Live Music

While waiting for Hatis Noit to take the stage, the audience was seated, consoled by light pop music emanating from the speakers. There was a hushed chatter among the audience, many anticipating Noit's arrival. In between songs, I could hear mindless conversations about cushy tech jobs, weekend plans, and Seattle's streak of good weather.

A little past 8:00 p.m., the background music switched off and was replaced by an angelic voice from the back of the sanctuary of the Fremont Abbey. At first, it seemed as if the sound was from the speakers. However, Noit's real and clear, ethereal voice was the one that had taken over—much to the audience's surprise. She stood at the back of the room, adorned in a flowing white Issey Miyake-esque ensemble. As she sang, Noit slowly made her way to the stage, which held a simple setup of two microphones—one connected to a looper.

The Fremont Abbey is home to many minimalist, acoustic-dominant performances—an ideal location for Noit's first performance in Seattle. Between songs, Noit stated how she was in awe of the beauty of the city and its nature (particularly its proximity to the ocean), and was also thrilled about Seattle's great weather, which was timely for her brief visit.

According to her biography, "The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root represents the spirit world, therefore Hatis Noit is what connects the two."

Noit, a Japanese-born, London-based vocal performer, is an autodidact who exclusively uses her voice in her work. The performer stands out because of her ability to transform and use her voice as an instrument, layering her vocals to create otherworldly harmonies. By her admission, Noit prefers not to use computers—opting primarily to craft her sounds live. Additionally, Noit takes inspiration from numerous avenues: "Gagaku—Japanese classical music—and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists."

Noit's collaborations include Matmos, Kevin Richard Martin, Masayoshi Fujita, the London Contemporary Orchestra, and David Lynch for the Manchester International Festival. She has also made appearances at Milan Fashion Week. Additionally, Noit's vocals can be heard in a teaser trailer for the FX series Shogun.

After releasing her debut album, Aura, to much critical acclaim, Noit embarked on her debut tour in North America following a stint in Germany and Belgium. So far, Noit has visited cities such as Portland, San Francisco, New York City, and Los Angeles. Noit's first-ever appearance in Seattle was well-received, culminating in a standing ovation after her performance.

During her set, Noit performed various songs from Aura such as the title track, "Jomon," "Angelus Novus," "Thor," and others.

Throughout the set, almost super-human, Noit alternated between operatic vocals, birdsong, chanting, and classical Japanese music influences. There were no accompaniments, even for the percussive bits, which were created on the mics as well. Noit's range is impeccable, demonstrating her astute dedication to her craft. Through her voice, Noit was able to transport listeners to another dimension. Haunting, yet beautiful, Noit's art is the kind that needs to be experienced live. She exhibits the rare talent where her vocals are superior in person to any recordings.​

Later on, in a moving performance, Noit performed her song, "Inori," which translates to "prayer." Although Noit refrains from using pre-recorded sounds, an exception was made for this song. As the room was bathed in a soft blue light, Noit played the sounds of the waves from the ocean near Fukushima, home of a catastrophic nuclear disaster that occurred in 2011. The song was created in 2017 after Noit participated in a memorial ceremony for Fukushima's evacuation zone. The performance evoked a sense of nostalgia and also melancholy. According to Noit, "Any sound has a memory of a time."

Along with the waves, was the cacophony of seagulls, construction, and the low hum of traffic. While she sang, once again, Noit roamed the room, gliding like an apparition among the eery blue glow. For a few minutes, the listeners in the sanctuary were transported to the hollowed ground that Noit gracefully paid homage to.

Noit closed out her set with "Sir Etok," (translating to "Where the land ends") inspired by her birthplace in Hokkaido, Japan. Considered one of the most beautiful places in the country, and home to some of the last untouched swaths of wilderness, Shiretoko serves as Noit's muse. Before the song, Noit described feeling lost following her move to London. "Shiretoko" was a way to reconnect to her roots. It was an emotional close to an outstanding set.

Noit's next U.S.-based performance for the Aura tour will be on April 5th at the Mission Creek Festival in Iowa City, Iowa.

Noit's debut album, Aura, is now available via Erased Tapes.

For more information on Hatis, visit hatisnoit.com.

Not much can bring the residents of the largely secular city of Seattle to church on a Friday evening. However, Seattle First Baptist Church's sanctuary was packed on March 15th for an immersive experience that can be described as an exaltation of the marriage of sound, light, and architecture. If the city's residents can be counted on to congregate for anything, it's always due to the power of music.

