Serving the San Francisco Bay Area New Music Community

SIMM Series @ The Musicians Union Hall
116 9th St @ Mission
San Francisco CA   

The Static Illusion Methodical Madness Music Series is a musician run bi-monthly music performance series bringing highly professional and truly adventurous music that would not normally be heard or supported by mainstream presenters. Since 2001 the SIMM Series has been curated by Outsound Presents and local improvisers/composers/sound artists Rent Romus and Bill Noertker. They present a cross section of sound artists and musicians from the experimental improvisation and composition genres.
Alternate Sundays 7:30-10pm
Admission $10-15 sliding scale (unless otherwise stated)
All ages welcome.
The series is an artist-run, grass-roots DIY effort that relies on volunteers. Please contact Outsound Presents to get involved in marketing and project support.
Outsound Presents is a 501(c)3 non-profit volunteer collective of explorative sound artists who support the SF Bay Area new and experimental music scene.
Please read the policies here. Contact Rent Romus for booking and all other inquires.

Artist-run, volunteer, grass-roots DIY effort
Type of Music Presented
Experimental: new sonic, improvised, noise, electronic, lowercase, avant and improv jazz (most styles), outrock, 21st century composition, and sonic art. See artist list below.

Bi-monthly on Sunday Nights 7:30-10pm
Two acts per night
6:15pm Load-in Setup 7:00pm Door opens

Performances although scheduled for 7:30 may start around 7:45 depending on audience participation.

Booking Lead Time Two to three months in advance
Terms & Policy
100% paid to performing artists.
One comp admission per artist.
No Open Rehearsals. Please be prepared prior to your concert.
No Power tools, or destructive devices of any type allowed. No fire or fume generating devices unless under a controlled environment and is 100% non-toxic. No smoking of any kind allowed in the space.
Facility and Equipment
Sound studio, three tables, seats approx 35.

Piano, drum kit with stands(no cymbals), music stands

Tiny storefront on 9th Street near Market
about 2 blocks from Civic Center Street BART station.
Parking on Sundays is free and normally available along the street. 9th Street is a one way street in the northerly direction.

Do Not Have
Projector, microphones, instrument cables, power strips, sound system
Do Not Provide
No guaranteed payment, guest passes, hotel accomodations, transportation, or a sound person.

(rehearsals should be facilitated by the groups on their own time)
To Book a Gig
Check calendar for date availability.
Submit performance description with proposed dates, brief artist bios, website information and links to audio/video to Rent Romus
Past Performers
Over the course of its Thursday night concerts, the series has presented hundreds of artists drawn from a vanguard roster, among them Biggi Vinkeloe, Cash Killion, Henry Kaiser, Fred Frith, Gino Robair, Wolfgang Fuchs, Karen Stackpole, Gianni Gebbia, Oluyemi Thomas, Eddie Gale, Jim Ryan, Dina Emerson, Jack Wright, Rent Romus, CJ Borosque, Danielle DeGruttola, Bob Marsh, Shoko Hikage, Xome, Randy Yau, Stimbox, and countless others both local and international.

Audience Feedback
"This series in the Musicians Union Hall, 116 9th St @ Mission, SF, reminds me of cozy parties among friends at my favorite yakitori joint, nestled under the Shimbashi Bridge in Tokyo in the night rain… from the outside a few hints of warm light and laughter, on the inside a serious good time. The difference is that, unlike the yakitori joint, the SIMM Series is a spaceship that travels to other musical dimensions.
An acoustic-centered sister of the Luggage Store Series, SIMM has brought the best cutting-edge acoustic jazz and avant-garde musicians in and out of the Bay Area to SF audiences and delivered one musical adventure after another. It's my honor to return to this series."
-Joe Lasqo, pianist

Upcoming Events:
Sunday, November 18 2018 7:30 PM
A night with ruth weiss

Hal Davis - log, Doug O'Connor - double bass, Rent Romus - saxophones/flutes, Doug Lynner - Mystery Serge Synth
Born in Germany in 1928 and escaping fascist occupation from Austria in 1939, founder of jazz beat poetry, ruth weiss began experimenting with jazz and poetry in Chicago in 1948. Later she lead the series at The Cellar in San Francisco in 1956 that would propel her contemporaries Jack Kerouac, Neal Cassady and others to world wide recognition. In 1996 writer Barbara Knight helped to propel ruth onto the world stage with her book "Women of the Beat Generation: The Writers, Artists and Muses at the Heart of a Revolution"
Now at 90 years her unique invention is going strong throughout the world today. weiss spells her name in lowercase as such as a symbolic protest against "law and order," since in her birthplace of Germany all nouns are spelled capitalized.

weiss's philosophy behind her work incorporates several interlinking components: being a "street poet," being a "jazz poet," the idea of non-linearity and fragmentation, the idea of discipline and the bare "bones" of language.
Her focus upon succinctness and discipline is epitomized in her focus on haikus. She relishes the haiku for the discipline it imposes upon the writer and the way it forces the "fat" to be cut away from the poem, revealing the most essential elements of language.
Similarly, this focus upon "cutting out the fat" lies at the heart of her artistic journey with DESERT JOURNAL. One person who reviewed DESERT JOURNAL described weiss as "master of the eraser." [12] It is this ability to "erase" that characterizes weiss's work and that she herself finds most pivotal to her style. weiss describes it as epitomizing the process that she goes through with all her work: the idea of non-linearity, of beginning with a core and allowing the essential fragments that develop to become the substance of the piece.
weiss also cites being inspired by the "oral tradition." She explains this in light of her close friendship and artistic connection with the famed poet Madeline Gleason. Her poetry, she says, is a performance, it is something communicated by the voice and body.
Finally, weiss declares that while she's not a "street poet" in the traditional sense, her work resonates most in "street" settings or other unexpected places. She's found that her work is often most acclaimed, connected with and called for in places ranging from streets to pizza places to gay bars, drawing a large, diverse crowd.

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