Upcoming Concerts

Thursday, May 28, 2015

Middlesex Lounge
Sunday, June 7, 2015

Tuesday, June 9, 2015

Washington Street Art Center
Wednesday, June 17, 2015

Thursday, May 28, 2015

Non-Event, Ricardo De Lima, and the Institute of Contemporary Art present


The Institute of Contemporary Art
Barbara Lee Family Foundation Theater
60 Northern Avenue
Boston, MA 02210

JASON LESCALLEET makes his music using a collection of vintage reel-to-reel tape recorders and simple electronics, running loops of crumpled tape between machines. He blends layers of found sound, amplified silences, and artifacts of everyday noise, all transformed through various microphones and speakers. Lescalleet has built a reputation for delivering a visceral live experience in his concert performances. He lives in Maine.

“[It’s hard to think of anyone else who can render the sound of nada with such physicality and make even the most barren sonic palette seem oddly expressive. This Is What I Do is a trip to the furthest extremes of sound and the kind of immersive sonic experience that is truly brain-bombing with a set of headphones and that takes over whatever space it plays out in.” — David Keenan, Volcanic Tongue

ASHA TAMIRISA is often found working with some combination of sound, video, sculpture, and movement. She graduated from Oberlin College with a degree in Technology in Music and Related Arts [ TIMARA ] and is currently a doctoral student in the Multimedia and Electronic Music Experiments [ MEME ] program at Brown University. She is also concurrently working towards an MA in Modern Culture and Media [ MCM ] at Brown. Current research interests include gender, race and technology, interfaces and tool-making, and audiovisual synthesis. She is a founding member of OPENSIGNAL, a group of artists concerned with the state of gender and race within electronic / computer based art practices.

CAROLINE PARK is a composer, musician, and artist working primarily within minimal means. As a composer-performer, she has shared the stage with Mem1, Steve Roden, a canary torsi, Evidence, Dollshot, and Arnold Dreyblatt, and she has performed at the Stone (NYC), AS220 (Providence), and in Jordan Hall (Boston). Solo releases can be found on labels Private Chronology, Bathetic Records, VisceralMediaRecords, Pure Potentiality Records and Absence of Wax. Caroline is 1/4 of BUMPR (with Peter Bussigel, Stephan Moore, and Timothy Rovinelli) and is 1/2 of a collaborative duo project with Asha Tamirisa. She is also a founding member of opensignal, a group of artists concerned with the state of gender and race within electronic and computer-based art practices. She holds B.M. and M.M. degrees in composition from the New England Conservatory and is currently a Ph.D. candidate in Multimedia and Electronic Music Experiments at Brown University. She lives and works in Providence.

JIMMY HUGHES is an artist and musician living in Jamaica Plain. He performs improvised electronic music on an analog+ digital modular synthesizer as DINNERSSS. In his art, he focuses primarily on new interfaces for creating and hearing electronic sound. In performances as Dinners, Hughes often incorporates different sensors and circuits – light, sound, touch – that allow for more expressive (and sometimes unpredictable) sonic results from the synthesizer. Prior to performing as Dinners, Hughes was in the electronic pop duo, Turtle Ambulance. He currently plays keyboards in the Boston-based rock band, Huge Face. Jimmy has vinyl and cassette releases out on Whitehaus Family Record and Moss Archive.

Presented as part of the 2015 James and Audrey Foster prize exhibition

This program is supported in part by a grant from the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, administrated by the Mayor’s Office of Arts, Tourism, and Special Events.


POLE with MFO + LUCY LEWIS at the Middlesex
Sunday, June 7, 2015

Photo: Tim Bugbee

Non-Event and the Goethe-Institut Boston present

performing "Wald" (special multimedia performance)

Middlesex Lounge
315 Massachusetts Avenue
Cambridge, MA
(617) 868-MSEX
Doors: 8pm, Music: 9pm
Admission: $15 / 21+

Dusseldorf-born, Berlin-based dub techno pioneer Stefan Betke (aka POLE) has devoted the past two decades to dismantling rhythmic structures and seeking out new beginnings, whether as label owner, producer or master engineer. Well known for his expansive slices of dub inflected minimalism, Betke found beauty in the creaks and crackles of a damaged Waldorf-4-Pole filter, which inspired his nom de plume in the mid 1990s. Betke's work has since fluctuated between jazz, techno, house, dub, and beyond.

