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Since its founding over ten years ago SASSAS (The Society for the Activation of Social Space Through Art and Sound) has presented the best experimental music to Los Angeles audiences through the sound. series of concerts. While sound. requires months of advance planning,  all to often SASSAS is approached by national and international touring musicians looking for venues to perform in Los Angeles with little advance notice. Ad Hoc was founded out of the belief that it benefits the greater Los Angeles community and the reputation of LA in the international sound community if these musicians are able to add Los Angeles to their tour schedule.

Originally developed in collaboration with the Chinatown-based collective Human Resources, Ad Hoc is designed to accommodate short term requests by national and international touring musicians wanting to perform in Los Angeles. SASSAS and Human Resources collaborate to find lodging for the musicians and transportation as needed. All Ad Hoc concerts are volunteer run and low cost with tickets sold on a first come, first serve basis the night of the show. The majority of door proceeds go directly to the touring musicians.


SASSAS and the city of West Hollywood present


A Shackle Affair with YOUNG/DAY

Shackle is Anne La Berge on flute and electronics and Deckard on laptop-instrument. Their aim is to explicitly and subtly exploit shackling in both concept and material. In the Shackle Affair, guests play with Shackle and the Shackle System. The guests for this set are Andrea Young on voice and electronics and Michael Day on prepared turntable.

Sunday, April 13, 2014

City Council Chambers
West Hollywood Library

625 N San Vicente Blvd
West Hollywood, CA 90069

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shackle |ˈ sh akəl|
1. used in reference to something that restrains or impedes.
2. a metal link, typically U-shaped, closed by a bolt, used to secure a chain or rope to something.
Old English of Germanic origin; related to Dutch schakel ’link, coupling’.

This extraordinarily inventive duo has a way of making music all their own. At the heart of their duo is a self-designed, cutting-edge digital cueing system which operates as a sometimes visible third member. Both prodding and reactive, the Shackle system suggests musical directions and textures to these two highly gifted performers, opening up a fascinating array of sonic choices for La Berge and Deckard to play with and against.

Improvisation and structure coincide effortlessly in Shackle’s music. Working with a computerized communication system that proposes various compositional elements to each player, they can then choose whether or not to cooperate with the proposed material. Proposals involve aspects of restriction, either in sound material, timing, dynamics or other musical parameters.

Shackle’s performances explode the line between improvisation without borders and tightly controlled forms that are both playful and daring. With uncanny transitions that turn on a dime and long, spun-out tapestries of sound, Shackle’s music works on two levels at once: full of delightful discoveries that can happen in the blink of an eye, La Berge and Deckard savor the possibilities that those discoveries offer up.

Shackle is online at

Young and Day's improvised music combines non-digitally processed electronics with digital, voice-controlled electronics and was born form the innate and disturbing similarities between the two instruments. Because of these similarities, mimicry and the morphology of sounds emerge while the slap of a tongue against the crunch of bow hair on vinyl interject musical inflections taking on a life of their own.

Parking in the library parking garage is free for the first 2 hours for concert attendees. It is $1 per 20 min. after that.

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Travel for Shackle funded by


SASSAS and CFAER present


Acclaimed electro-acoustic Berlin-based musicians Thomas Ankersmit and Konrad Sprenger to perform at Center for the Arts Eagle Rock.

Sunday, January 12, 2014

Center for the Arts Eagle Rock
2225 Colorado Blvd.
Los Angeles, CA 90041

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Thomas Ankersmit (1979, Leiden, Netherlands) is a musician and installation artist based in Berlin and Amsterdam. He makes live electronic music with analogue and digital devices, as well as saxophone. Since 2006 his main instrument, both live and in the studio, has been the Serge analogue modular synthesizer. Physical and psychoacoustic phenomena such as sound reflections, otoacoustic emissions, infrasound, and highly directional ("Holosonic") sound have been an important part of his work since the early 2000s. His work with analogue synthesizers is also characterized by a gentle abuse of the equipment, using feedback and disturbances to the signal flow to create dense but finely detailed swarms of electronic sound. He regularly collaborates with artists Phil Niblock, Valerio Tricoli and Kevin Drumm. His music has been released on the PAN, Touch and Ash International labels.

