p.m at a.m | December 18 | a.m (London)


No Collective is premiering “p.m at a.m,” a misleading musical fable about the world in general and you in particular, at a.m in London from 8 p.m this coming Friday, December 18. Performers may include You Nakai, Dee Ali, and Ai Chinen among others. a.m is a gallery built inside the remains of the famous Blackwing Studios where bands like Depeche Mode or The Pixies used to record their music back in the days. The space is subtly abandoned and nicely soundproofed and so is the work so please join us if you are in town!


All Hallows Church
1 Pepper Street Entrance

House Music | June 12 | CARPA4, Helsinki


No Collective is presenting HOUSE MUSIC, in collaboration with Lindsey Drury and Johanna Gilje, at the fourth Colloquium on Artistic Research in Performing Arts (On “The Non-Human and the Inhuman in Performing -Arts-Bodies, Organisms and Objects in Conflict”) held at the Theatre Academy of the University of the Arts, in Helsinki. The performance will start at 11:15AM, and last about an hour. This will be the second performance of the piece we presented last year in Berlin, and we’re also expected to say something smart-ish about the piece before or after or during the piece. So if you are anywhere near it would be great to see you there.

House Music
by No Collective and Lindsey Drury
June 12, 2015, 11:15-12:15
Theatre Academy of the University of the Arts, Helsinki
[Part of Colloquium on Artistic Research in Performing Arts 4]
Performed by Johanna Gilje, Lindsey Drury, Kay Festa, and You Nakai

Vesna’s Fall | April 26 | Queens Museum


No Collective and Lindsey Drury, along with dancers Kaia Gilje, Paige Fredlund, Molly Schaffner, Laura Bartczak, and Katelyn Hales, are going to present the final version of Vesna’s Fall at the Queens Museum on April 26, 2015. The performance starts from 4pm, but there is also going to be a workshop for a limited number of people from 2 to 3:30pm. We’ve always thought that those remnant towers from the NY World’s Fair 50 years ago look like massive versions of the contraptions the dancers wear, and so I wanted to somehow have people+contraptions jump from the top and dance while falling down (which partially accounts for the ‘Fall’ in the title). That was impossible to do, but the Queens Museum is right nearby, so the location is perfect, and so is the space. We’ve presented the piece several times last year, but we are going to recreate most things from scratch, so it is going to be very different and much better.


Vesna’s Fall
by No Collective and Lindsey Drury

April 26, 2015, 4-5pm
Queens Museum


It is always difficult to know the dancer from the dance. By physically separating the two, Vesna’s Fall seeks to reinvent the problem. Each dancer wears a 14-foot movable curtained room that isolates her, extends her body, amplifies her movement, and blocks her view. Unable to see one another, the dancers attempt to coordinate the work using whatever means available, starting with their voices. Each audience member can choose what to see and from where. But watching one dancer always precludes seeing everybody and everything else. In this way, the work seeks to reveal the underlying condition of bodies that cuts across the division between performers and viewers, impeding them both from seeing the whole.

Performed by Lindsey Drury, Paige Fredlund, Kaia Gilje, Molly Schaffner, and perhaps You Nakai. Assisted by Laura Bartczak and Katelyn Hales.


WORKSHOP taught by Paige Fredlund with Kaia Gilje and Lindsey Drury, prior to performance from 2-3:30pm

*registration required https://www.eventbrite.com/e/sacrificial-practice-counting-while-dancing-while-being-counted-for-dancing-tickets-16389168444

Max Number of Participants: 20.

Workshop is free but registration required through the above eventbrite page or by emailing: lindsey@drearysomebody.com


This performance is made possible by the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

“A Closing Remark: On Several Technologies Inside the Concertos Series” | Leonardo Music Journal 24 (< 40 — Emerging Voices)


No Collective has been selected and featured in the recent issue of Leonardo Music Journal (MIT Press) as one of the musicians under 40 who are doing interesting stuff with technology today (http://www.mitpressjournals.org/toc/lmj//24). For no good reason really, since we’ve been trying to use as few electronics as possible in our recent works (because they always break down 5 minutes before the concert). But a modest ‘artist statement’ Kay Festa wrote with a little help from You and Jay (“A Closing Remark: On Several Technologies Inside the Concertos Series”) is published in LMJ, which should read like a text that reflects back on our first two Concertos (the second footnote about there being a link to video/audio of Concertos No.2 on our website, which the editors added, is entirely false). What is more exciting for me personally, is that our friend Cody Eikman, who recently collaborated on a piece with Ellen C. Covito (that we did in New York and Berlin), is also featured in the same issue, along with several other people we have associated with.

House Music: Two Stories | December 15 | Kurturraum (Neukölln, Berlin)


We are showing a new version of HOUSE MUSIC, made in collaboration with the choreographer Lindsey Drury, and performed by Johanna Gilje, Keith Hennessy, IthaK Katartika, You Nakai, Meg Stuart, Sasha Waltz (and probably one flamenco dancer and one tap dancer), on Monday, December 15 from 8:30pm at the Kulturraum on Mainzer Straße 7. We hope whoever is in Berlin can come!

