Millennium Stage
J. F. Kennedy Center for the Performing Arts
2700 F Street NW
Washington, DC
Metro: Foggy Bottom (Blue/Orange Lines)
6pm SHARP
FREE ADMISSION

Nine Strings + Pilesar
myspace.com/ninestringsduo
pilesarmusic.com
Daniel Barbiero (amplified double bass, preparations) is a native of
New Haven, CT. His music reflects his long-standing interest in
scalar and free improvisation, aleatory and graphic composition,
microtonality, and Hindustani classical music. In addition to ongoing
solo projects and experimental collaborations, he plays in the Little
Falls Jazz Quartet.

Gary Rouzer (Five-string electric bass-cello, found objects, voice and
electronics) was born in Washington DC and started playing electric
bass at 16. He studied double bass at Berklee College of Music in
Boston and played locally in the Alexandria
Symphony. Electro-acoustic free improvisation serves as his primary
approach to music performance.

Pilesar (pie-LEE-zur) is a percussionist and songwriter who creates
quirky soundscapes and rhythmically dense improvisations.
Instrumentation includes drums, voice, toys, electronics, broken
effects pedals, thrift store finds, tapes and various environmental
factors. As a soloist or collaborator, Pilesar (aka Jason Mullinax) has
released dozens of fiercely independent recordings on his DIY label,
Chameleon Dish Archives. He is based in Takoma Park, MD.

Twenty-first Century Chamber Ensemble
myspace.com/xxichamberensemblepartone
The Twenty-First Century Chamber Ensemble is a project of Janel Leppin
(cello; electronics), Anthony Pirog (guitar), Mike Sebastian (reeds)
and T. A. Zook (basscello; misc. instruments; processors). The
Ensemble has been described as “a supergroup using free improvisation
to bridge the worlds of classical chamber music, jazz, and the
joyously unspecified music we often call the “avant garde.” From time
to time, guest artists such as Aaron Martin (alto sax) and Larry Gomez
(percussion) will join the Ensemble on stage. The music presented by
the Ensemble is unscored, unrehearsed and totally improvised on the
spot.

Mind Over Matter Music Over Mind
musicovermind.org
Our medium is sound: generated, borrowed and relocated. With this
sound we create places and we create events. Some of
these events are music. Many are not. To the extent that the places
and events we create are extraordinary and the manner in which the
events are allowed to occur within these places is extraordinary, our
work product is extraordinary. This is the critical dimension of MOM². The semantic dimension of the
project is a bit more nuanced. First point of order: Our work is not a
text. By intention, the sounds that we have generated, collected and
brought into conjunction are not to be taken as a socially conditioned statement to be decoded or
read, nor as an instance of personal or cultural expression to be felt. The political dimension of MOM² is
rooted in the distinction between these two approaches.
MOM² is directed at the function of consciousness, not at its
contents. For the mind, morphology is physiology and MOM² seeks to
redraw the boundaries of mental health. This radical re-normalization
of mental possibility is inherently political, challenging as it must,
the most basic premises of social organization and order.
Thomas Stanley (a/k/a Bushmeat): electrons
Bobby Hill: record players
Chris Downing: laptop, keyboards, samples
Luke Stewart: MPC-sequencer

Velvet Lounge
915 U Street NW
Washington, DC
Metro: U ST (Greenline)
9pm SHARP
Admission: $10

Fern Knight
fernknight.com
Under cellist Margaret Ayre’s orchestration, D.C./Philadelphia quartet Fern Knight transfigures her acoustic Medieval-tinged songs with contrasting layers of 60s improv, 70s prog rock and NWOBHM – retelling the band’s collective history.
Juxtapositions of the arcane and modern in her music and life drew Margaret to pen the band’s fourth album (vhf), Castings, a song cycle exploring how the ancient divinatory art of the Tarot and the well-worn archetypes contained therein continue to flow through present day society.
The core quartet is rounded out by Jesse Sparhawk (harp/electric bass), Jim Ayre (Flying V/drums) and James Wolf, published Sun Ra scholar (violin). Margaret also co-scored a new soundtrack to 1970 Czech new wave film ‘Valerie and Her Week of Wonders’ for a ten-piece ensemble that included Jesse and Jim called The Valerie Project (Drag City).

Luigi Archetti
www.luigiarchetti.com
Luigi Archetti was born in Brescia, Italy, on 5 February 2026 and has
lived in Switzerland since 1965. He is a composer, music performer,
sound experimenter, guitarist and visual artist (painting,
installations, drawing and video) and has developed a number of sound
installations and cross-over projects. He has initiated various music
projects in the avant-garde and experimental music fields
(electronica, improvisation, noise and computer music) and has
realised various live film soundtracks and live video performances. He
has performed with various projects as well as solo in Switzerland,
Germany, the UK, Austria, France, Italy, Poland, Liechtenstein,
Canada, the US, Japan and Russia. In 2006 Archetti/Wiget took part in
Auf den Tisch/At the Table in Vienna and Salzburg, an improvisation
project with dancers, performers and musicians with Meg Stuart
(curator).

Odal
myspace.com/123odal
Odal is Peter Zincken’s oldest moniker, and dates back from the mid eighties. While Peter frequently changed the name of his label over the past year (”Bloedvlag Produkt”, “New Noise” and more recently “Stront”) Odal is a constant. According to Peter himself Odal stands for “Overdikke Avondlul” - which roughly translated boils down to Supersized Evening Dick”. Odal means old-school harsh noise: full blast ahead and frontal nudity.

