Upcoming

Events

2026

  • Come explore the Tank and its amazing acoustics. Sing, hum, relax, make some noise, and be amazed. Bring an instrument, bring family and friends. Take off your shoes and enjoy the wonders of the Tank. Staff are on hand to assist you.

Past

Events

2026

  • (From Sherry Finzer’s liner notes.)

    Recorded at the legendary Tank Center for Sonic Arts in Rangely, Colorado, Clear Blue Sky, Vol. 1 is a deeplyimmersive solo flute album inspired by thousands of miles traveled by road through America’s most breathtaking landscapes. Featuring modern concert C,alto, and bass flutes, each composition floats through the Tank’s world-famous natural reverb, shaped by the wide-open vistas of Yellowstone, the soaring peaks of Rocky Mountain National Park, the ancient grandeur of Yosemite, andthe countless skies in between. With its ethereal New Age feel, the album evokes freedom, reflection, and the quiet emotional lift of standing beneath a perfectly clear sky. This release marks the first in a contemplative series devoted to spaciousness, serenity, and pure acoustic beauty.
    credits
    released September 18, 2026

    Flutes: Sherry Finzer
    Recording Engineer: Michael Vanwagoner
    Mixing & Mastering Engineer: Cass Anawaty - Sonoran Mastering, Scottsdale, AZ

  • Featuring KEZMA and Passing, spatial audio forward recordings from the TANK transposed for B2. Works by Brook Vann & Jean-Jacques Martinod. At the ATLAS Black Box, B2, Roser ATLAS Building. Free tickets available here.

    KKEMZA is a feature-length essay film built from four years of fieldwork across four disappearing wetland ecosystems: Louisiana's Atchafalaya Basin, Ecuador's Guayas mangroves, the Florida Everglades, and the absent Beljarica swamp buried beneath Belgrade. A cinematic travelogue through worlds at the edge of legibility, the film follows fishermen, philosophers, and nonhuman ecologies caught between ecological collapse, narcotrafficking, and urban erasure.

    Passing is a six-minute digital storytelling piece made up of six movements. It combines data sonification with field recordings from Tennessee to explore transgender experiences in areas like employment, education, healthcare, housing, safety, and community. Instead of following a traditional story, the piece creates an ambient listening space using layers of tones, processed environmental sounds, and sonic events shaped by data. These sounds appear, overlap, and fade over time. Patterns from survey data influence changes in rhythm, density, and timbre, letting real-life conditions be heard without turning them into straightforward facts.

    Jean-Jacques Martinod

    Jean-Jacques Martinod is a filmmaker, media artist, and abyssological researcher whose practice moves through ruin, and deterritorialized landscapes as sites of relational inquiry. His work has been shaped as much by what places sound like as by what they look like, deploying contact microphones, hydrophones, and field recording equipment not as documentary tools but as research alembics, instruments for sensing dimensions of a landscape that conventional perception cannot reach.

    Brook Vann

    Brook Vann is an artist, researcher, and educator working across sound, data, and media to explore how systems record, represent, and misrecognize lived experience. Their practice integrates digital storytelling, data sonification, and spatial audio to create immersive works that engage listening as both a creative and critical method. Drawing from community-based research and interdisciplinary frameworks in sound studies, media art, and gender studies, their work examines how structures of power shape what can be heard, known, and remembered.

  • Join us for a free concert as members of Boulder’s renowned Resonance Women’s Chorus perform in the TANK. Resonance’s presentation will be a concert/demonstration of this chant-based improv form of TANK-play. You’ll hear small groups as well as a full group of 12 singers in an informal 40-minute flow of sound.

    Resonance Women’s Chorus, based in Boulder County, Colorado, is a 125-voice community chorus singing songs of social awareness.  Resonance singers have been coming to the TANK for many years for a weekend of exploration and play. They typically mix solo times with small group and full group singing, working with simple songs and chants. They’ve found "chant-based improv” to be a very successful way to be together in the TANK.  Singers who have arrived at the TANK with varying degrees of comfort with improv and with solo singing have consistently found that the way the TANK dances with the human-produced sounds is supportive and encouraging, conducive of bravery.

    Website.

  • The Tank presents an extraordinary group of singers, David Hykes and his Harmonic Choir, in a unique and profound listening experience.

    • David Hykes

    • Timothy Hill

    • Seth Markel

    • Blandine Hardillier

    Since 1975 Hykes has developed a comprehensive approach to contemplative music that he calls Harmonic Chant. After early research and trips studying Mongolian, Tibetan, and Middle Eastern singing forms, Hykes began a long series of collaborations with traditions and teachers of wisdom and sacred art, including the Dalai Lama and monks of the Gyume and Gyuto Orders.

    Hykes founded the Harmonic Choir in 1975 and has performed and taught Harmonic Chant in America, France, Germany, Italy, Switzerland, Japan, Australia and many other countries.  Considered to be one of the world’s pre-eminent overtone ensembles.

  • Long Way, an invitation only festival organized by Tank board members Matthew Langford and Michiko Theurer, took place August 7, 8, and 9. 25 musicians, 16 twenty-minute sets, and other group activities in and arount The TANK.

  • Guitarist, radio producer, and field recordist James Barrs returns to the Tank, and will be joined by Rai Omri and Ben Bentele.

    James was last at The TANK in August of 2025, when he recorded the album How Sweetly I Sleep Here Alone, about which James says:

    This album represents a shift in my playing and a movement towards letting my music be an unfiltered reflection of the moment. Shenandoah and the medley are free improvisations passing back and forth between the violin and guitar, communicating in long, slow melodies, in conversation with the reverberant tank. The rest are folk arrangements and the Titanium Bell improvisation (using a piece of spacecraft from the tank). Schnee In Istanbul is a piece written by Carlo Domeniconi that I’ve been playing since childhood.