House Music: Two Stories 
Constructed by No Collective and Lindsey Drury

One need not be a chamber to be haunted;
One need not be a house;
The brain has corridors surpassing
Material place.
– Emily Dickinson

(Keith Hennessy, together with Meg Stuart and Sasha Waltz, were conceived during the 2014 IMAR summer residency in Connecticut)

Ellen C. Covito in Berlin | November 18 | 18m Gallerie (Schöneberg, Berlin)

Screen Shot 2014-11-16 at 3.45.08 PM

No Collective is presenting the first concert of Argentine composer/choreographer Ellen C. Covito in Berlin, under the curation of Dafne Narvaez. Covito’s highly inventive and often times humorous approach to the problem of composition and improvisation has been gaining wide attention in the recent years. Her works have been performed all over the world, with three major concerts in New York and Tokyo. A full catalog compiling most of her major works, as well as essays on her approach and an exclusive interview with the composer, was published this summer from Already Not Yet Press (Brooklyn) to a critical acclaim (the PDF can be downloaded for free from: alreadynotyet.org). With its particular ties to Argentine artist network in Berlin, 18m Salon serves as a perfect venue to introduce Covito’s radical works to Berlin. On the evening of November 18, expect to see a score written in the form of an eye chart, a percussion instrument that runs away from the performer, a blindfolded performer who plays a piece written by a blindfolded composer, and a group of composers racing to compose in real-time.

Die Komponistin Ellen C. Covito nimmt eine sehr innovative und oft humorvolle Haltung zur Frage ein, was Komposition und was Improvisation sei. In den letzen Jahren fand ihr Werk große Beachtung und wurde weltweit aufgeführt, unter anderem in New York und Tokyo. Ein komplettes Verzeichnis ihrer Arbeiten wurde diesen Sommer bei “Already Not Yet Press” (Brooklyn) publiziert.

18m Salon versteht sich als offener Ort für kulturelle Experimente, mit einem Schwerpunkt auf Kulturaustausch mit Argentinien. Wir freuen uns besonders, dieser radikalen Komponistin ein Forum bieten zu können und laden euch/Sie und eure Freunde sehr herzlich zum Konzert am 18ten November ein:

–Eine Partitur in Form eines Sehtests

–Ein Perkussion-Instrument,

das vor seinem Performer davonläuft

–Ein Musiker mit Augenbinde, der das Stück eines –Komponisten mit Augenbinde interpretiert

–Eine Gruppe von Komponisten, die in real-time zu komponieren versucht

Performers: Tomomi Adachi, Lindsey Drury, You Nakai, Saara Wallraf, Knifeloop, IthaK, Gonzalo Marinuci, Jonas Alexander Duus, and others.

18m Gallerie | Akazienstraße 30 10823 Berlin | 18.11.2014 18:00-

House Music No.3: Two Stories | August 17 | IMAR residency


No Collective is going to present a new piece called “House Music No.3: Two Stories,” made in collaboration with Dreary Somebody and Matthew Gantt, at the IMAR residency in Lakeville, Connecticut (187 Indian Mountain Rd) this coming Sunday August 17, from around 7pm. It will be a part of a daily event that starts from around 2:30pm, and there will be other performances throughout the day as well as visual art exhibited throughout the residency. Transportation is offered from Wassaic station for the people arriving on the 2:08pm Metro North train, so let us know if you need that. It’s a bit far out from NY, but the site is beautiful so if you feel like taking a weekend retreat (and bring an umbrella and layers, in case it rains and is cold)!

House Music No.3: Two Stories

A project built by No Collective & Dreary Somebody in collaboration with Matthew Gantt, and performed by Lindsey Drury, Matthew Gantt, & You Nakai

Sunday, August 17th, from around 7pm at the IMAR residency (Lakeville, CT)


1 : One need not be a chamber to be haunted; / One need not be a house; / The brain has corridors surpassing / Material place. (Emily Dickinson)

2 : “Ever since my personal involvement in the investigation of a rapping poltergeist at Andover, Hampshire, in which it was absolutely clear that no normal explanation could account for the observed phenomena, I wondered whether the recorded raps were in any way different to those produced by normal methods. It is now clear that they are indeed different.” (Barrie Colvin, ‘The Acoustic Properties of Unexplained Rapping Sounds’ in the Journal of the Society for Psychical Research [2010] Vol 73.2 Number 899 pp 65-93.)