Konrad Sprenger is the pseudonym of Jörg Hiller (1977, Lahr, Germany), a composer, music producer and artist based in Berlin. Hiller regularly performs together with minimal music composer Arnold Dreyblatt and composer/instrument builder Ellen Fullman. His recent focus has been on live performance with a computer-controlled multichannel electric guitar. He has performed live with the bands Ethnostress and Ei and the art collective Honey-Suckle Company. Hiller also runs the Choose record label, for which he has produced recordings by artists Ellen Fullman, Arnold Dreyblatt, Robert Ashley and Terry Fox among others. His music and installation work have been presented at Hamburger Bahnhof, Berghain, Gallery Giti Nourbakhsch, Podewil, Schaubühne, Pavillon der Volksbühne, Berlin; Badischer Kunstverein, Karlsruhe; Kunsthalle, Baden-Baden; Frankfurter Kunstverein; Künstlerhaus Stuttgart; Kunsthalle Basel; PS1, New York; Cubitt Gallery, London; and Sonar, Barcelona among others.

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SASSAS and the city of West Hollywood present

AD HOC #8: Wrack

Kyle Bruckmann's Wrack will perform a new work "setting instrumentally the fictional song lyrics peppered throughout Thomas Pynchon’s novels V., The Crying of Lot 49, and Gravity’s Rainbow."

Wrack will be presented along with LA veteran musician Vinny Golia's Saxophone Ensemble.

Sunday, July 28, 2013

West Hollywood Library
625 N San Vicente Blvd
West Hollywood, CA 90069

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Oakland, CA-based composer/performer Kyle Bruckmann's work extends from a Western classical foundation into genre-bending gray areas encompassing free jazz, electronic music and post-punk rock. He is a member of acclaimed new music collective sfSound, the San Francisco Contemporary Music Players, and Quinteto Latino. He has worked with the San Francisco Symphony and most of the area’s regional orchestras, while becoming firmly enmeshed in the vibrant local improvised music community. From 1996 until his westward relocation, he was a fixture in Chicago’s experimental music underground; long-term affiliations include the electro-acoustic duo EKG, the art-punk monstrosity Lozenge, and the Creative Music quintet Wrack.

Chicago-based Wrack is both a chamber ensemble with a highly unusual instrumentation and a book of compositions tailor-made for the musical personalities of its members. While the compositions’ melodic and contrapuntal content is reminiscent of European classical modernism, the open structures, improvisational procedures and energetic performances are heavily indebted to the innovations of the African-American Creative Music tradition.

There will also be an exciting performance by the Vinny Golia's Saxophone Ensemble, which is Vinny Golia, Gavin Templeton, and Jon Armstrong. The Vinny Golia Saxophone Ensemble consists of the basic, soprano, alto, tenor, and baritone configuration augmented with various extensions of the saxophone family. The ensemble's size varies as does it's focus on specific, neglected, or unexplored members of the saxophone family such as the Soprillo, Saxello, F Mezzo Soprano, G Soprano, Bass and Contrabass Saxophones.

Parking in the library parking garage is free for the first 2 hours for concert attendees. It is $1 per 20 min. after that.




Bay Area electronic music luminaries John Bischoffand Anti-Matter (aka Xopher Davidson) in a rare evening of live sound constructions.