  • We’re planning two nights of concerts this year, on the 19th and 20th. On the 21st we’ll have our usual Solstice Sunrise gathering, Solstice Solar Noon gathering, group swim, and pictograph hike.

    FERROMANCY - Conjuring Resonant Memories.

    Like all physical objects, the monumental steel cylinder known as The Tank resonates when stimulated.  For this extraordinary event, Neal Johnson and Alan Watts use arcane electronic devices to bring the whole structure to life as a single instrument, summoning the Tank’s own voice to tell a tale of its past, present, and future.

    Technically, here’s what happens.  Human-controlled (via MIDI or OSC) or pre-programmed mechanical solenoids and their custom-built motor drivers strike the Tank’s surface.  Transducers disseminate sonic energy that induces structural vibrations across multiple audio channels, so that the entire Tank becomes a "speaker.”  These devices, magnetically affixed to the steel walls in a hemispheric array, produce an extraordinary, encompassing auditory experience.

    Over three years of design, development, and testing, Neal Johnson and Alan Watts developed their concept for this Tank performance.  As they listened carefully to the Tank, it communicated to them in clear terms how it would most completely express their intentions.

     The two came to understand how the Tank, as a resonant body with a distinctive voice, is continually reshaped by its material nature, its shape and size, ambient temperature and humidity.  And they began to wonder.  If the Tank told a tale of its past and present, what details might it share?  If asked to forecast the future, what would it see in store for itself?  For all of us?

     So this performance system evolved to tell the Tank’s own saga, of primordial birth, modern human endeavors, and entropic decay.  This performance relates that “sound cycle” in four parts:

    • The Time Before Time

    • A Purpose-driven Life

    • A New Lease

    • Long After (Entropy’s Delight)

  • The TANK is thrilled to continue it’s partnership with U. Colorado, Boulder’s ATLAS / B2, hosting resident student composers, musicians and artists. While these initial residencies are not open to the public, they result in visits to Rangely school music classes, Rangely public concerts, and listening parties in Boulder.

    Jean-Jacques Martinod will be resident May 29-June 1.

    “Project Description:  KKEMZA is a feature-length essay film built from four years of fieldwork across four disappearing wetland ecosystems: Louisiana's Atchafalaya Basin, Ecuador's Guayas mangroves, the Florida Everglades, and the absent Beljarica swamp buried beneath Belgrade. A cinematic travelogue through worlds at the edge of legibility, the film follows fishermen, philosophers, and nonhuman ecologies caught between ecological collapse, narcotrafficking, and urban erasure.

    KEMZA has spent four years listening to swamps. Contact microphones pressed against mangrove roots and cypress bark, hydrophones submerged in Louisiana bayous, field recordings calibrated to frequencies below human auditory range: the film's sonic methodology has always treated the wetland as a resonant body, a space where sound accumulates, lingers, and refuses easy dissipation. The TANK, with its extraordinary reverberation and its refusal to let sound simply die, feels less like a recording studio and more like a kindred ecosystem.

    The proposal is this: to bring the sonic world of KEMZA into the TANK and let the two contaminate one another. I will arrive with contact microphones and a series of instruments and sonic objects gathered across four years of fieldwork and travel, objects that carry the acoustic memory of the Atchafalaya, the Guayas mangroves, the Everglades, and Belgrade. Inside the TANK, these sounds will be recorded, layered, and transformed by a reverberation that no studio or wetland can replicate, adding an ethereal and liminal sonic dimension to the film that could only emerge from this specific space.

    The result will serve two purposes: a new sonic layer for KEMZA itself, woven into the film's final sound design, and a standalone sonic documentary where the swamp and the TANK speak to one another across geography and medium. ”

  • Renee , Lily, Shay and Musiic will be performing rounds of songs.

    More details to follow - meanwhile, enjoy this video of Renee performing with Jeremy Toback: Here and Now.

  • The TANK is thrilled to continue it’s partnership with U. Colorado, Boulder’s ATLAS / B2, hosting resident student composers, musicians and artists. While these initial residencies are not open to the public, they result in visits to Rangely school music classes, Rangely public concerts, and listening parties in Boulder.

    Brook Vann will be resident May 21-24.

    “Project Description: Passing is a six-minute digital storytelling piece made up of six movements. It combines data sonification with field recordings from Tennessee to explore transgender experiences in areas like employment, education, healthcare, housing, safety, and community. Instead of following a traditional story, the piece creates an ambient listening space using layers of tones, processed environmental sounds, and sonic events shaped by data. These sounds appear, overlap, and fade over time. Patterns from survey data influence changes in rhythm, density, and timbre, letting real-life conditions be heard without turning them into straightforward facts. The work is designed for a 7.1 ambisonic setup, ideally played through a circular speaker arrangement in a public or civic space. In this setting, the line between the music and its surroundings is open—footsteps, conversations, and movement in the space become part of the soundscape. This approach makes listening a shared experience, where the audience is both surrounded by and adding to the atmosphere as it develops. Passing can also be available as a binaural piece that you can stream online using a QR code or to the ATLAS B2 blackbox space. This makes the work accessible outside the installation, letting it reach different settings while still focusing on shared, physical listening. In both formats, the piece avoids a fixed story and instead creates a continuous sound environment where data and experience interact. What you hear is not a stable picture, but a changing, connected presence.”

  • On one morning recording session, subtle vessel was recorded live in the seven-story aquatic space known as the Tank Center for Sonic Arts in Rangely, Colorado. This is the culmination of a two-year-long recording project by Matthew Langford that began as a voice memo he made at a piano in Lakewood, Colorado on July 26th, 2022. 

    Mirroring and adding to Alvin Lucier's process for I Am Sitting in a Room, he made live re-recordings of the original voice memo on July 26th, 2023 while adding layers with trumpet, flügelhorn, and simple delay effects. Bringing a body of water into the Tank for the first time, on the morning of July 26th, 2024.

