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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
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Konk Pack Morning Scales the Mountain Young Mothers


Presented by Young Mothers
Co-Sponsored by Nameless Sound


Friday, September 21, 8PM (doors open at 7PM)
at Rockefeller's
3620 Washington Avenue

Call or email us if your preferred amount is not listed: 713-928-5653, administration@namelesssound.org

Number of Tickets


The Young Mothers currently hold the distinction of being Texas’ most renowned international music phenomenon that is the least-known within the borders of its home state. Over the past several years, the collaborative band with members from Austin, Houston, Dallas, and Amsterdam (via Chicago) has become a mainstay on the European circuit of jazz festivals. And though the sextet’s members frequently perform their own projects in Texas, The Young Mothers has only played the Lone Star State a handful of times.

Formed by Norwegian-born and Austin-based free jazz phenomenon Ingebrigt Håker-Flaten, the Young Mothers has become known for a blend of free-jazz, hip-hop, indie rock, and grindcore (and a bunch of other stuff) that is disarmingly natural and unforced in its expression. Such a stylistic mix of influences is not so unusual in this day and age, but this is no post-modern mashup by studious (or studiously irreverent) music-school nerds. The Young Mothers don’t give a damn about being clever. They feel and communicate. This is not a genre-blender of stylistic influences. These are musical sources embodied in the players themselves.
Houston’s Jawwaad Taylor is the hip-hop element. Well-established as an underground rapper, he’s a true emcee (and producer) who also wields a trumpet that channels Don Cherry’s timeless melodic cry for freedom. The other Houstonian is Nameless Sound’s own Jason Jackson, who’s saxophone delivers the ferocity, soul, and melodicism that many here know via the horn-heavy local institution Free Radicals. Dallas’ Stefan Gonzalez (son of Texas jazz legend legend Dennis Gonzalez) unleashes a one-of-kind free-jazz/grindcore intensity that makes him the most brutal vibraphonist you’ll ever hear. This is most definitely a regionally-sourced hybrid, but it’s unlike anything you’ve heard in Texas or anywhere else. And you’d better catch them now, or you might have to wait another five years for the next opportunity.

Audience favorites since Nameless Sound’s first season, Konk Pack comprise a triple threat woven from three distinct threads of experimental music. One is a composer who began as a radical avant-rocker in the pioneering band Henry Cow. One is a veteran of British free improv’s mighty “2nd generation”. And one is a classically trained new-music pianist turned analogue synth wizard.  We’ve said enough about them over the years, so we’ll leave the adjectives and adverbs to the esteemed European music press. Read below:

“Konk Pack are utterly awesome. Featuring Thomas Lehn on the craziest old EMS synthi A, Tim Hodgkinson on flat guitar and Roger Turner on percussion, the show is awkwardly brilliant and defiant. With startling combinations of punkish nuisance, ingenious change-ups, and rolling, stumbling, tripping and flipping sound inventions, Konk Pack are one of the most exciting Improv groups in the world."
- Lee Henderson, The Wire, Dec 2003

“The accelerated, interactive electronica of Roger Turner (percussion), Tim Hodgkinson (deconstructed tabletop guitar) and Thomas Lehn (analogue synth) arises from a scintillating heap of sonic detritus the way an artificial intelligence manifests itself in a Manga movie: a writhing mass of automobiles, arcade consoles, street furniture and mobile phones. Hodgkinson attacks his amplified strings with plectrum and bow, his specs glinting as he waits for the right awkward moment to kloodge a sonic shard on the side of one of Turner's amazingly vocalized motifs. Lehn restricts his pianism on analogue synth to pinched blurts, but still manages to resemble a switched-on Liszt. Konk Pack played an unbroken 45 minute set: fun debris, rollicking freakouts, and one magical section of scrape and pling where the music seemed to play itself."
- Ben Watson The Wire, April 2001

Feeding our heads for the warm-up will be Morning Scales the Mountain, the latest contribution to a deeply-rooted tradition of improvised Houston psychedelia. One half of their twin-guitar attack is none other than Tom Carter of the Charalambides, the famed duo that has been delivering dreamy doses of soul-cleansing psych-catharsis since their humble beginnings in Houston’s early-90’s 6th Ward. Carter is joined on guitar by Brazilian born post-rocker André Ramiro, known as a member of the band ruído/mm. Multi-creative visionary John Alan Kennedy propels and steers the course on the drums. A fixture of the 90’s underground in Houston, Kennedy has been one of the city’s most active experimentalists since returning from New York a few years ago.

Young Mothers

Konk Pack

Morning Scales the Mountain