John Zorn's Cobra
Composer and saxophone player, John Zorn is hard to fit into just one genre. He blurs the lines between numerous influences of jazz ensembles, rock, and symphony orchestras, while creating a unique experimental sound all his own. Written and premiered in 1984, Cobra is a classic in the circles of new music, having been performed innumerable times. In fact, composer and "prompter" John Zorn says it is his most-often-performed composition -- no mean feat considering his prolific output. It is no wonder, though: There is a mischievous, cartoonish quality to the sound of Cobra that epitomizes Zorn's style but also makes for continually fascinating listening. Based on the composer's secretive "game pieces," Cobra is “a fun-filled, mystical, blindfolded ride down a dark alley that circles back every few yards.” – Steve Loewy, All Music Guide.

Theremin Society
For those of us left out in the dark, the theremin is one of the earliest electronic musical instrument and is played without being touched. The Theremin Society was founded in December 2005 by ISSUE Project Room's Artistic Director Suzanne Fiol and thereminist Dorit Chrysler. The project focuses on the contribution of the theremin to 21st century musical culture and to the musicians who have devoted their careers to this instrument. It is sure to be a night of abstract artists experimenting with a wide range of musical language.

Jonathan Kane's February
Jonathan Kane is a Downtown NYC legend -- as co-founder of the no-wave behemoth Swans, and the rhythmic thunder behind the massed-guitar armies of Rhys Chatham and the rock excursions of La Monte Young -- and one of the hardest-hitting drummers on the planet. With his solo work, Kane summons Swans' concussive wallop, Chatham's dense guitarstrata, and the perpetual propulsion of 70s krautrockers Neu, then steers it all head-on into... the blues. Make no mistake about it: Kane is a bluesman, and beneath the high-decible bombast, he's powering guitar-driven minimalism into the blues, and the blues into guitar-driven harmonic maximalism. So roll with Jonathan Kane down his Highway 61 of the mind -- it's the shape of blues to come.