    Langford began by soaking for thirty minutes in a 400-gallon tank of water while the recordings he had made on the same day one and two years in the past were played into the Tank and re-recorded once more. While standing in the tank of water, he then made five more re-recordings while continuing to add layers with trumpet and flügelhorn to complete this full length album.

    This material will be presented at the B2 Center for Media Arts & Production in a Spatial Audio listening session, followed by a Q&A with Matthew. 

    (This event has taken place.)

  • Recorded live at the
    Tank Center for Sonic Arts.

    Sutara Severed

    GUITAR:
    “The Marquis De Drone” Johnny Sangfroid

    TIMPANI:
    John Jiles Stephens

    RECORDING ENGINEER:
    Michael Van Wagoner

    MASTERING:
    Tyler Reddick

    COVER PHOTO:
    John McAleer

    ARTWORK:
    Marie Wirtz, The Garage Inc

    PRODUCER:
    John McAleer

  • In one morning recording session subtle vessel was recorded live in the seven-story aquatic space known as the Tank Center for Sonic Arts in Rangely, Colorado. This is the culmination of a two-year-long recording project by Matthew Langford that began as a voice memo he made at a piano in Lakewood, Colorado on July 26th, 2022.

    Mirroring and adding to Alvin Lucier's process for "I Am Sitting in a Room", he made live re-recordings of the original voice memo on July 26th, 2023 while adding layers with trumpet, flügelhorn, and simple delay effects. Bringing a body of water into the Tank for the first time, on the morning of July 26th, 2024 Langford began by soaking for thirty minutes in a 400-gallon tank of water while the recordings he had made on the same day one and two years in the past were played into the Tank and re-recorded once more. While standing in the tank of water, he then made five more re-recordings while continuing to add layers with trumpet and flügelhorn to complete this album.

    Matthew Langford (he/him) is a sound artist, composer, trumpet player, and improviser living in Colorado. His work explores the embodied nature of things; of creature, substance, and place, co-creation, the obscuring of time and space, and the...  more

    credits

    released March 24, 2026

    ℗ 2025 Matthew Langford & Jim Ruberto. © 2025 Matthew Langford. All rights reserved.

  • In October of 2024, I recorded two songs live at The Tank Center for Sonic Arts in Rangely, CO. It was a hot October day and I spent most of it on the cool metal floor, listening to James and Camille play. I had time to do two takes of Bury Me Not and one take of Everything You Know, so what was captured was imperfect, raw, and of the moment -- a car goes by, the tank cracks as it responds to the changing temperature of the day. I love this place, and I'll go back one day, hopefully with some collaborators and a whole day to play with. Thank you for listening <3

    credits

    released February 6, 2026

    Rai Omri: Guitar, Vocals
    Camille Backman: Violin (track 2)
    Recorded live October 2024 at
    The Tank Center for Sonic Arts, Rangely, CO
    Engineered by Michael Van Wagoner
    Mastered by Timothy Stollenwerk at Stereophonic Mastering

2025

  • “is this the land i wish death to find me” (solo) was recorded on June 26, 2024 at the Tank Center for Sonic Arts in Rangely, Colorado. The recording is based on a slowly shifting set of ascending just minor thirds: 6:5, 7:6, and 13:11. Magnetic geophones were attached directly to the Tank’s steel exterior, allowing the performance to be captured through the physical resonance of the structure itself. Only a minimal amount of the microphones inside the building were mixed in for clarity. The work draws inspiration from exploratory archaeoacoustics research into how spaces hold residual sound of past action and how resonance interacts with material over time. In practice, the trombone activates the Tan and allows the resonant response to become the primary sonic material. The track explores that interaction.

    Teeth of the Second Range was recorded at home in Culver City, California in December 2024 and January 2025. It extends Barbier’s long-term interest in sonifying spaces, referencing iterative room-resonance processes such as I am Sitting in a Room. Alto, tenor, and bass trombones were recorded and re-recorded to build a choir of unplayed or “phantom” brass instruments. The resulting piece is constructed from the acoustic reality of the instruments when allowed to resonate without human input. Teeth of the Second Range traces a simple I–IV–V–I progression in Bb major, a tonal center associated with the trombone, but the spectral content produced by spatial playback diverges significantly from familiar brass harmony. The effect highlights a tension between functional, performance-based acoustics and the inherent sonic profile of the instruments themselves. The title refers to an early poetic name for the Organ of Corti, taken from Veit Erlmann’s Reason and Resonance.

    Across both recordings, Barbier examines the relationship between instruments and the environments they inhabit. Space becomes transducer, collaborator, and archive.

    By foregrounding physical resonance rather than traditional breath articulation, Barbier’s work asks how instruments sound when freed from performance convention. The recordings emphasize vibration as a fundamental condition of matter and hearing. They propose listening as a method for revealing latent acoustics and structural memory. What emerges is not a portrait of the trombone alone but a study in how sound shapes and is shaped by the places where it occurs.

    Mattie Barbier is an LA based musician and sonic researcher working with experimental intonation, latent acoustic worlds, and the physical processes of low brass instruments. Their work has been praised as inventive and virtuosic by the LA Times, The Wire, and The New Yorker. Barbier collaborates closely with composers and sound artists including Weston Olencki, Ellen Arkbro, Clara Iannotta, Sarah Davachi, Michelle Lou, and Jacob Kirkegaard. They are a member of RAGE Thormbones, wildUp, echoi, and Diapason, and teach at CalArts. Their performances and commissions span international institutions and festivals, with recordings on Sofa Music, Dinzu Artifacts, Carrier, Ideologic Organ, and Discreet Archive. 

    released December 12, 2025

  • This is more of an invitation than an album. It invites you to experience, learn and feel the magic of the TANK at Rangely, Colorado.