Dreary Somebody is totally temporal, totally permeable, and constantly in flux. It rearranges itself around each new project, redefining itself and its mission in relation to the work at hand. At the moment, Dreary Somebody is the creative entity by which Lindsey Drury has orchestrated a number of dance works. These projects (2012-2014) include the collaborative opera Any Size Mirror is a Dictator with Panoply Lab and the large-scale work Vesna’s Fall created with No Collective. Previous works include Run Little Girl (2012), in which the progression, intention and interaction of the eight performers and 20 dance modules were choreographed live, and I am My Shitty Little Box (2011), a solo performed both for and as one audience member by first exchanging clothing with them. Curatorial project include Post-Dance for the Brooklyn International Performance Art Festival (2013), and Ellen C. Covito’s Percussions/Repercussions at The Woods Cooperative for the new performance series The Room with No Collective.


Matthew Gantt is a composer, improviser and graduate student at CUNY Brooklyn College. Originally a jazz performance major, he now focuses on the compositional possibilities of live drum sequencing, sampling and synthesis. Matthew Gantt harmonizes with car alarms.

House Music No.2: Full House | July 24 | “‘What is Experimental Music?’ Part 2″ Panoply Performance Lab (Brooklyn)


No Collective is presenting a new work called House Music No.2: Full House at the concert “What is Experimental Music? Part 2″ which consists in squeezing an ad-hoc orchestra of various musicians into the 20 x 20 venue of Panoply Performance Laboratory and seeing what happens. This is our second work to be hosted at the great Brooklyn venue, following last summer’s BIPAF by No Collective during Brooklyn International Performance Art Festival. We’re still looking for performers so if you are interested please contact me at your earliest convenience. We’re also looking for audience members so if you feel shy about performing, just join the concert as an audience (anything to fill up the space). We start around 9pm.


Call for Performers: Squeezing an orchestra into Panoply Performance Laboratory

No Collective is recruiting performers for a new piece to be performed at the “What is Experimental Music?” concert at Panoply Performance Laboratory on July 25. This piece will be an intervention into the often-taken-for-granted physical relationship between the magnitude of the bodies of performers+instrument and the space of performance in music, with an aim to observe the effects of this contrivance on the performance of music as well as for the listening to it.

The idea is simple: the piece consists in squeezing an ad-hoc “orchestra” of musicians into the small venue of Panoply Performance Laboratory. Performers will stand-by outside the venue, and one by one enter the space and join the performance until the venue is completely and extraordinarily packed. The music will be “row row row your boat” (we’ll be playing in C) performed in rounds over and over again (we made this choice since the piece had to be something that, a) everybody knows, b) is easy to play/sing/whistle, and yet c) when played by many at the same time, doesn’t simply turn into a unison sing-along–good thing about “row row row your boat” is that it can be sung as a round, and can therefore create layers pretty easily). Instruments used by players can be of any kind, as long as it is (more or less) pitched and portable/movable.

The evening begins at 8pm, and No Collective will be sandwiched between Tom Hamilton who goes first, and Al Margolis who goes after us. We will start around 9pm and go on for about 40 mins or so (but you can choose at which point you want to enter the room–if you don’t want to do much, you can just join after 30 mins, for instance). There will be no rehearsals. All that is necessary for you is to decide on your instrument, go through the song/passage on your own before the show, and get to the venue on time.

This particular series at Panoply Lab, curated by composer Brian McCorkle, attempts to ask, in a quite literal manner (always a good thing), “what is ‘experimental music’?” It’s an obvious and therefore interesting problematic and has a lot of potential to excavate and examine the discursive platform that supports what many of us do and how we talk about what we do (perhaps simply for a lack of a better term?). In a way, we have decided to stay true to the spirit of the project by taking the concept of “experimental” quite straightforwardly: hence the piece will be an experiment in what happens to the experience of live music when it faces an extreme quantity of bodies within an extreme lack of space. There will be a discussion on the available natures of “experimental music” following all the performances, so if you are interested please stay for that as well.

If you are interested, please contact: you@nocollective.com

We would very much appreciate it if you could also pass the word around if you know of any person who you think would be an asset to the project. We want to get people who will be both interested in the concept and interesting as performers.

Thank you, and we look very forward to having you in the piece.

Rainforest IV with Composers Inside Electronics | July 20 | Sonic Delights Festival, Caramoor Center for Music and the Arts

You Nakai is going to perform  David Tudor’s Rainforest (this time the “4th” version) as part of Composers Inside Electronics, this Sunday at the Sonic Delights Festival at Caramoor Center for Music and the Arts. The performance will go on for 7 hours from 10 in the morning.  There will also be performances by Vicky Chow, Stephan Moore, etc, as well as a panel discussion on Sound Art, so if you are nearby!

Rainforest I with Composers Inside Electronics | June 21 | Socrates Sculpture Park (Queens)


You Nakai will be joining Composers Inside Electronics to perform David Tudor’s “Rainforest I” at the Socrates Sculpture Park in Queens, next Saturday, June 21. The performance will be part of the Summer Solstice Celebration, which will start from 5pm and go on till dusk. You will be playing one of Tudor’s original ‘instrumental loudspeakers’ from 1973 (plus a birdcage from Mexico). Hope you can come!