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Nameless Sound was established in 2001 to present the best of international contemporary music and to support the exploration of new methods in arts education. Nameless Sound presents concerts by premier artists in the world of creative music. In addition, Nameless Sound artists work directly with students from Houston’s public schools, community centers, and homeless shelters. Nameless Sound’s educational work helps to nurture a new generation of artists and inspire tomorrow’s creative thinkers.


   
Kaffe Matthews


2nd Ward- A Bicycle Opera


Saturday, September 27th, 2014

 
Kaffe Matthews


2° Barrio-
Una Ópera Bicicleta


sábado, septiembre 27th, 2014

  honoring

DAMON CHOICE and JOAN WICH in memoriam



November 8, 2014

presented by Nameless Sound, Ripley House Neighborhood Center, and the Bicrophonic Research Institute.


Nameless Sound, Bicrophonic Research Institute y Ripley House presentan

.

DineDos

kaffe
cover
Ripley House Neighborhood Center
4410 NAVIGATION STREET, HOUSTON TX 77011


All members of the public are invited to ride the bikes at the celebratory unveiling on Saturday, September 27, from 11AM.

'2nd Ward | 2° Barrio' tells tales of daily lives from sonic bikes that audience can cycle to hear compositions unfold de-pendent on where they go. Constructed from a score woven from local journeys, it's a new work commissioned and produced by Nameless Sound made in collaboration with the Bicrophonic Research Institute(BRI), Vampire Squid Labs, Eastside residents, writers, musicians, children, programmers and engineers, directed by UK artist Kaffe Matthews.

Come to Ripley House on Saturday, 27th September and try sonic bike riding. FREE. Bikes will be available starting at 11am.
Sonic bikes have speakers that play so that cyclist and passers by can enjoy sonic experiences as they go. Hidden sounds might entice you to ride faster, slower, stop, turn in circles, cruise paths or pause in shadows for listening.

2nd Ward | 2° Barrio is the first BRI opera that not only sees the sonic bikes made locally, but that enables them to remain and be developed through an ongoing collaboration with Nameless Sound and Vampire Squid Labs indefinitely.

Workshops for 2nd Ward | 2° Barrio have run at Ripley House with those for seniors conducted by writer and artist Stalina Villarreal and additional musical input from Abel and Denis Cisneros

Bicycles will be available for public use during open hours at Ripley House through November 22.

"2nd Ward  – A Bicycle Opera | 2o Barrio - Una Ópera en Bicicleta is a project is funded by grants from the City of Hou-ston through The Houston Arts Alliance and The Foundation for Contemporary Arts."

Generous technical support is provided by Vampire Squid Labs, Jason Prince, Jairo Sanchez and Matt Simonelli.


THIS EVENT IS FREE!



Ripley House Neighborhood Center
4410 NAVIGATION STREET, HOUSTON TX 77011


Explora el sonido y su velocidad mientras pedaleas una de las bicicletas sonoras del 2° Barrio.

La artista británica Kaffe Matthews, especialista en instalaciones sonoras, y el Instituto de Investigación Bicrófonica (BRI por sus siglas en inglés) han colaborado con el 2o Barrio, Eastwood, Magnolia Park y los residentes, escritores, músicos, niños, programadores, constructores e ingenieros del East End para crear 2o Barrio: Una ópera en bicicleta por medio de las bicicletas sonoras (Sonic Bicycles), las cuales están equipadas con  unos parlantes que reaccionan con las coordenadas de un recibidor GPS.

Se invita al público a que ande en las bicicletas y navegue en una composición sonora que cambiará dependiendo del rumbo y velocidad de los pedales. Ciertos sonidos ocultos podrían atraer al ciclista a que pedalee más rápido, o más lento; podrían incitarlo a frenar de repente, o a dar vueltas, o a conducir en medio de caminos que lo lleven a buscar tesoros sonoros, o a hacer una pausa para encontrar espacios tranquilos que le permitan escuchar la música.

La culminación de este evento será a través de una serie de talleres en colaboración con el programa juvenil y para adultos mayores de Ripley House, impartidos por Nameless Sound, Vampire Squid Labs y la escritora y artista Stalina Villarreal, acompañada con la música de Abel Cisneros y Denis Cisneros.

Se invita al público en general a que monte las bicicletas durante la inauguración de este evento, el cual se llevará a cabo el sábado 27 de septiembre de las 11:00 de la mañana al atardecer.

Posteriormente, las bicicletas sonoras estarán disponibles hasta noviembre 22 en Ripley House.

Este proyecto cuenta con un subsidio de la Ciudad de Houston a través de la Houston Arts Alliance, y otro por parte de la Foundation for Contemporary Arts.

Se agradece la generosa colaboración del soporte técnico: Vampire Squid Labs, Jason Prince, Jairo Sanchez y Matt Simonelli.