    All the pieces are either improvisations in the space or audio files that have been played back and recorded in the TANK, that is: Re-Tanked.

    During the pandemic I invited friends to send me musical offerings that they wanted re-tanked, namely tracks 2, 4-6, 9, 12 & 14. All other tracks where recorded in the Tank on September 14, 2024 by an ensemble of friends who met at the Tank for a day of exploration and improvisation.

    Musicians came from all over: Hawaii to Brooklyn, Los Angeles to Arkansas, Ashland to Colorado. Most had never performed or played with each other but the welcoming embrace of the Tank’s resonance inspired us all. What emerged was a beautiful sonic community and reverberant communion.

    For the most part I have chosen to select tracks of solos and duets to allow you to hear the dialog between performers and the Tank. There are a couple of glorious larger vocal ensemble improvisations.
    The final track, Windstorm and vocal, is quite special. During one of the re-tanking sessions a high velocity windstorm arose and I requested to leave the mics open. What you hear is the actual sound of the Tank. Near the end of the track one of the Tank’s sound engineers, Samantha Wade, walked in and began to sing.

    My eternal thanks to all of the musically inspiring friends/performers heard on this album who freely and generously gave of their time, love and talent.

    I hope you enjoy meeting the TANK!

    Special thanks to Bruce Odland, founder of the TANK and James Paul, Executive Director of the TANK 

    released December 5, 2025

    • Russ Appleyard, Clarinet, Whirligig, vox

    • Todd Barton, Conch, Shakuhachi, Piano, Alto Recorder, vox

    • Ursula Barton, Video, vox

    • David Bragger, Fiddle, vox

    • Larry Delinger, piano

    • Ryan Gaston, Electronics, vox

    • Suzee Grilley, Taiko

    • Michael Peterson, Video, vox

    • Hadyn Pkok, Electronics, vox

    • Susan Platz, Fiddle, Vocals
      Sarah Belle Reid, Trumpet, Vocals

    • LaFrae Sci, Percussion, Vocals

    • Michael Vannice, Electronic bells

    • Kennedy, Verrett, Didjeridoo

    • Samantha Wade, Vocals

    • Chris Williams, Vocals

    • Engineers at the TANK
      Samantha Wade Michael Van Wagoner

  • A presentation at the Roser ATLAS Center, Black Box Experimental Studio (2B level), Boulder CO, on the experience of recording at The TANK Center for Sonic Arts in Rangely, Colorado by the B2 Staff & featured residency artist Holly Mcmahon. Featuring content recorded from those sessions, a slide show and discussion on some of the specifics of recording and working with the TANK staff at their facility. An audio forward event as the next in our continued collaboration with the TANK and B2. Content related to audio recording, spatial mixing and real time omnipresence.

    Reservations and free tickets here.

    The TANK is proud to continue it’s association and experimentation with ATLAS B2 and the University of Colorado, Boulder.

  • In 2018, virtuoso of the Native American flute R. Carlos Nakai and percussionist Will Clipmanperformed an extraordinary concert in the TANK, a venue in a famously resonant empty water tank in the high desert of northwestern Colorado.

    R. Carlos Nakai is the world’s premier performer of the Native American flute. Of Navajo-Ute heritage, Nakai was first trained in classical trumpet and music theory and began playing the traditional Native American flute in the early 1980s. His first recordings sold more than 4.3 million albums for Canyon Records and earned two Gold Records, for Canyon Trilogy and Earth Spirit. In 2014, Canyon Trilogy reached Platinum (over 1 million units sold), the first ever for a Native American artist performing traditional solo flute music.

    Will Clipman has received seven GRAMMY® nominations, including one for his solo world music album Pathfinder. He is a three-time Native American Music Award Winner, a Canadian Aboriginal Music Award Winner, a New Age Reporter Music Award Winner, a two-time TAMMIE Award Winner, and has been inducted into the Tucson Musicians Museum.

    Silence and Space presents Nakai’s playing, along with Clipman’s spare and thoughtful percussion, in a context with great gravitas and dignity. The deep reverb of the Tank slows, uplifts and enlarges the music.

    The TANK Center for Sonic Arts is an unusual arts venue, dedicated to an empty seven-story Corten steel water tank that was discovered in the 1970's to possess extraordinary acoustic resonance, a reverberation as long and rich as any in the world.

    Today the TANK is a fully equipped recording venue and concert site, as well as a 501(c)3 nonprofit arts organization. The place has become a haven for the local music community and a unique destination for artists, sonic explorers, and curious visitors who learn to listen in a whole new way.

  • On September 5, Hainbach and Simopn Spiess will release the full album, We Collide, We Shatter, We Grow. We’ll have a listening party with participants on-line in Berlin, Rangely, Santa Fe and San Francisco.

    Here are Hainbach’s liner notes:

    There is a third contributor to this record, but it’s not a human, it’s a space. In one of the stranger live sessions I've ever had, I broadcast music from my studio to an abandoned water tank on the outskirts of Colorado. The goal was to test its resonance before conducting an actual session inside “The Tank.”

    With my phone zoomed in on the crew in the control room and my studio computer connected to the interior of this metal monster, I experimented with no-input feedback, test equipment, piano, and many other instruments — playing and waiting for the sounds to return. And I was captivated. My sounds folded into phasing fractals, bouncing from top to bottom.

    After recording, I assembled the pieces by simply following the movement of the echoes. An accidental album took shape, but something was missing.The next day, I was playing basketball at a nearby playground with my kids. In a typical Neukölln moment — where you can’t throw a stone without hitting a musician — Simon was there with his family, too. We started chatting about music while shooting hoops, and that same evening, we did a session together.

