Featuring

Oceans Roar 1000 Drums

John Bischoff

Sunik Kim

Sally Decker & Brendan Glasson

Co-presented with Surface World

The international music group Oceans Roar 1000 Drums (Xavier Lopez, Bryan Eubanks, Todd Capp) is touring for the first time in California to support a new release on the Sacred Realism label. Building on their musical language developed over the past 15 years of playing spontaneous music together, the ensemble will work in an electro-acoustic formation of drums, saxtronics, and modular synthesizer for this concert.

John Bischoff (b. 1949) is an early pioneer of live computer music. He is known for his solo constructions in real-time synthesis as well as his development of computer network music. He has been active in the experimental music scene in the San Francisco Bay Area for over 40 years as a composer, performer, and teacher. His blips could be your fantasies.

Sally Decker is a composer & performer working with feedback, synthesizers, text and voice. She explores the emotional potential of sounds as portals of connection. Her approach to form and process is rooted in embodied knowing, healing processes, and sound as a vessel for practicing presence.

Brendan Glasson (b. Providence, RI) is a composer living and working in Oakland, CA. He is interested in detail, texture, and slowness as launching points for a kind of augmented experience of duration and listening. Much of his work is centered around reed organ—a ubiquitous instrument in the 19th and early 20th century that has fallen into wide disuse. His relationship with reed organs is influenced by his background in electronic music, and he makes use of the buzzy tone, infinite sustain, and limited dynamics to create a music reminiscent of synthesis.

Sunik Kim is a musician, writer and filmmaker currently based in Los Angeles. Their latest album is Potential (OTOROKU 2023) , a deadly serious dismantling of the limits of contemporary computer music, delivered with playful dexterity and a touch of slapstick humour, à la Henry Cow. They are also a regular contributor to experimental music publication Tone Glow, and have had writing featured in Pitchfork, Bandcamp Daily, Soap Ear and elsewhere.