$8 in advance/$10 at the door

5pm doors/8pm showtime




Krissy Bergmark:

Krissy Bergmark is a tabla player, percussionist, composer, and freelance instructor in the Twin Cities. She has received commissions and grants through the Cedar Commissions, the Jerome Foundation, the Metropolitan Regional Arts Council for her tabla studies and her compositions for tabla, percussion, and other instruments. She performs with her world/jazz fusion percussion-based group Matra, folk/newgrass-inspired trio Piciformes, classical folk group Work Wife, modern flamenco guitarist Ben Abrahamson, and has played with the Pan-handler Steel Band (http://www.pan-handlers.org/) since 2014. She also currently serves as the Vice President for the Minnesota Chapter of the Percussive Arts Society. 




Luke Rivard:

Luke Rivard is a drummer, percussionist, and educator in the Twin Cities area that plays with Porky's Groove Machine and Black Market Brass. He is currently composing new music through the lens of improvisation and traditional Ghanaian music. After multiple study trips to the Volta region and metropolitan Accra area of Ghana, Luke programs a piece that weaves traditional styles and songs into his own improvised reflection, outlined by transcriptions and rhythmic conversations. The result is an atypical “drum set” utilization of Ewe instrumentation and the Lobi gyil, as well as a powerful exercise in dexterity, reflection, and homage. 




Patrick Marschke:

Patrick Marschke is a Minneapolis-based percussionist, composer, and electronic musician trying to make all of those things into one thing. He is a member of the fluid soundmaker collective Six Families in addition to writing for/managing the Liquid Music Series blogJon Oulman Presents, and Cori.Lin.Art. Patrick Marschke’s work, since delving into the realm of digital sound production in 2013, has revolved around utilizing Max/MSP to build custom project-specific sound applications. These applications have been as basic as simple sonic delay effects or as complex as interactive digital instruments. A key area of interest has been digital sampling and testing the boundaries of aural perception through sonic obfuscation. The human voice, with its dense harmonic and fricative content, has proved to be an especially rich source material: how many milliseconds of a sound do we need to hear before we hear the humanness? What is lost when a human voice ceases to sound human? Similar lines of questioning can be applied to literally any source recording to limitlessly fascinating ends.