    A few weeks later, as I sent Simon’s live saxophone performance into the tank, he became the voice that had been missing on the record. We Collide, We Shatter, We Grow is an album that embraces both accident and experience. It’s about the random encounters that shape our lives, enrich them, and help us grow as artists and as humans. Abstract pings and drones flirt with wafts of jazz, as electricity and breath float through cosmic emptiness. Yet, there’s a sense of gravity that keeps it emotionally grounded, even in its freest moments of improvisation.

    @hainbach @simonspiessmusic

    https://hainbach.bandcamp.com/album/we-collide-we-shatter-we-grow

  • For this year’s Septemberfest we have a rare treat, a three-day installation of gorgeous medieval singing from New York’s much-praised early music group TENET. 

    TENET has won acclaim for its innovative programming, virtuosic singing and command of a repertoire spanning the Middle Ages to the present.

    In The TANK, these sacred songs will be uplifting and transcendental.

    A recorded all-day installation, Saturday, Sunday and Monday, presented free of charge.

  • Sol Arcanus began in 2018 as Arc Sol, a rock and roll band that germinated in the shared soil of two old Denver Communities, long interconnected: Wax Trax Records and The Mercury Cafe. A stream of shows between 2018 and 2021 saw the project perform with a number of legendary Colorado bands and musicians including The Space Lady, Animal Object, Gort vs. Goom, Weird(er), Messenger Music Collective and Slugger. In 2021 Sol Arcanus released its debut album "Understanding Your Radio" on Wax Trax's own Local Anesthetic label. The album has been written up in Birdie Magazine by Thom Murphy of Queen City Sounds and Art, as well as Duane Davis of Wax Trax Records. Sol Arcanus has more recently shared the stage with electro protest rockers Rollercoaster, and Denver's own ambient glam-folk mermaid, Vera Zane. The project has also played at local DIY venues like Glob, Squirm Gallery, and Nude City. Sol Arcanus' second album will be released on local cassette label Psychic Heretix on August 15th at a show at Squirm Gallery on Brighton Blvd., and will also return to Glob on the 26th of July sharing a bill with Briana Marela and Lanx Borealis. For booking, press and inquests please write to SpectralRadio@protonmail.com

  • Raven Chacon is a Diné composer, musician and artist. Born in Fort Defiance, Arizona within the Navajo Nation, Chacon became the first Native American to win a Pulitzer Prize for Music, for his Voiceless Mass in 2022.

    During our 2025 Summer Solstice festival Raven will be performing with the New Mexican super-ensemble Death Convention Singers.

    Tickets for the June 21 performance are on sale now, here.

    Chacon has received numerous awards and honors for his work, including the 2022 Pulitzer Prize for Music, an American Academy in Berlin Prize (music composition), a Creative Capital award (visual arts), a United States Artists fellowship (music), a Joan Mitchell Foundation fellowship, a Native Arts and Cultures Foundation artist fellowship,among others. Chacon received the inaugural Mellon Foundation Artist-in-Residence fellowship for the Colorado Springs Fine Arts Center at Colorado College.[21] In October 2023, Chacon was named a MacArthur Fellow.

    The TANK's Tenth Annual Solstice Festival is sponsored by Barbara and Gloria Burch.

  • Flutist and recording artist Sherry Finzer returns to The TANK to bring sonic healing with this free sound bath. Bring a mat, pillow, blanket and eye covering to this meditative and healing session, featuring Sherry’s amazing collection of flutes, singing bowls, chimes and gongs. Space is limited. Doors close right at 6:30.

    Sherry Finzer is a visionary musician, specializing in low flutes (alto, bass, contrabass) and Native flutes. In 2024, Sherry achieved her Level II Group Sound Healing Certification from the prestigious Sound Healing Academy in the UK. With over 300 hours of training and nearly five years of live-streaming experience, she now provides individual, group, and corporate sound healing sessions, both in-person and online via Zoom. Her music has been embraced by fans and listeners for its ability to reduce stress, encourage relaxation, and provide solace during challenges such as grief, depression, tinnitus, stroke, and cancer.

    This TANK event is free of charge.

  • Composer and pianist Holly McMahon is the B2 Resident Artist at The TANK in May, arriving on the 13th and leaving on the 18th.  A CU Boulder undergraduate in music composition, Holly will record and perform a set of pieces written for upright bass, field recordings, and found forest percussion.

    Holly’s pieces will range in style and celebrate various under-appreciated species, such as lichen, bacteria found in soil, and fungi that aid in decomposition. The music explore the concept of communication between these forest-dwelling microorganisms, which are crucial to the health of Colorado ecosystems.

    Coming to Rangely with Holly will be double bassist Asher Dobrin, who is currently pursuing a bachelor’s in music composition and chamber music performance at the University of Colorado, Boulder.

    This free concert comes at the close of her residency and presents the work Holly and Asher create at The TANK.

  • The TANK’s partnership with U. Colorado Boulder continues to blossom.  On February 8, 2025 Alan Mackwell’s string trio composition, Rail Dynamics, recorded in The TANK in September, 2024, will be played through the ATLAS B2 Black Box Experimental Studio’s high-density speaker array, recreating an immersive three-dimensional TANK experience.  Free, but reservations required: here.

    From Mackwell’s Soundcloud description of the recording:

    Rail Dynamics is a multi-movement work for string trio and fixed media inspired by a defunct rail line in northern New Mexico's high desert. Structured as ten landscape-style movements, Rail Dynamics explores the soundscapes of the northern New Mexican landscape while navigating the cultural and environmental impact of the rail in the Galisteo Basin, ultimately meditating on the slow deterioration of the rail line and the surrounding landscape's gradual reclamation of its previously inhabited spaces.

    Intertwined among these explorations are images surrounding a tragic car accident I was in as a child that involved a collision with a train. Being by the rail in the deep quiet that characterizes so much of northern New Mexico's landscapes, however, helped me to recontextualize my experience and facilitated my recovery; the slow dissolution of the rail into the high desert soil seemed to mirror the gradual vanishing of the scars on my face, and in a strange way I found a deep kinship with the basin, what remained of the rail, and their deeply nuanced relationship.