¡EVENTO GRATUITO!

Knights of Columbus Hall
607 EAST WHITNEY STREET, HOUSTON, TX 77022

Special performances
cocktails, resounding hors d’oeuvres,
award ceremony, a small auction of rare art & artifacts
$150.00 per person for early, and $200 after October 15th.

RSVP to (713) 928-5653 - or - administration@namelesssound.org


The Resounding Vision Award honors musicians whose efforts transcend aesthetics and resonate beyond the performance venue. It honors artists who pursue a vision of progress in our communities.

For the second year, Nameless Sound continues the Community Resounding Vision award to honor supporters and advocates for the arts in Houston.

Past recipients of the Resounding Vision Award:
JOE MCPHEE (2005)
WILLIAM P ARKER (2006)
PAULINE OLIVERO S (2007)
CURLEY C ORMIER (2009)
ALV I N F I E L D E R (2012)
ROSCOE MITCHELL (2013)

ONGOING
Nameless Sound in communities
   



THOUGHTS FROM A NAMELESS SOUND PARENT
PAST CONCERTS             
Creative Music Classes
and Workshops












Konk Pack at Milby High School October 2013 Konk Pack conducts a workshop at Milby High School October 2013
DiverseWorks
Youth & Special Needs Classes

at MECA, 1900 Kane St., Houston, TX [map]

Nameless Sound's Ensembles at MECA are open to all and unite a diverse range of young people from throughout Houston.

Fall classes begin September 3rd, 2014, but participants may enroll at any time!

See Youth Ensemble page for class descriptions and times.

Nameless Sound in the Communities
Each week, Nameless Sound's Creative Music Workshops serve over one hundred young people in homeless shelters, refugee programs, public schools, and community centers. Classes often feature hands-on workshops by visiting artists, some of the most innovative and pioneering musical thinkers in the world. If you would like to host a workshop in your community, please contact us!





"Parents of kids with special needs carry hope around like nomadic people of old carried around fire. We are always looking for outlets for our children's creativity, outlets that are inclusive and nurturing, that allow for growth to their full potentials. This organization is truly one of those outlets."

-Garry Reece, parent of a Nameless Sound student.

Read the rest of his letter here.

Fall 2013/Spring 2014 Season
PETER BROTZMANN + KEIJI HAINO/OCT. 7TH, 8TH, 9TH.
PETER BROTZMANN AT THE HILL/OCT. 12
KONK PACK/OCT. 15
ANTHOLOGY MEDITATIONS/FEB. 15TH

ETHNIC HERITAGE ENSEMBLE/FEB. 21ST
BOBBY BRADFORD QUARTET/MARCH 25TH
SOUND OBSERVATIONS: MICHAEL PISARO/APRIL 22ND
SOUND OBSERVATIONS: CHARLES CURTIS/APRIL 24TH
DOS (KIRA + MIKE WATT)/May 17TH

Two of creative music's most iconic and monumental voices join forces in a North American debut.

 

For over forty years, the groundbreaking German multi-reedist Peter Brötzmann (b. 1941, Remscheid, Germany) has peeled the paint off concert halls with his massive tone, rough timbre, and relentless attack. Broötzmann studied painting at the Art Academy of Wuppertal in the late 1950s and soon began associating with Fluxus artists including Joseph Beuys and Nam-June Paik. By 1968 he had refocused his creative efforts on music and with an eight-piece group, recorded and self-issued Machine Gun, an incendiary LP that documented the leading voices of the burgeoning European free jazz revolution. In the decades since, Brotzmann has released over fifty albums as a leader while rampaging his way around the globe, taking on such fellow travelers as Han Bennink, Derek Bailey, Cecil Taylor, Bill Laswell, William Parker, Joe McPhee, and countless others, and maintaining an extremely physical and expressionistic approach to music making.

 

The inscrutable Keiji Haino (b. 1952, Chiba, Japan) is both an improvising instrumentalist and a singer-songwriter who uses volume, distortion, and theatricality in the extreme to manifest a uniquely personal vision of what music can be. Appealing to fans of rock, improvisation, damaged blues, psychedelia, minimalism, and drone music, Haino's protean output is enhanced by a distinctive personal mystique: he is never seen without black clothes and sunglasses, and his live performances are among the most unpredictable in modern music. Haino began his career in the early 1970s, when he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film composer Toru Takemitsu. By the end of that decade, he formed Fushitsusha, the group that could arguably be the definitive improvising power trio. Though he has performed on a remarkable (and unpredictable) range of instruments, he is known for a consistent and singularly cathartic embodiment of sound exploration. As an electric guitarist, he has created some of the most physical and earth-shattering monuments of sound ever produced on the instrument. As a vocalist, Haino goes deep into his self, communicating the ecstasy and anguish of an inner-world. His Texas debut in 2007 featured a show in which he performed exclusively on gamelan and other percussion instruments, followed by a howling electric guitar concert.

