

CULT OF ZIR [Portland]

‘Done with layered vocals, the voice warped, resonated, gorged upon itself, mated with itself and destroyed itself. There are other artists that work with this type of manipulation and it is easy to overindulge into what this type of performance offers. I think he managed to keep it stark enough to allow the idea to shine through instead of being buried under the layers of gimmicky goop.’ -morimur


MATT SHOEMAKER focuses upon the treatment of sonic phenomena. Sourced from both natural and electronic means, Shoemaker manipulates sound in an affected and often grotesque manner, so as to convey compositions that uniquely imagine a space encrypted to the point of vanishing definition. The narrative tradition haunts Shoemaker’s work, but only the sort found in patterns and systems free from willful intention… much like an apple compelled by necessity to rot to its core.

His essential technique is one of obsessive artifice. It is the clarity of nuance and attention to detail that contrasts and balances any intended obscurities. It is from humility, a strategy for authenticity, and a personal view of an ideal aesthetics that Shoemaker proclaims: ‘Obviousness is my art’s antithesis.’

Shoemaker is a self-taught artist, employing microphones, digital and analog recorders, computers, acoustic instruments, and assorted signal processors. His work has been published in countries as diverse as Portugal, Germany, England, USA and Malaysia. He has also received commissions for radio works across the globe and presented his work at universities, dance halls, rock clubs, and art galleries.


THUNDER GREY PILGRIM is a landscape…a landscape and a person walking in that landscape. There are daunting cliffs there, and plains glad in their way of brown monotony. But especially there are sinkholes, places of sudden terror, of small circumference and malevolent depths.


KRGA aims to combine the sounds of any and all instruments around into thick, swarming clouds of tones using self-built sampling software. He
uses emphasis on drones and moving textures to create warm and dense atmospheres. Most of these pieces are created using only one or two
instruments as sound sources, which are processed and resampled real-time in a computer environment. KRGA live performances surround the audience with live generated synthesis and sampling. Deconstructed sounds swirl around the room, as patiently created beds of tones build into a complex organic storm.


BEN L. ROBERTSON uses a battery of algorithms & processes developed in Max/MSP to extract dense textures from a variety of found & performed sources.

His compositional process demonstrates an almost pathological obsession with the acoustic relationships between timbre & extended forms of tonality. Consequently, it comes as no surprise that he regularly utilizes a historical cannon of microtonal scales, including Harry Partch’s 43 tone scale, various other forms of just intonation, and the stretched octaves of the Balinese gamelan, as well as his own timbre-specific tuning systems.


TEMPERED STEEL features Ffej, Frank Junk, and Dennis Rea playing a variety of amplified, electronically processed thumb pianos. The trio sounds like no other thumb piano ensemble you’ve ever heard, conjuring phantom harpsichords, as-yet-uninvented stringed instruments, musique concrete…


Saturday, May 24 @ 10:30pm, 21+ w/ID
Rendezvous Jewelbox Theatre
2232 2nd Ave

Feed by water and an unseen warming sun
arisen from the ancient seed
the rain is warm and soaks the crowd
roots buckle then pulverize
a new life awakens as the old grey body returns to dust.


Few squirrels have earned such a reputation for playfulness and roguery as the Red squirrel. This squirrel is a well-known backyard inhabitant that often has a saucy regard for its human neighbors. A Red squirrel will firmly scold all intruders with shrill chatters, clucks and sputters, falsettos, tail flicking and feet stamping. Even when it is undisturbed, this chatterbox often chirps as it goes about its daily rountine.


MOOD ORGAN’s breathing cycles are informed by vibration, interference patterns, recording & playback devices, altered states, violence, electricity, sex, mirrors & feedback. Timm Mason also plays bass & electronics with the death improv ensemble Kuru Cult, and will be performing at the Sculpture Park staging of work by Glenn Branca.


Shows: April 2008


Apr 04 – 8:00P – Aphonia Rec. Monthly Series 4 @ Gallery 1412 (Seattle, WA)

Apr 09 – 8:00P – Country Western Ensemble Rocks @ Meridian Gallery (SF, CA)

Apr 12 – 9:00P – Desolation Wilderness @ Le Voyeur (Olympia, WA)

Apr 26 – 8:00P – Derek M. Johnson @ Plenty (Olympia, WA)

Apr 26 – 8:00P – KRGA w/ Hungry Pines @ Healthy Times Fun Club (Seattle, WA)