    This piece is dedicated to my father, who, for weeks following the accident, would fall asleep at the foot of my hospital bed without mattress or pillow so I would not be there by myself.

    (Rail Dynamics takes its name from a ground-breaking set of mid-century field recordings of locomotives in New York, championed today by the Smithsonian Folkways. The original Rail Dynamics can be found here: folkways.si.edu/rail-dynamics/sou…album/smithsonian as well as on Spotify and YouTube).

    This work was premiered at The TANK Center for the Sonic Arts on September 22, 2024 by Jordan Grantonic (violin), Emma Reynolds (viola), and Peyton Magalhaes (cello). 

2024

  • On Wednesday December 4, the B2 Black Box Experimental Studio will bring the TANK to Boulder, presenting John Gunther's new recording Tales from the TANK in an awesome spatial reproduction of the Tank's super-resonant sonic environment. The high-density speaker array in the ATLAS B2 consists of 44 custom-built speakers that encircle the walls and ceiling.

    B2 Black Box Studio, Roser Atlas Center on the University of Colorado Campus, 1125 18th Street, 2B Level, Boulder, CO 80309

     This event is a FREE lights-out listening session, curated by members of the B2 community. Sounds will be spatialized on the 40.4 spatial audio array in the ATLAS B2 Black Box Experimental Studio.  Cushions and pillows on the floor and some chairs are available for seating. Participants are also encouraged to move around the space while listening to spatial audio music and sound art.

  • Moon Prince is the neo psyche/ post punk project of guitarist and singer Adam Buzan.

    Layers of synth and baritone create a soundscape unlike another. Alternate tunings and surf guitar tone draw you in to a beautiful headspace and fill the room with sheer love and audio bliss. 

    Listen to Moon Prince on Spotify here.

  • Sam King's improvisation-driven sound art project Untight returns to The Tank for a live performance on October 12. King combines a microtonal electric guitar with a digital effects array to create compelling, immersive listening experiences, often accompanied in live settings by projections or other visual elements. King first visited Rangely to record 'States,' a full length cassette + digital album released in 2021, harnessing The Tank's uniquely powerful resonance to produce sonic expanses of shimmering tension and poignant solitude. Of Untight's 2024 release, 'Fair,' Jeremy Royal writes, the listener experiences "'resonance matter,' warts and all. It's a mud. It's a sourdough mother. It's a cave of volcanic lava gurgling to life so deep down that our flashlights can't even shine all the way to the bottom."

  • In September, the Boulder based Ars Nova Singers will return to the Tank to record. They’ll be holding an open rehearsal, free for all to attend, on September 28, 2024 from 9:00 AM until 1:00 PM. instagram @arsnovasingers.

  • Alan Mackwell will be visiting us again in September and presenting a two part concert: a string trio composition about a series of images of defunct rail lines around his childhood home outside of Santa Fe, NM;  followed by a solo set of Alan performing on the fujara, a Slovakian overtone flute,  and electronics

    The trio: Jordan Grantonic (violin), Emma Reynolds (viola), Peyton Magalhaes (cello)

    Instagram alanmackwell_2.  YouTube @alanmackwell3943.  

    Website alanmackwellmusic.com.

  • Last spring, the adventurous vocal octet Roomful of Teeth won their second Grammy, cementing their place as one of the one of the most daring and accomplished new music groups of our time. Roomful of Teeth and The TANK have had a close association since 2017, when the group came to Rangely to give what is now a legendary performance in a thunderstorm, of which Alex Ross wrote in The New Yorker, "In my experience, music has never seemed closer to nature."

    On August 31, Roomful of Teeth return to The TANK to present an extraordinary new work, literally attuned to the cosmos, Alev Lenz's The Planets, a suite of pieces sung in the planetary frequencies of Jupiter, Mars, Venus and the other planets of our solar system. An ethereal, overwhelming event, unique to its time and place, and a peak experience.

  • During Open Saturday on August 25 Christian Carrière will be demonstrating his direct-to-steel resonators.

    Then, at 8 PM Christian will be performing a free concert.

    Christian is a sound artist and musician based in Montreal, Canada. His work lives in the dreamy grey zone between sound design, soundscape and music. His interest lies in the juxtaposition of unusual sonic elements, hybrid creations of synthesizer music, polyphonic no-input music, field recordings and semantic mash-ups.

    He has released several albums, scored independent films and created sound installations for gallery and museum projects shown in Canada, the UK, Denmark, and Turkey. His recorded works have been broadcast on CBC, BBC3, Radio-Canada and elsewhere. He has performed at major Montreal festivals, including Mutek, Pop Montreal and Suoni per il popolo, and in various venues across Canada.


    @interceiver, http://www.christiancarriere.com/, https://www.facebook.com/profile.php?id=100063797121000

  • Matthew William Langford is a composer, trumpet player, and interdisciplinary sound artist living in Fountain Colorado. On July 27 he will create a sound and performance art installation while interacting with a pool of water placed in the center of the TANK and with recordings he will complete the day before.

    Sparked by a sudden moment of loss and what has followed in his journey through grief, abstracted memory, the passage of time, growth and transformation, this will be the culmination of a two-year-long recording project that began at a piano in Lakewood Colorado before traveling with him to Fountain Colorado and eventually to the TANK. You may follow along with him on this journey on Instagram @matthewwilliamlangford.  matthewwilliamlangford.com.

  • 2024 will mark our 8th annual Summer Solstice celebration. Join us for any or all of these activities. Bring an instrument, if you like. Be prepared to sing!

    Friday, June 21--the Actual Solstice

    Dawn Celebration (5:33am)

    Solar Noon Group Hum in the Tank (1:02pm, when the sun reaches is northernmost point).