 

Haino and Brotzmann's musical partnership dates back to April 1996 when a Japanese tour yielded the CD 'Evolving Blush or Driving Original Sin.'  Their collaboration was further developed during a handful of subsequent engagements including the 2008 Berlin JazzFest and an appearance at London's Cafe Oto in 2011. They share an uncompromising individualism, and a reputation for extreme and powerful expressions. But a more in depth exploration of both artists reveals music with a more vulnerable and lyrical core, music with roots in the blues.   Two of creative music's most iconic and monumental voices join forces in a North American debut.
The inscrutable Keiji Haino (b. 1952, Chiba, Japan) is both an improvising instrumentalist and a singer-songwriter who uses volume, distortion, and theatricality in the extreme to manifest a uniquely personal vision of what music can be. Appealing to fans of rock, improvisation, damaged blues, psychedelia, minimalism, and drone music, Haino's protean output is enhanced by a distinctive personal mystique: he is never seen without black clothes and sunglasses, and his live performances are among the most unpredictable in modern music. Haino began his career in the early 1970s, when he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film composer Toru Takemitsu. By the end of that decade, he formed Fushitsusha, the group that could arguably be the definitive improvising power trio. Though he has performed on a remarkable (and unpredictable) range of instruments, he is known for a consistent and singularly cathartic embodiment of sound exploration. As an electric guitarist, he has created some of the most physical and earth-shattering monuments of sound ever produced on the instrument. As a vocalist, Haino goes deep into his self, communicating the ecstasy and anguish of an inner-world. His Texas debut in 2007 featured a show in which he performed exclusively on gamelan and other percussion instruments, followed by a howling electric guitar concert. Haino opens this three-night festival on Monday, October 7th with a solo concert at a venue still to be announced.
For over forty years, the groundbreaking German multi-reedist Peter Brötzmann (b. 1941, Remscheid, Germany) has peeled the paint off concert halls with his massive tone, rough timbre, and relentless attack. Broötzmann studied painting at the Art Academy of Wuppertal in the late 1950s and soon began associating with Fluxus artists including Joseph Beuys and Nam-June Paik. By 1968 he had refocused his creative efforts on music and with an eight-piece group, recorded and self-issued Machine Gun, an incendiary LP that documented the leading voices of the burgeoning European free jazz revolution. In the decades since, Brotzmann has released over fifty albums as a leader while rampaging his way around the globe, taking on such fellow travelers as Han Bennink, Derek Bailey, Cecil Taylor, Bill Laswell, William Parker, Joe McPhee, and countless others, and maintaining an extremely physical and expressionistic approach to music making. On Tuesday, October 8th, Brötzmann will perform a free solo set during the programmed LED light sequence of James Turrell's 'Twilight Epiphany' Skyspace at the Suzanne Deal Booth Centennial Pavilion, immediately followed by the opening reception for 'Peter Brötzmann: Graphic, Design Work 1958-2013' at the Rice Media Center.
Haino and Brotzmann's musical partnership dates back to April 1996 when a Japanese tour yielded the CD 'Evolving Blush or Driving Original Sin.'  Their collaboration was further developed during a handful of subsequent engagements including the 2008 Berlin JazzFest and an appearance at London's Cafe Oto in 2011. They share an uncompromising individualism, and a reputation for extreme and powerful expressions. But a more in depth exploration of both artists reveals music with a more vulnerable and lyrical core, music with roots in the blues. The two artists make their North American debut as a duo on Wednesday, October 9th at the Rice Media Center.Two of creative music's most iconic and monumental voices join forces in a North American debut.
The inscrutable Keiji Haino (b. 1952, Chiba, Japan) is both an improvising instrumentalist and a singer-songwriter who uses volume, distortion, and theatricality in the extreme to manifest a uniquely personal vision of what music can be. Appealing to fans of rock, improvisation, damaged blues, psychedelia, minimalism, and drone music, Haino's protean output is enhanced by a distinctive personal mystique: he is never seen without black clothes and sunglasses, and his live performances are among the most unpredictable in modern music. Haino began his career in the early 1970s, when he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film composer Toru Takemitsu. By the end of that decade, he formed Fushitsusha, the group that could arguably be the definitive improvising power trio. Though he has performed on a remarkable (and unpredictable) range of instruments, he is known for a consistent and singularly cathartic embodiment of sound exploration. As an electric guitarist, he has created some of the most physical and earth-shattering monuments of sound ever produced on the instrument. As a vocalist, Haino goes deep into his self, communicating the ecstasy and anguish of an inner-world. His Texas debut in 2007 featured a show in which he performed exclusively on gamelan and other percussion instruments, followed by a howling electric guitar concert. Haino opens this three-night festival on Monday, October 7th with a solo concert at a venue still to be announced.
