a weekly new music and experimental sound series presented by sfSound

dresher ensemble studio :: 2201 poplar street, oakland california
(please park perpendicular when past the trees on poplar)
$10-$25 sliding scale (cash & venmo accepted at door)
click here to purchase advance tickets ($20) online on eventbrite
(late arrivals follow instructions on door to get buzzed in)

sunday february 25, 2024 gneiss (la/seoul) / bleeding vector (vogler & benedict)
sunday march 3, 2024 eric theise + gino robair + tom djll / ann callaway + richard mix
sunday march 10, 2024 rachel beetz (la) + anne hege + julie herndon (san luis obispo) / ken ueno
sunday march 31, 2024 beth schenck quintet / matthew welch's blarvuster

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view previous concerts here

 FEBRUARY 25 2024  7pm  $10-$25


GNEISS (pronounced "nice"), a band from Los Angeles consisting of JEONGHYEON JOO (haegeum) JOSHUA GEROWITZ (guitar, composition), ETHAN MARKS (trumpet, composition), and GEORGIA BELL (bass, composition/design), brings a set of composed and improvised music themed on the formation and transition of rock. This is a preview concert of their upcoming album, Gneiss, developed and recorded throughout 2023.

BLEEDING VECTOR (ERIC VOGLER, guitar + LORIN BENEDICT, voice) is a duo of jazz-infused musical improvisers who delight in playing manifestly structured music in a loose and playful way. This will be their first performance since the release (on bandcamp), of their 1-track extended-suite album, "ARST / ARSED". In this show, they will be performing material NOT on the aforementioned album.

 MARCH 3 2024  7pm  $10-$25



ERIC THEISE presents an episode of his Synesthete's Atlas project, where he manipulates projected digital maps in dialogue with local heros of experimental music UNPOPULAR ELECTRONICS (GINO ROBAIR with TOM DJLL). Real time cartographic improvisations using projected, manipulated digital maps, and custom-built electro-acoustic instruments. Evenings of street grids, rivers, islands, and curiosities from the built environment. Saturated colors. Glitches in crowdsourced data. Orphaned information and free-floating symbology. Theise's work can be seen atop San Francisco's Salesforce Tower Top throughout February 2024 in the Midnight Artist series, midnight to 1 every night.

ANN CALLAWAY plays her Three Existential Postcards for Piano and Char: Six Poems by Shinjiro Kurahara with RICHARD MIX, bass; plus works for solo voice by JOHN CAGE, MORTON FELDMAN, HENRI POUSSEUR, ELLIOTT CARTER, troubadors, trouveres & minnesingers.

 MARCH 10 2024  7pm  $10-$25


RACHEL BEETZ performs Pareidolia, for perfectly tuned oscillators with glacial transformations. The piece explores the phenomenon where our brains attempt to make patterns out of random information: auditory pareidolia. As a composer, flutist, and improviser, Beetz explores presence through sound and listening. Her works recreate physical atmospheres based on her deep listening adventures in the wild, exploring hidden worlds of nature and machines. Combining experimental field recordings and electronically modified flutes, her works examine community, environmentalism, and women’s work through sound, textiles, and lighting. Her projects have been featured in concert halls and galleries in Australia, Iceland, India, the United Kingdom, and the United States. You can hear her on Orenda, Blue Griffin, iikki, Neuma, and Populist record labels. She is currently a co-director of the Wasteland Music and Populist Records.

ANNE HEGE performs a short set of works for her live-looping instrument, The Tape Machine. First constructed in 2009, the Tape Machine is a portable instrument created with three hacked cassette players––one recording tape head and two playback points running a handmade tape loop. In simple terms, it is an analog, live-looping instrument where the listener, by sound alone, can identify the transparent process and technology. There is no hidden processing, just the magic of a single blank tape loop. Born in Oakland, Hege has composed for film, installation art, dance, and concert settings. The New York Times praised her score for Carrie Ahern’s dance installation SeNSATE, as “convincing” and “strangely environmental.” Influenced by Hege’s deep listening practice, her latest compositions range between ritual, music, and theater, with some homemade instruments thrown in for good measure. Hege is currently the artistic director of the Peninsula Women's Chorus. She performs regularly in her electronic duo, New Prosthetics, and the laptop ensemble Sideband. Her latest work, an opera for laptop orchestra and live voices, The Furies: A Laptopera, premiered at Stanford's CCRMA in November 2022.

JULIE HERNDON performs Electronic Etudes: a collection of pieces that seamlessly integrate keyboard instruments and live electronics, from acoustic piano to analog and digital synthesis. Herndon is a composer, performer, and sound artist exploring the body’s relationship to sound. Her electroacoustic work has been described as “truly brilliant” (Kulturpunkt), “like a signal from another world” (Tages-Anzeiger), and “blended to inhabit a surprisingly expressive space” (San Francisco Classical Voice). Her compositions and installations have been presented at MATA Festival and National Sawdust in New York, Artistry Space in Singapore, Museo de Arte Contemporaneo de Oaxaca in Mexico, Music Biennale Zagreb in Croatia, Sogar Theater in Switzerland, and by Forest Collective in Australia. She is currently an Assistant Professor of Music Technology and Composition at Cal Poly.

Beetz, Hege, and Herndon conclude their set with an improvised trio.

For over a decade, the duo of KEN UENO (vocals) and MATT INGALLS (clarinet) has presented their unique arsenal of extended techniques for an experience that defies classical expectations of sounds that can be made on voice and clarinet. Composer/vocalist/sound artist Ueno is a recipient of the Rome Prize and the Berlin Prize and currently a Professor at UC Berkeley. He sings overtones, multi-band multiphonics, sub-tones, and throat sings. Oakland-based Ingalls' clarinet technique includes circular-breathing, multiphonics, various breath effects, and a unique hybrid-timbre polyphonic effect.


Our focus is on the bay area experimental and new music community, hopefully encouraging crossover among sub-scenes (composition and improvisation; established and emerging; institutional and underground; etc.) We strongly suggest local musicians attend concerts before requesting to perform on the series. Visiting aritsts are also welcome, ideally splitting a concert with local musicians.

We are also seeking compositions (in all forms of notation) to be performed by the sfSoundGroup.

We have a 92-key (down to a Low F!) 1953 Bösendorfer 7’4” Model 225 Piano (no sostenuto pedal; inside/prepared is OK). The venue hosts a Meyer Sound System, drum kit, additional piano, lighting, and projection equipment.

Please send proposals to matt ingalls: series@sfsound.org.

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