Thursday, March 14, 2013

Center for the Arts Eagle Rock
2225 Colorado Blvd.
Los Angeles, CA 90041

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John Bischoff is an early pioneer of live computer music. He is known for his solo constructions in real-time synthesis as well as his development of computer network music. Bischoff studied composition with Robert Moran, James Tenney, Robert Ashley, and David Behrman. He has been active in the experimental music scene in the Bay Area for over 40 years as a composer, performer, and teacher. His performances around the US include NEW MUSIC AMERICA festivals in 1981 and 1989, Roulette and Experimental Intermedia in New York, and Lampo in Chicago to name a few. He has performed in Europe at the Festival d'Automne in Paris, STEIM in Amsterdam, and Fylkingen in Stockholm among other places. He is a founding member of the League of Automatic Music Composers, the world's first computer network band, and co-authored an article on the League's music that appears in Foundations of Computer Music (MIT Press 1985). From 1985 to the present he has performed and recorded with the network band The Hub. In 1999 he received a $25,000 award from the Foundation for Contemporary Arts in New York in recognition of his music. He was also named a recipient of an Alpert Award/Ucross Residency Fellowship in 2002. In 2004, noted media theorist Douglas Kahn published A Musical Technography of John Bischoff in the Leonardo Music Journal (Vol. 14, MIT Press). Two important retrospective CD packages documenting computer network music were released in 2007 and 2008: The League of Automatic Music Composers: 1978-1983 (New World Records 2007) and 3-CD set of recordings by The Hub titled Boundary Layer (Tzadik 2008). Recordings of his work are also available on Lovely Music, 23Five, Centaur, and Artifact Recordings. A new solo CD titled Audio Combine was recently released on New World Records and was picked as one of the Best of the Year 2012 by The Wire magazine. He is currently Associate Professor of Music at Mills College in Oakland, California.

Anti-Matter (aka Xopher Davidson) began his experiments in electronic sound from a basis in painting, film, and installation art, mixed with a long-time interest in electronics. Davidson received a BFA degree in painting and sculpture from Virginia Commonwealth University in 1991. In 1992, Davidson rode the train to Oakland, California, where he founded the seminal Exhibit < > space. In this storefront location (situated adjacent to a freeway onramp), he presented an ongoing installation of signs and diagrams into which his paintings had evolved. Listening here to the rumblings of the overhead freeway, it became obvious that the issue of sound needed to be (re)addressed. A year later, Davidson began work at the Center for Contemporary Music at Mills College in Oakland, California. Here he performed and recorded sound in many forms, presenting three concerts of electronic music while working on his MFA. As a member of the live electronic groups Citizen Band and Circular Firing Squad, he performed extensively in and around the San Francisco Bay Area and the Pacific Northwest. Davidson continues to collaborate with David Kwan performing their audio visual presentations, a mixture of order and decay, and are currently working on a series of DVD translations. As an audio engineer, Davidson has worked on projects by/ for: The-Allies, John Cage, Marcel Duchamp, Diamanda Galas, Jhno, Zbigniew Karkowski, Lloop, Once 11, Hannah Marcus, Paul D. Miller, Mix Master Mike, Pepito, Phoenecia, The Soft Pink Truth, Jonah Sharp, Otto Von Schirach, Subtropic, Themselves, Tipsy, We, and Iannis Xenakis, to name a few. As Antimatter, Davidson has released work through Artifact, Asphodel, Sirr.records, and Auscultare.


Presented by SASSAS and the Center for the Arts Eagle Rock

The Los Angeles premiere of Swiss filmmaker Michelle Ettlin's chronicle of improvisational music and building instruments from found objects in post-Katrina New Orleans. Liquid Land musicians Helen Gillet (New Orleans), Simon Berz (Switzerland) and Klaas Hübner (Germany) join Los Angeles area players Joseph Mitchell, Ted Byrnes, Sandy Yang, and Kira Vollman for a post screening performance. Director Michelle Ettlin discusses the film as a part of this special DVD and record release tour.

Presented in conjunction with the Eagle Rock Center for the Arts

Thursday, November 15, 2012

Center for the Arts Eagle Rock
2225 Colorado Blvd.
Los Angeles, CA 90041

Simon Berz is a drummer and sound artist, and the initiator of the artist platform BADABUM. As a drummer and electronic musician, he has toured solo and in different formations through Europe, USA, Japan and China.

Ted Byrnes is a drummer/percussionist working primarily in free improvisation, new music, electro-acoustic music, and noise. He has played in duos with Han-Earl Park and Anna Homler, among others and in duo/trio/or ensemble settings with: David Watson, Charlemagne Palestine, Jaap Blonk, the LAFMS.

Filmmaker Michelle Ettlin works on experimental, animation and documentary films as well as live projections for concerts and dance plays. Liquid Land is her first feature film.