Reflections, a curated experience crafted by Bob Maynard and Brandon Shotwell, partners "legends of new age and ambient music with cinematic visuals, uniting sound, light, and sacred architecture for a uniquely visceral experience."

Reflections unites old-school spaces with new age sounds to create a religious experience for audiophiles. Due to the meditative nature of ambient music, it is often experienced privately, with minimal environmental stimulation. However, Reflections allows listeners to enjoy its fare in a communal setting that transforms the music into an audio and visual spectacle, yet one that still manages to be reflective.

Since its inception in 2023, Reflections has traveled to a multitude of esteemed venues in New York, Chicago, Los Angeles, Denver, and Portland. The series has also showcased composers such as Suzanne Ciani, Suso Sáiz, Ben Neil, and most recently, Tuscon-based Steve Roach.

Celebrating 40 years of his groundbreaking album Structures From Silence, the renowned synthesist kicked off his tour of the same name on Friday evening at one of Seattle's most notable landmarks.

Structures From Silence, released in 1984, was a genre-defining work in the ambient and electronic space. The album still resonates with listeners today due to its atmospheric melodies and understated, yet magnificent soundscapes interlaced with Roach's "breathing chords." A combination of analog synthesizers, acoustic instruments, and more, Structures From Silence marked Roach's departure from his German electronic music roots.

The meat of the album lies within its three long-form tracks, the opener being "Suspensions in Reflection," followed by "Quiet Friend," and a closer with the title track. Since 1984, there have been reissues of the work, the most recent of which dropped in February.

Since its debut, Structures From Silence has been a go-to for relaxation, contemplation, and meditation. Not unexpectedly, the album is the ideal soundtrack for a healing journey.

The Seattle First Baptist Church, completed in 1912, stands tall in the First Hill neighborhood, which boasts an eclectic mix of modern Pacific Northwest architecture and the Seattle of yore with its cookie-cutter highrise apartments and increasingly disappearing signature structures.

The English gothic church, one of the last of its kind, is known for its intricate, colorful stained-glass windows, and a spire that looms above its surrounding buildings. A gathering space for one of the earliest congregations in Seattle, the church is home to regular Sunday services in addition to countless live music events.

The setting could not have been more of a match for Roach's otherworldly sounds. Inspired largely by Earth's majestic landscapes, Structures From Silence pays homage to "creation," from the conjurings of nature to manmade manifestations. For over two hours, Roach performed from the pulpit, transporting the eventgoers to the astral plane through his instruments.

As soon as the lights dimmed in the sanctuary, Roach immediately launched into his performance, needing no further words to introduce the experience. In a rare sight, there were barely any phones present to film the affair, as many of the listeners took the time to basque in the soundwaves emanating from the stage. Similar to the way churchgoers bow their heads down in prayer, the audience had allowed themselves to close their eyes, bow their heads, and even lean back to enjoy the two-hour presentation. For a little, time was suspended. Unlike most live events, there was time to bask in silence... as intended. There were no breaks for words or platitudes to the audience. The audio affair went on uninterrupted, keeping the congregation in quiet anticipation for the remainder of the night.

The implementation of visuals from Pacific Northwest artist and Björk collaborator Sean Hellfritsch tied the architecture and Roach's sounds. Hellfritsch's delicate, floating lights were a great accent to the event. The visuals followed the rhythm of nature, at times simulating the flow of water, a sunrise over the desert, or a quiet ride through space. Never flashy, never overwhelming (much like Roach's work), the accompanying elements created a truly unique and meditative experience.

Towards the end of the set, the music gently faded out, calmly luring the listeners back to reality. Instead of an ostentatious finale, Roach opted for something mimicking that of the sun setting on the horizon. It's a beautiful sight that slowly lingers (and that you can't take your eyes off of) until the darkness envelopes the sky. Following the conclusion of his performance, Roach was met with a rousing ovation. Although there had been absolute quiet during the performance, a lively celebration erupted as a nod to the composer's impact and artistry.

Roach's next performance on the Structures From Silence tour will be on April 6th in San Francisco. For more events, visit ageoreflections.com/calendar.

The 40th anniversary edition of Structures From Silence is available here.

For more information on Roach, visit steveroach.com.