Pole made his belated Boston debut two years ago, when he almost literally knocked out the Back Bay power grid and brought the house down at the Goethe-Institut. He returns to town to present a sparkling, technologically complex A/V ballet with visual artist and designer Marcel Weber (MFO) at the Middlesex Lounge. Freely inspired by the light sculptures of Otto Piene and the dreamlike forms of the Ballets Russe, this multifaceted performance will meld new and old media forms – Betke's analog mixers and effect appliances sharing the spotlight with Weber’s prisms, projectors and mirrors – as MFO translates Pole’s emotional, nature minded musical matter into a cosmos of sensory laden textures and disturbances. Pole's musical themes of the last decade are enriched, looped and remodeled through MFO’s tightly choreographed visual language.For "Wald," MFO will be working with photographs by Lea Fabricant.

>>Watch Pole, Live at the Boiler Room Berlin/CTM Festival

LUCY LEWIS is an artist and musician, based in Providence and New York. She works in a variety of media including sculpture and photography. She creates hardware-generated noise mixed with textural, mid-tempo beats, conjuring minimalism and groove in a wash that is intoxicating and meditative. Since 2009 she has performed at a variety of venues throughout the US and Canada. Lucy received a joint BFA from the Rhode Island School of Design and BA from Brown University as part of the dual-degree program. Her solo release "OX" is now available on Primitive Languages. Lucy is a founding member of the Opensignal collective.  

>>>Listen to Lucy Lewis, OX on Bandcamp

Presented as part of the Goethe-Institut Boston's New Music from Germany series


Tuesday, June 9, 2015

Non-Event Presents
Our June Experimental Coffee House


Café Fixe
1642 Beacon Street (Washington Square)
Brookline, MA 02445
8 p.m./$5

Growing up in rural New England, Morgan Packard planned to be a jazz saxophone player when he grew up. After graduating from high school, he enrolled in jazz school in Boston. There he discovered that jazz wasn't the only cool music in the world. He quit studying jazz, moved to New York, and spent the next five years immersed in drum and bass music, which was the most explosively creative electronic music of the time.

Then he got tired of making only drum and bass music and studied western classical music and wrote little pieces for acoustic instruments for a while. He also learned how to program computers and started building his own music software. Programming his own tools allowed him to create sounds that no one else could make, and he began to feel like his own voice was finally shining through.

He started working closely with visualist/programmer Joshue Ott, and also found himself aligned with musician and label man Ezekiel Honig. Josh challenged him to write better software, Ezekiel challenged him to make an album for his label, Anticipate. His first solo album, "Airships Fill the Sky", pricked up ears around the world, got good reviews, and people started buying him airplane tickets to travel and perform in their cities.

His sound is characterized by constantly shifting textures, a minimalist approach to rhythm, unconventional use of traditional acoustic instruments, and a sensitivity to melody and harmony. While his music is influenced by dub techno, ambient, and other established styles, it is best understood on its own terms, rather than through the lens of genre.

This program is supported in part by a grant from the Brookline Commission for the Arts, a local agency supported by the Massachusetts Cultural Council.


Washington Street Art Center
Wednesday, June 17, 2015

Non-Event and the Washington Street Art Center present


Washington Street Art Center
321 Washington Street
Somerville, MA

WILL GUTHRIE is an Australian drummer / percussionist living in France. He works in many different settings of music: live performance, improvisation and studio composition using various combinations of drums, percussion, objects, junk, amplification and electronics. He plays solo and in various projects such as THE AMES ROOM, ELWOOD & GUTHRIE & THE SOMMES ENSEMBLE. His music has been released on labels such as Gaffer Records, Erstwhile, Clean Feed, 23five, Editions Mego, Ipecac, iDEAL and his own label Antboy Music.