    Sunset (8:32pm 'til late) Individual and Group Improv Performances, Tankster Gathering

    Saturday, June 22

    9am to 1pm Open Saturday, Free Public Demo by Tatsuya Nakatani

    8pm ticketed concert by Tatsuya Nakatani. Tickets here.

    Sunday, June 23

    10am to 1pm Tank Open House

    About Tatsuya Nakatani. Tatsuya has made more than 80 recordings. His music centers around his adapted bowed gong, supported by an array of drums, cymbals, and singing bowls. This is contemporary work with the dramatic pacing, formal elegance and space of traditional Japanese music.

  • Hailing from Seattle, Baroque-Pop/Alt-Rock music project, Zara is on their first national tour across Western U.S; South As The Crow Flies. The project is led by drummer, visual artist, and long-time Friend of the Tank, Max Bernstein (they/she). The 6-piece ensemble will be presenting some Tank-i-fied versions of their songs on the evening of June 10th. More information is available on their website at zaraband.com or via their social media @visible_zara.

  • May 25 is International Drone Day, and the Colorado Modular Synth Society will be at the Tank, experimenting and presenting a free concert at 8 PM. @ColoradoModularSynthSociety, https://droneday.org/

  • New York-based composer/performer Andy Clausen is proud to share “Few Ill Words: Solo Trombone at The TANK, Vol. 1.” The release documents Andy playing in an acoustic environment that is truly one of a kind: The TANK Center for Sonic Arts, a seven-story converted railroad water silo in rural Colorado that has served for years as a performance space for exploratory artists of many stripes. Every note counts in this unusually resonant chamber, where notes can linger in the air for up to 45 seconds in the immersive reverberation. Vol. 1 pays homage to Andy’s heroes and mentors, bringing their music into The TANK and transforming it through imaginative site-specific interpretations.

  • The Atlas Institute at the University of Colorado, Boulder has created a five-day Sonic Arts Residency at the TANK. The residency will culminate in a free concert on May 17, 2024 at 7:00 PM.

    As one of the country’s youngest emerging multimedia artists, Gracie Fagan (she/her, b. 2000) experiments with human perception to comment on the intersectionality of identity and pop culture. Gracie combines audio, projection, performance art, theatre, and dance to create immersive performances and environments not typically found in the traditional concert hall setting.

    Saxophonist and multidisciplinary artist Joel Ferst (he/him) enjoys a diverse career as a performer, improviser, composer, and arts administrator. Ferst is emerging as one of the top collaborators for the contemporary music genre. His recent performances have taken him to Brazil. He was a Corwin guest artist at the University of California Santa Barbara and a guest artist with the Electronic and Experimental Music Studio at UT Austin.

    Phu Le is a practicing visual artist studying human-technology interachttps://www.colorado.edu/atlas/tion at CU Boulder. His area of expertise is in interaction design and visual programming. He’s performed at and works closely alongside the CU Boulder Black Box, having lots of experience in the performing arts and an eye for meaningful immersive experiences.

    https://www.colorado.edu/atlas/, https://www.colorado.edu/atlas/b2

  • From May 4-9, 2024, nine Stanford Center for Computer Research in Music & Acoustics graduate composers and soprano Manuela Freua will rehearse and record new performances at The TANK. At the end of their residency, Manuela Freua will present a concert of their work.

    The composers writing for Manuela Freua are: Tatiana Catanzaro, Mike Mulshine, Brian Brown, Barbara Nerness, Lemon Guo. Composers writing for The TANK space are: Seán O Dalaigh, Kimia Koochakza-deh-Yazdi, Celeste Betancur, and Anna Golubkova.

    Manuela Frea specializes in Chamber and New/Modern Music, with free transit in Popular Music. The São Paulo-born soprano has sung in performances of Quartet no. 2, opus 10, Pierrot Lunaire, opus 21, (Schoenberg - OSESP), Le Marteau sans Maître (Boulez - OSESP), Folk Songs (Berio – Theatro São Pedro), Kafka-Fragmente (Kurtág - Sala do Conservatório, Theatro Municipal de São Paulo) among other works. Recently she has played Lucy in “The Threepenny Opera (Weill/Brecht) and Helena (“A Midsummer Night’s Dream” (Britten), both at Theatro São Pedro. She has collaborated with Theatro São Pedro’s “Atelier de Composição Lírica”, a program that promotes new operas by new composers, since its first edition in 2021. She made her début in Dido and Aeneas (Purcell) and has, since then, performed in opera and concert productions in some of the most important concert and opera houses in Brazil. She was a soloist in Beethoven’s 9th Symphony (OSPA), Mahler’s 8th Symphony (OSESP), Mahler’s 4th Symphony (Percorso Ensemble), Bach’s St. John’s Passion (OSM), among other works. Manuela recorded, in 2018, with the violinist Emmanuele Baldini, the CD entitled “A Canção e o Violino” (The Song and the Violin). Manuela obtained her Music Degree at UNESP, Popular Music Specialist at FASM and has studied under Isabel Maresca. She also perfected herself, as a Vitae Scholar, at Ferenc Liszt Academy in Budapest.

  • Come explore the Tank and its amazing acoustics. Sing, hum, relax, make some noise, and be amazed. Bring an instrument, bring family and friends. Take off your shoes and enjoy the wonders of the Tank. Staff are on hand to assist you.

2023

  • Full Spectrum rides again with a very special long player from our “house band,” Tender Crust, with the release of their latest set of recordings – ’Convexity.’

    Now a quartet – with the inclusion of bass clarinetist Rebecca Hubsher, alongside returning band members Gretchen Korsmo, Carl Ritger, and Andrew Weathers – the group traveled to the far reaches of northern Colorado to record in the otherworldly acoustics of Rangely’s Tank Center for Sonic Arts. Located on the outskirts of an isolated oil town near the Utah border, The Tank has been a prized recording location for decades thanks to its unique sonic properties.

