Our Mission
  Contact Us
  Become a Member
  Youth Ensemble
  Past Events
  Merchandise Table

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

Subscribe to email list



Myspace Youth Ensemble
Arts Houston

Nameless Sound

Mazen Kerbaj & Kevin Drumm
Jason Lescaleet


14 Pews

  February 18, 2015

Number of Tickets

       $13|$10 student |FREE under 18

Mazen Kerbaj (Beirut, Lebanon) - trumpet
Kevin Drumm (Chicago) - electronics
Jason Lescalleet (Berwick, Maine) - tapes, electronics

It may be that no wind or brass instrument has undergone a more extensive deconstruction and reconstruction than the trumpet of Mazen Kerbaj. The Lebanese musician has subjected his horn to the type of material exploration that is typically the purview of improvising percussionists (or even guitar players). Kerbaj’s practice of “prepared trumpet” is one where wind, friction, gravity and resonance are transparent and explored in real time performance. Kerbaj’s extension of the trumpet includes the use of a considerable collection of objects, such as rubber tubes, bowls, a comb, a pie tin and a saxophone mouthpiece. Kerbaj, who is also a visual artist and writer, came to international attention beyond the world of experimental music for a piece that he recorded in 2006 called “Starry Night”. Blogging throughout Israel’s Summer bombing campaign against Hezbollah in Beirut, Mazen recorded a quietly minimal trumpet improvisation on his balcony. The terror of the exploding bombs (along with responding car alarms and barking dogs) is made palpable through their “duet” with the solitude and intimacy of Kerbaj’s trumpet.

What is this thing called noise? Not the genre designation (which, like most genre designations, has lost its specificity through a loose and expanded use over the years); but noise as an element of composition. Though a qualitative term, the application and concept of noise has been an important part of western musical composition, especially in the 20th century. Jason Lescalleet and Kevin Drumm are two of the most influential electronic musicians working today. And while the intensity (and sometimes intense volume) of their sounds may cut the mustard for many fans of noise (the genre), they both use these elements as part of a complex and nuanced compositional and improvisational practice that also has some of its roots in musique concrete, mid-century “tape music” compositions of the academic avant-garde and free improvisation. The coming together of these two singular artists was an important event for fans of this music, and their album The Abyss (Erstwhile) was named one of the top albums of 2014 by Rolling Stone (not a typical source of accolades for such experimental music). This is music that can be dreamlike and nightmarish. Field recordings and the live use of analogue tape manipulation can make the material feel intimate and familiar, yet alienating in its mystery. The scale and development of this material can seem to move at a glacial pace, greatly affecting the listeners’ perception of time. That being said, transitions can be abrupt, yielding to a disorienting silence that may be its own type of noise.


Mazen Kerbaj

Kevin Drumm

Jason Lescalleet