While studying jazz and improvised music(s) at the Victorian College of the Arts in Melbourne, alongside Ren Walters he started the weekly concert series 'Improvised Tuesdays', now known as the Make It Up Club and is Australia's longest running performance space dedicated to experimental and improvised musics. In Nantes, France he is part of the collective CABLE# which also organizes regular concerts and an annual festival. He also runs the experimental improvised CD label and mail-order service; ANTBOY MUSIC. He plays solo using different combinations of drums, percussion, amplification and electronics, in minimalist/maximalist free jazz trio THE AMES ROOM (with Jean-Luc Guionnet & Clayton Thomas), in appalachian mutant folk duo ELWOOD & GUTHRIE (with Scott Stroud), as well as the improvised/composed ensemble THE SOMMES ENSEMBLE (with Pierre-Antoine Badaroux, Julien Desperez & Maxime Petit).

Regular collaborators past and present include Jerome Noetinger, David Maranha, Keith Rowe, Anthony Pateras, Toma Gouband, Erell Latimier, Ava Mendoza, Adam Sussmann, Matt Earle, Ren Walters, Jean-Philippe Gross, Greg Kingston, Helmut Schafer, David Ades, Mark Simmonds, among others.

ASHER TUIL is a composer living in Somerville, MA. Working with room recordings, location recordings, found recordings, and other sources asher has created a body of work which examines these materials in a variety of ways. Asher has worked in collaboration with artists such as Richard Garet, Jason Kahn, Christopher Mcfall, Brendan Murray, Ubeboet, and Zimoun. Asher’s recordings have been released by conv, Homophoni, Leerraum, Sourdine, and Room40. Asher performs rarely. His last Boston performance was in 2012.


Waterworks Museum
Wednesday, June 24, 2015

Non-Event and the Metropolitan Waterworks Museum present

GLENN JONES (guitar, banjo)
assisted by MATT AZEVEDO
JESSE COLLINS (reeds, trumpet, electronics)

Metropolitan Waterworks Museum
2450 Beacon Street
Boston, MA 02467(map)
Doors: 6:30pm, Performance: 7:00pm
$15 general admission / $10 members/students
Please RSVP at info@waterworksmuseum.org or 617-277-0065

Hot tea and cookies will be provided
Parking is limited, so bike, walk, or take the T, if you can!

GLENN JONES is a Boston-based composer of original compositions for solo acoustic guitar and banjo, and one of the leading exponents of the so-called American Primitive school, a term originally used to describe the music of guitarist John Fahey (1939-2001). The style is noted for its use of drones and open strings, as well as the influence of American roots music (such as blues and old time music); Indian raga and modern classical forms, among others.

The style tends to be syncopated and dynamic in nature (loud / soft; fast / slow; dark / light) and eschews technical virtuosity for its own sake in favor of an emotional experience.

Glenn will perform his original works, each of which suggests its own spatial character, within the unique environment that is Boston’s Metropolitan Waterworks Museum, a pumping station in operation from the late 1800s till 1976. In addition to being a visually arresting space, the Museum allows for the placing of speakers below, above, and throughout the listening area.

In bringing what he does to the Waterworks space, Jones aims to make a compelling evening of music that takes advantage of the space, without sacrificing the value and nature of performance for the sake of the novelty of a “surround-sound” experience.

For this show Jones will be aided by sound engineer and electronic music composer Matthew Azevedo, with whom he has worked for more than 15 years.

Focusing on the confusion of brass and woodwind instruments as well as simple systems of analog feedback, JESSE COLLINS works toward pulling compelling shape from these unstable materials. Working and living in Boston since 2008 he collaborates in various ad hoc groupings of improvisers in and around town in addition to more steady projects like Deleuzer & Funny Money. His solo works are funneled into small editions of recordings and occasional live performances.

This program is supported in part by grants from the Boston Cultural Council and the Brookline Commission for the Arts, local agencies supported by the Massachusetts Cultural Council.