An evening of sonic textures, projected imagery, and perhaps a tardigrade, featuring Thomas Carnacki, Petra Zélie and S. Glass—three sets for the price of one evening—each performance approaching the notion of "experimental music" from a different practical angle, but unified by a shared sense of immersion, subtlety, and perhaps the uncanny.
Thomas Carnacki is a variably-sized entity engaged in unsettling textures, organic sources, occasional flights of whimsy, and (aspirationally) subtle nuance. Though sometimes brief spasms of wanton abandon enter the proceedings. Contributing musicians down the years have included Gregory Hagan, Sheila Bosco, Agnes Szelag, Jesse Burson, the late Jim Kaiser, though for this current evening the instantiation will be Cheryl E. Leonard and Gregory Scharpen. Carnacki music has appeared in numerous films, theatre pieces, and internationally-touring dance performances, including an evening-length work by Margaret Jenkins that toured Sweden. Carnacki has released over a dozen records of varying in sizes (from 3" to 12"), about which people have opined things such as: "ectoplasmic tendrils form unfathomable noises as unknown machines creak, click, and rattle...This is a whole other world where art and the afterlife briefly touch."
Petra Zélie is a multidisciplinary artist, educator, and experimental sound composer whose work spans film, performance, and sonic art. Her feature film The Yellow Wallpaper (2022) has won Best Narrative Feature at multiple international festivals and will be included in the Van Gogh Museum's "Yellow" exhibition (Amsterdam, February 2026). As an experimental sound artist, Zélie creates immersive compositions utilizing granular synthesis, voice manipulation, and site-specific interventions. Recent performances include Stanford University, UC Berkeley, SF Sound, and The Hive Oakland, and the La Cloaca festival in Mexico City (December 2025).
S*Glass creates electro-acoustic sound collages with tape music, electronic processing, voice, found sound, and chance operations. Every show uses a different batch of curated audio, mixed live, while the self-produced studio albums are more refined assemblages. The playing of non-musical objects is sometimes incorporated (dental floss, aluminum foil, wind-up toys, metal lunch box, cabbage). Self-shot video is screened during sets, which is mostly textures made with multiple layers that slowly wobble out of sync, jump cuts, and a smattering of primitive animation. The overall effect is one of surreal disorientation. S*Glass is a founder of Bren’t Lewiis Ensemble (a large non-musical music group begun in the early 1980s), and Glands of External Secretion (a duo with rock musician Barbara Manning since the early ’90s). From the late ’80s until 2004, he was the main driver behind Bananafish. Since 2017, he’s performed as a solo artist and completed U.S. tours of the West Coast, New England, parts of the South and Midwest, England and Scotland, Australia and New Zealand, Japan, and a handful of places in Canada.
Cost: $15