Helen Gillet is a New Orleans based cellist, singer, composer and improviser. She has performed extensively across the United States and Western Europe including the New Orleans Jazz and Heritage Festival, Copenhagen Jazz Festival and and at the Kennedy Center in Washington D.C.

Klaas Hübner is an artist, performer, and improviser focused on exploring sounds, and is also known for his experimental music project HiľBot Lilanth. Hübner currently resides in Berlin and is active in the experimental music and art community. He has improvised with musicians as Simon Berz, Toktek, Lu Krautman, and Kaspar König, among others.

Joseph Mitchell has performed with many orchestras including the Los Angeles Philharmonic, Long Beach Symphony, Los Angeles Opera, Pasadena Symphony, Santa Barbara Symphony, and the Glendale Symphony. He has also worked with Aretha Franklin, Gladys Knight, Lou Rawls, Marilyn McCoo, Richard Smallwood, and blues man Mighty Mo' Rodgers.

Kira Vollman has been on the local experimental / avant-guard / improv music scene for many years, as a multi-instrumentalist and composer. Using her multi-octave voice as an instrument, she creates striking cinematic atmospheres and moods. Vollman s main creative musical outlet has been her collaboration with fellow multi-instrumentalist Joseph Berardi, called Non Credo. In addition to Vollman s wide range of vocal sounds, she also plays bass guitar, clarinets, keyboards and other assorted devices, and supplies the lyrics for Non Credo.

Sandy Yang is a musician and artist who lives in Los Angeles. Her discography includes three albums with The Red Krayola released on Drag City Records, a Jeff Moris Tepper (Captain Beefheart and His Magic Band) album for which she provides vocals, and her own instrumental 5 song EP released in 2010 by CD-rt imprint.


Valve trombonist Christian Pincock of Albuquerque, New Mexico interfaces his instrument to a laptop and transforms all sonic expectations while the pairing of live computer music legend Tim Perkis, teaching at CalArts for the semester, and LA local and trumpet innovator Dan Clucas explores the inner workings of totally free improvisation.

Tuesday, March 6, 2012
Presented in conjunction with Atwater Crossing

Christian Pincock
Christian Pincock performs improvised and composed music on valve trombone and a computer-based instrument of his own creation with MAX/MSP. Using a keyboard controller and a system of sensors attached to his trombone he is able to control sampled sounds and integrate them expressively and musically. His work is both dynamic and subtle, drawing from diverse styles such as improvised experimental music, contemporary classical, avant-garde jazz, noise, and electronica.

Dan Clucas
Dan Clucas is a trumpet player and composer living and working in Los Angeles. Born in Anaheim, California in 1966, he began playing trumpet at age ten, soon thereafter discovering the music of Dizzy Gillespie, which in turn led to a lifelong study of and respect for the African American music known as jazz. While he strives for individual statement in his music, Clucas also strives to acknowledge the imprint of past masters, from Louis Armstrong and Duke Ellington to Ornette Coleman and Sun Ra. He has studied with Bobby Bradford and Wadada Leo Smith, and has performed and recorded over the last two decades with such L.A. luminaries as Nels Cline, Alex Cline, Steuart Liebig, Vinny Golia, Joe Baiza, Rich West, and Michael Vlatkovich, to name a few.

Tim Perkis
Tim Perkis has been working in the medium of live electronic and computer sound for many years, performing, exhibiting installation works and recording in North America,Europe and Japan. His work haslargely been concerned with exploring the emergence of life-like properties in complex systems of interaction.


Sunday, February 12, 2012
Presented in collaboration with the Center for the Arts, Eagle Rock.

