Anna Friz + Gretchen Jude Ensemble

Doors 8pm / Show 8:30pm
$17 advance / $20 door / free or discounted for members

The Lab presents two works exploring sometimes-invisible articulations of landscape. Anna Friz’s “Salar: Adaptation” considers the audible sonic textures of desert field recordings alongside a electro-magnetic and radio signals, with video in collaboration with Rodrigo Rios Zunino. Gretchen Jude’s “Divide” consists of graphic scores outlining the silhouettes of mountains from an artist residency in Montana, performed by John Bischoff, Kevin Corcoran, Suki O'Kane, and Shanna Sordahl, alongside’s Jude’s field recordings from the site.
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Carlos Giffoni / Alex Pelly + Sholeh Asgary + RM Francis

Doors 8pm / Show 8:30pm
$23 advance / $25 door / free or discounted for members

Venezualan experimental musician Carlos Giffoni came up on the scene as a noise guitar player in the late 90s, but quickly pivoted into electronic music composition in the early 00s with milestone releases on Important Records and his label No Fun Productions. He performs at The Lab with live visuals from Dub Lab's Alex Pelly on analog video synthesis, on the heels of his latest record Dream Walker.

Sholeh Asgary is an interdisciplinary sound artist who researches how the auditory characteristics of a location reveal its underlying conditions and our relationship to place—echoing the near-perpetual movement across borders that characterized Asgary’s formative years. Her performances have been presented by such institutions as Portland Institute for Contemporary Art, Aarhus Kunstmuseum, Gray Area, Stanford University, and Cone Shape Top.

RM Francis is an artist from Seattle working with computer-generated sound and language via recording, performance, and installation. His practice foregrounds computation-based compositional strategies, with a current emphasis on methods that exploit discrepancies between human and artificial auditory systems.
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Natural Information Society + Togetherness Ensemble

Doors 8pm / Show 8:30pm
$27 advance / $29 door / free or discounted for members

Natural Information Society (NIS) is a band led by composer & multi-instrumentalist Joshua Abrams. The group’s music is grounded in Abrams’ hypnotic & interwoven writing. Performing with Lisa Alvarado’s free hanging paintings as mobile sets, NIS creates environments at once meditative & propulsive. NIS navigates forms that emphasize simultaneous differences, rhythm & collective listening. The group has released seven records, including recent descension (Out of Our Constrictions) 2021 and 2023 Since Time is Gravity for eremite records.
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Stefan Maier + Michael Masaru Flora

Doors 8pm / Show 8:30pm
$13 advance / $15 door / free or discounted for members
Advance prices include ticketing fees. Request your member DICE Code here.

Stefan Maier is an artist and composer based in Vancouver, Canada — the unceded, traditional territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaɬ (Tsleil-Waututh) Nations. His installations, performances, writings, and compositions examine emergent and historical sound technologies as tools for speculation. Highlighting material instability and unruliness, his work explores the flows of sonic matter through sound systems, instruments, software, and bodies, to uncover alternate histories, modes of listening, and authorship.


Michael Masaru Flora is a multidisciplinary artist living and working in the Santa Cruz Mountains. His work explores the emergent phenomena that occurs through non-deterministic and autopoietic processes. Informed by architecture, systems theory, perceptual psychology, visual art, and computer music, his works often take the form of large scale installation and performance.
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Horse Lords + Evicshen + Foreign/Domestic

Doors 8pm / Show 8:30pm
$23 advance / $25 door / free or discounted for members

Almost all bands do it backward and upside-down. They start with years of playing live, creating their music in the crucible of performance with all of its impurities and in-the-moment inspirations, before committing said music to a recording that fixes it into an ostensible, exemplary form that eternally serves as an ultimate reference. And then maybe, someday, a few albums down the road, when the tours are shorter and less frequent and the cupboard is looking a little bare, they excavate and massage some favorite board recordings into a live album to fill a gap in some capitalist imagining of “career.”

Horse Lords are not like most bands. The Baltimore-founded, now internationally dispersed quartet puts performance at the center of its practice and approaches the studio as an entirely separate tool. The band’s intricate, polyrhythmic music is tightly composed and complex, leaving little room for improvisation. But elements of chance in Horse Lords’ music make it sometimes unpredictable in the moment, even to the musicians. After the pandemic forced the band to work more deliberately in the studio in composing and recording their most recent album, Comradely Objects, it felt right to assemble some recordings that both capture their galvanic performance attack and subtly interrogate the artifact of the “live album.”
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