Unseen w/ Marc Kate, Kit Clayton, Bezier + More

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Tickets: $8 Presale / $13 Day of Show / $15 Door. Cash bar available to those 21 years and older.

8:00 Doors
9:00 Show

Pillows not required, but welcome.

Marc Kate (http://marckate.com/)
Kit Clayton (https://soundcloud.com/kitclayton)
Samantha Weinert (https://soundcloud.com/sammyweinert)
Bezier (http://www.robothustle.com/)
Lavender (http://www.lavendersynth.com/)
Its Own Infinite Flower (https://soundcloud.com/tasho)

In August we're going to be featuring a whole lineup of artists working at the blurry edges between multichannel music, surround sound design and immersive visuals. It's our 8th UNSEEN, and we're celebrating with an expanded program of some of our heaviest local hitters.

Presented in 8 channel surround sound.

Leading off is a new live collaboration between Kit Clayton, Marc Kate and Samantha Weinert, who will be improvising back to back in what we’ve been calling a “lay down rave.” A detour from his electronic post-punk/synthgaze solo project Never Knows, artist Marc Kate creates static experiments in synthesis that embody the opposite of New Age music. These static, spacious sounds, while haunting and etherial, are anything but spiritual. Instead, Kate’s music is visceral, material and deeply human. Kit Clayton, a San Francisco-based electronic and digital musician and computer programmer, is known equally well for his electronic recordings and also as one of the Cycling `74 team who helped develop and contribute to the MAX/MSP/Jitter platform.

Following will be a live synth set from San Francisco composer and producer Lavender. Called “an ambient composer like no other” by SF Weekly, Hugo Paris’s first album as Lavender, Mystique Youth, was named one of the 15 best Bay Area albums of 2015 by SF Weekly and called “one of the finest ambient albums to come in years — a work of quiet elegance that sounds breathtakingly mature for a debut release.” Exploring the cinematic landscapes of post rock, experimentalism and ambient, Lavender welcomes transience and adopts the philosophy that imperfection is indeed perfection. His ethereal tracks echo the work of artists such as Tim Hecker, Alessandro Cortini, Deru, Pole, Eluvium, Vladisav Delay and Martin Gore.

Its Own Infinite Flower, the performing moniker of Tasho Nicolopulos in techno ambient guise, will follow, a name that comes from Aleister Crowley’s 1905 ode to the Rosicrucian ‘Rosa Mundi’ and a symbol of the meeting ground where esoteric and erotic semiotics overlap. In similar fashion Nicolopulos’s synth explorations, which XLR8R calls “crystalline cosmic fuzz” approach performance as a ritual mode similar to a seance or a conjuration. His music is an experiment in rhythm, repetition, and harmony without using some of the conventional tools of synchronization and resolution.

Nicolopulos is also a fixture in the Bay Area underground music scene and is one third of promoter trio Hostile Ambient Takeover (another reference, this time to the 2002 Melvins album) together with C.L.A.W.S and Solar.

Rounding things out is Bézier (Dark Entries Records), the moniker of all-live analog electronic musician Robert Yang from San Francisco. Influenced early on by the Cybernetic Broadcasting System (CBS), Robert started DJing (un)classic underground sounds as Robot Hustle before joining the Honey Soundsystem collective in 2007. Robert writes hooks, patterns and melodies in an automatic, stream of consciousness fashion. Memory and nostalgia play a big part in constructing his music. Influences range from the futuristic landscape of Syd Mead to the melodic energy of Patrick Cowley and the subdued, hidden motifs of My Bloody Valentine’s “Loveless.”


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