As a songwriter, composer, improviser, and multi-instrumentalist best known for the reinvention of the electric guitar, "Frith makes music that must count amongst the most powerful and original of the present time" Liberation (France)


AD HOC #3: Tim Feeney, Vic Rawlings and Casey Anderson

Wednesday, October 12, 2011

Presented in collaboration with
Human Resources

Tim Feeney and Vic Rawlings
Tim Feeney and Vic Rawlings have performed together as a duo since meeting within Boston's "lowercase" improvising community in 2005. Their music explores an unpredictable relationship with making sounds, achieved by elaborate preparation and extension of acoustic soundboxes, such as drums or cello, and expanded via original electronic instruments, ranging from naked circuitboards to amplified kitchen objects. They focus on the metamusical potential of unstable sounds and silences, exploring austere combinations of sound and the otherworldy ripple effects that pulse through a silent space or alert ears. The group has toured throughout the United States, and released its first CD, In Six Parts, on the Sedimental label in fall 2007. Upcoming releases include Ithaca Recordings, for The Watchful Ear, and Fairchild Chapel for Homophoni.

Casey Anderson
Casey Anderson is an artist working in a number of media, including composition, improvisation, electronic music, saxophone, text, and installations. He has performed with Jason Kahn, Ulrich Krieger, MKM, Fomoudou Don Moye, Michael Pisaro, Ishmael Wadada Leo Smith, Mark Trayle, and the Dog Star Orchestra. Performances, exhibitions, and residencies include MOCA -- Los Angeles (CA), ISSUE Project Room (NY), STEIM (NL), Atlantic Center for the Arts (FL), and Mass MOCA (MA). He currently lives and teaches in Los Angeles, California, and works with Machine Project.



Saturday, February 26, 2011

Presented in collaboration with:
Beacon Arts


Described by the Los Angeles Times as completely unconventional, highly original and relentlessly inventive, David Watson's
use of the Highland Bagpipes has been an ongoing project since the early '90s, with Watson remaking this traditional instrument into a vehicle for contemporary sound. Originally from New Zealand, Watson has been a key player in New York's downtown scene since 1987. Watson's unique body of work knits together experimental improvisation, 20th century guitar playing, and vernacular music. He has made the bagpipe an ideal instrument to explore particular spatial nuances of performance.

Associate professor in the Conservatory of Music at Brooklyn College, CUNY, and director of the graduate programs in Performance and Interactive Media Arts (PIMA), Grubbs has released eleven solo albums and appeared on more than 150 commercially-released recordings. He is known for his cross-disciplinary collaborations with writers such as Susan Howe and Rick Moody, and with visual artists such as Anthony McCall, Angela Bulloch, Cosima von Bonin, and Stephen Prina. Grubbs was a founding member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has been known to play in The Red Krayola. He directs the Blue Chopsticks record label. He is currently completing the book Records Ruin the Landscape: John Cage, The Sixties, and Sound Recording for Duke University Press.


Friday, October 22nd, 2010 at 8:30pm

Human Resources


Jim Denley is considered one of Australia’s foremost improvisers of new music with a career spanning over three decades. An emphasis on spontaneity, site-specific work and collaboration has been central to his work. He was recently awarded a Fellowship by the Australia Council and is currently working towards a paradigm shift in the notion and perception of the saxophone; to establish its relevance to ancient and current traditions in Australian music, and to extend its range with the addition of innovative electronics and miking. Denley also runs the record label Splitrec. In Mural, Jim plays flute and saxophone. (website)

Kim Myhr is a guitarist and composer based in Oslo, Norway. He studied at Berklee College of Music in Boston and has since had an active performance schedule with concerts throughout Europe, Australia, Asia and North-America. In 2008, he received the JazZtipend at the Molde International Jazz Festival which included a commission for Trondheim Jazz Orchestra, a large ensemble consisting of thirteen handpicked improvisers from Norway and Australia; the one hour piece received wide critical acclaim. Myhr is also the co-director of the Fri Resonans festival, which has been presenting cutting-edge and innovative music in Trondheim, Norway since 2005. (website)

The Society for the Activation of Social Space through Art and Sound (SASSAS) is supported in part through grants from the City of Los Angeles Department of Cultural Affairs, the Foundation for Contemporary Arts, the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, the West Hollywood Arts and Cultural Affairs Commission, a special donation from Amoeba Music and the generous contributions of our members. For further information on SASSAS: or contact us at 323.960.5723.

Contribute to SASSAS at the $50 level and receive a copy of the soundCd no. 3 CDR as well as discounts for concerts!