Blue Sausage Infant
myspace.com/iabluesausageinfant
Washington DC native Chester Hawkins has peformed as BLUE SAUSAGE INFANT since 1986. The sound of BSI can range from brutalist noise to textured drones, pounding neo-tribalism, krautrock-flavored psychedelia, or cut-ups of cultural artifacts. The vibe that binds it all is a desire to induce trance states by any means necessary.
Instrumentation involves a mix of electronics with more organic sources: Squeaky dog toys and digitally abused lap-steel guitars have recently joined the arsenal of synths, bass, samplers, and acoustic items.
BSI has produced 14 full releases under the Intangible Arts imprint and has contributed to compilations across the USA and England. Collaborators include Violet, Haunted Toilet, Changes to Blind, New Carrollton, Lida Husik, and Stolen Government Binder Clip. A selection of BSI material has been used for the soundtrack to Tim Ashby’s film Surface To Air, due for release in 2010.
In 2008, Blue Sausage Infant launched a fresh attack of live performances, delivering unpredictable, hallucinatory sounds for brave dreamers in the DC area.

Twilight Memories of the Three Suns
youtube.com/watch?v=rLL499cdnEU

Tuesday Sept 22
Clarice Smith Performing Arts Center at Maryland
7:00pm
FREE ADMISSION
Elliott Sharp
Annea Lockwood & Tom Buckner
Never Work
BLK w/BEAR & VJ Poppins

Elliott Sharp is a multi-instrumentalist, composer and performer, central to the avant-garde music scene for over 30 years. He has released over 200 recordings and pioneered ways of applying fractal geometry, chaos theory and genetic metaphors to musical composition. His collaborators have included Nusrat Fateh Ali Khan, Radio-Symphony of Frankfurt, Debbie Harry, Hubert Sumlin and Pops Staples, Jack deJohnette, Sonny Sharrock, Arthur Blythe, Oliver Lake, Billy Hart, Christian Marclay and Bachir Attar. Sharp’s CD releases include Octal, Concert In Dachau, Cryptid Fragments, Commune and String Quartets: 2002-2008 with the Sirius String Quartet. Sharp’s music-theater work Binibon was premiered at The Kitchen in May 2009. He has composed for video artists and choreographers. His film scores include The Salt Mines (Susanna Aikin and Carlos Aparicio) and Daddy and the Muscle Academy (Ilppo Pohjola.). Sharp is also an in-demand curator and installation artist.

Annea Lockwood was born in New Zealand where she received her early training as a composer. She studied at the Royal College of Music (London), the Darmstadt Ferienkurs fur Neue Musik and the Musikhochschule (Germany). She is presently on the faculty of Vassar College. During the 1960s, Lockwood collaborated frequently with sound poets, choreographers and visual artists, and created a number of works, such as the Glass Concert (1967). During 1969-72, Lockwood created Piano Transplants, in which pianos were variously burned, “drowned” and partially buried. Lockwood turned to writing for acoustic instruments and voices in the 90’s. Her music is available on Lovely, XI, What Next/OO Discs, Rattle Records (NZ), Harmonia Mundi, CRI and Finnadar/Atlantic.

For over three decades, Thomas Buckner championed music of the avant-garde as a performer, producer and promoter. A former student of the legendary Metropolitan Opera baritone, Martial Singher, he was trained in
the classical tradition and has continued to broaden his vocal styles. He has made solo appearances at Carnegie Hall, Lincoln Center, Harvard University, the Art Institute of Chicago, the Edinburgh Festival, the Prague
Spring Festival and the Biennale Festival in Venice, presenting more than 100 compositions. Buckner has participated in over 40 recordings, including five solo albums. The entire discography features works by an impressive array of composers including Annea Lockwood, Somei Satoh, Alvin Lucier, Muhal Richard Abrams, Blue Gene Tyranny, Brian Smith, David Behrman and many others. For the past eighteen seasons, Buckner has curated the Interpretation series with the World Music Institute in New York City. He also has created the Mutable Music record label and reissued some important historic recordings, previously unavailable in CD format.

Never Work is a duo of Kenneth Yates and Cory O’Brien playing electronic-free improv with no-input mixing and custom software. All timbre and composition happen in the immediate situation. The sounds
are variously tolerable and intolerable. Sometimes it will be beautiful, and sometimes you are checking the path to the exit. In this respect a Never Work concert is just like anything else in life.

Initially a solo project, BLK w/ BEAR has developed into a full band, championing delay and decay through the physical manipulation of vinyl recordings and broadcast interference. Their warm drones and ambient
loops have accompanied film/video projects in NYC and London, with selections from Wish for a World Without Hurt used in the Discovery Channel’s, Emmy-nominated The Flight that Fought Back. The four-track
Version 3 extended play is available for download at the Long Division with Remainders “14 versions of the same EP” project site and will be released in a box set later this year. New material is available from Ultra-red’s Public Record audio-advocacy project (Los Angeles) and Trace Recordings (London).

VJ Poppins is an installation and performance artist who embraces the phenomenon of synaesthesia. Drawing from archival footage, she manipulates video output through live, spontaneous editing. Like a DJ,
she scratches through multiple layers of moving images searching for that perfect mix to create visual juxtapositions and non-linear narratives.