For over forty years, the groundbreaking German multi-reedist Peter Brötzmann (b. 1941, Remscheid, Germany) has peeled the paint off concert halls with his massive tone, rough timbre, and relentless attack. Broötzmann studied painting at the Art Academy of Wuppertal in the late 1950s and soon began associating with Fluxus artists including Joseph Beuys and Nam-June Paik. By 1968 he had refocused his creative efforts on music and with an eight-piece group, recorded and self-issued Machine Gun, an incendiary LP that documented the leading voices of the burgeoning European free jazz revolution. In the decades since, Brotzmann has released over fifty albums as a leader while rampaging his way around the globe, taking on such fellow travelers as Han Bennink, Derek Bailey, Cecil Taylor, Bill Laswell, William Parker, Joe McPhee, and countless others, and maintaining an extremely physical and expressionistic approach to music making. On Tuesday, October 8th, Brötzmann will perform a free solo set during the programmed LED light sequence of James Turrell's 'Twilight Epiphany' Skyspace at the Suzanne Deal Booth Centennial Pavilion, immediately followed by the opening reception for 'Peter Brötzmann: Graphic, Design Work 1958-2013' at the Rice Media Center.
Haino and Brotzmann's musical partnership dates back to April 1996 when a Japanese tour yielded the CD 'Evolving Blush or Driving Original Sin.'  Their collaboration was further developed during a handful of subsequent engagements including the 2008 Berlin JazzFest and an appearance at London's Cafe Oto in 2011. They share an uncompromising individualism, and a reputation for extreme and powerful expressions. But a more in depth exploration of both artists reveals music with a more vulnerable and lyrical core, music with roots in the blues. The two artists make their North American debut as a duo on Wednesday, October 9th at the Rice Media Center.Two of creative music's most iconic and monumental voices join forces in a North American debut.
The inscrutable Keiji Haino (b. 1952, Chiba, Japan) is both an improvising instrumentalist and a singer-songwriter who uses volume, distortion, and theatricality in the extreme to manifest a uniquely personal vision of what music can be. Appealing to fans of rock, improvisation, damaged blues, psychedelia, minimalism, and drone music, Haino's protean output is enhanced by a distinctive personal mystique: he is never seen without black clothes and sunglasses, and his live performances are among the most unpredictable in modern music. Haino began his career in the early 1970s, when he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film composer Toru Takemitsu. By the end of that decade, he formed Fushitsusha, the group that could arguably be the definitive improvising power trio. Though he has performed on a remarkable (and unpredictable) range of instruments, he is known for a consistent and singularly cathartic embodiment of sound exploration. As an electric guitarist, he has created some of the most physical and earth-shattering monuments of sound ever produced on the instrument. As a vocalist, Haino goes deep into his self, communicating the ecstasy and anguish of an inner-world. His Texas debut in 2007 featured a show in which he performed exclusively on gamelan and other percussion instruments, followed by a howling electric guitar concert. Haino opens this three-night festival on Monday, October 7th with a solo concert at a venue still to be announced.
For over forty years, the groundbreaking German multi-reedist Peter Brötzmann (b. 1941, Remscheid, Germany) has peeled the paint off concert halls with his massive tone, rough timbre, and relentless attack. Broötzmann studied painting at the Art Academy of Wuppertal in the late 1950s and soon began associating with Fluxus artists including Joseph Beuys and Nam-June Paik. By 1968 he had refocused his creative efforts on music and with an eight-piece group, recorded and self-issued Machine Gun, an incendiary LP that documented the leading voices of the burgeoning European free jazz revolution. In the decades since, Brotzmann has released over fifty albums as a leader while rampaging his way around the globe, taking on such fellow travelers as Han Bennink, Derek Bailey, Cecil Taylor, Bill Laswell, William Parker, Joe McPhee, and countless others, and maintaining an extremely physical and expressionistic approach to music making. On Tuesday, October 8th, Brötzmann will perform a free solo set during the programmed LED light sequence of James Turrell's 'Twilight Epiphany' Skyspace at the Suzanne Deal Booth Centennial Pavilion, immediately followed by the opening reception for 'Peter Brötzmann: Graphic, Design Work 1958-2013' at the Rice Media Center.
Haino and Brotzmann's musical partnership dates back to April 1996 when a Japanese tour yielded the CD 'Evolving Blush or Driving Original Sin.'  Their collaboration was further developed during a handful of subsequent engagements including the 2008 Berlin JazzFest and an appearance at London's Cafe Oto in 2011. They share an uncompromising individualism, and a reputation for extreme and powerful expressions. But a more in depth exploration of both artists reveals music with a more vulnerable and lyrical core, music with roots in the blues. The two artists make their North American debut as a duo on Wednesday, October 9th at the Rice Media Center.