    Constructed in the 1940s as a railroad water treatment facility, the seven-story steel water tank was relocated to Rangely in the mid-60s for use by a local utility company. It was never put to use, however, as the underlying shale that it was placed upon proved unable to support the weight of the structure when filled. This firmament bowed the tank’s floor into a gentle parabola, thus giving it an extraordinary internal acoustic resonance, capable of generating a lush reverberation of up to 40 seconds. After decades of being used clandestinely by sound artists, The Tank has since been fitted with a proper recording set-up to accurately capture its... more

    credits

    released September 28, 2023

    Rebecca Hubsher - bass clarinet, shruti box, whistles, percussion

    Gretchen Korsmo - clarinet, shruti box, whistles, percussion

    Carl Ritger - synthesizers, whistles, percussion

    Andrew Weathers - tenor saxophone, bass recorder, pipe horn, crackle box, whistles, percussion

    Recorded at The Tank Center for Sonic Arts, Rangley, CO by Samantha Wade and Michael Van Wagoner

    Mixed by Andrew Weathers
    Mastered by Seán Mac Erlaine
    Artwork by Gretchen Korsmo
    Photos by Andrew Weathers

  • Harpist electro-acoustic composer Zeena Parkins and drummer signal-treater Scott Amendola presented a work especially composed for The TANK.

    New York based electro-acoustic composer/improviser Zeena Parkins is a pioneer of contemporary harp practices. Through the use of expanded playing techniques, object preparations, and electronic processing she has re-defined the instrument’s capacities. Concurrently, Parkins self-designed a series of one-of-a kind electric instruments. She leans into the harp’s physical limitations pushing into its boundaries and impossibilities. Parkins is a recent recipient of the Guggenheim Foundation Fellowship in Composition.

    Drummer signal-treater Scott Amendola is an ambitious composer, savvy bandleader, electronics explorer, first-call accompanist and capaciously creative foil for some of the world’s most inventive musicians. Amendola applies his wide-ranging rhythmic virtuosity to a vast array of settings. His closest musical associates include guitarists Charlie Hunter, Nels Cline, and Jeff Parker, Hammond B-3 organist Wil Blades, violinist Jenny Scheinman, saxophonist Phillip Greenlief, clarinetist Ben Goldberg, bassists Trevor Dunn, and Todd Sickafoose.

  • Beth Custer

    Bay Area music scene giant Beth Custer brought her clarinets, along with her voice, percussion and toys. Beth is a founding member of the notorious silent film soundtrack purveyors the Club Foot Orchestra, the Fourth World ambient ensemble Trance Mission, the trip-hop duo Eighty Mile Beach, and the Latin-jazz-rock influenced Doña Luz 30 Besos. She also leads the quartet of esteemed jazz clarinetists called Clarinet Thing and The Beth Custer Ensemble.

    Ben Neill

    Composer/performer Ben Neill is the inventor of the Mutantrumpet, a hybrid electro-acoustic instrument. He has recorded eleven albums and performed at the BAM Next Wave Festival, Big Ears Festival, Lincoln Center, Whitney Museum of American Art, Bing Concert Hall at Stanford, Getty Museum, Cite de la Musique Paris, Moogfest, Spoleto Festival, Umbria Jazz, Bang On A Can Festival, ICA London, Istanbul Jazz Festival, Vienna Jazz Festival, and the Edinburgh Festival.

    Sound Circle

    Based in Boulder, Colorado, the women of Sound Circle, an 18-voice a cappella women’s vocal ensemble, have come together to experience the deep joy of making music and to share that joy with audiences. Sound Circle has commissioned many new works, performed original music by members of the ensemble, and created many new arrangements.

  • Andy Clausen is a founding member of the genre-bending brass quartet The Westerlies. He peformed a solo trombone concert in the Tank, and released an album of his Tank recordings in May of 2024, “FEW ILL WORDS: Solo Trombone at The TANK, Vol. 1”

    About this album Andy wrote, “This release is the fruit of a years-long dream to make a pilgrimage to @tanksounds, a seven-story converted railroad water silo in Rangely, CO that has served as a sonic laboratory for exploratory artists of many stripes.

    Soaked in the 30-second reverberation of the TANK, sweat from the 120-degree temperatures of a July heatwave, and captured with the exacting detail of a dozen microphones rigged around the space, I’m so excited to be able to share this music with you now.

    Volume one of the set aims to pay homage to some of the artists and mentors who shaped my development - Bill Frisell, Ron Miles, Duke Ellington, Frank Kimbrough, Paul Motian, and Jon Hassell among others. The title track “Few Ill Words,” is itself a musical and textual anagram of Tom Petty’s Wildflowers. Volume two will be released in the fall and features music from Pauline Oliveros, Jeff Beal, Nico Muhly, and more.“

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  • Percussion trio Perc Ens with composer Nathan Hall release Gentle Worship, a collection of music compositions and improvisations recorded at The TANK Center for Sonic Arts in Rangely, CO in 2023. The album was conceptualized from a collection of baguette-shaped lithophones found in the San Luis Valley of Colorado, and in collaboration with the leading lithophone archeologist in Colorado, Marilyn Martorano.

    released September 26, 2025

  • This unusual and beautiful work, called Slow Beethoven, is the collaboration between a string quartet and The TANK Center for Sonic Arts, a nonprofit recording studio and concert venue centered around an extremely resonant empty water tank in the high desert of northwestern Colorado.

    On June 17, 2021, at National Sawdust in Brooklyn, renowned cellist Jeffrey Zeigler led three other virtuosic players in an adagio movement, the fugue from Beethoven’s String Quartet Number 14 in C-sharp minor, Opus 131. As they played, they heard the sound of their performance resonating in the profound reverb of the Tank, in which sonic impulses may sustain for up to 40 seconds.

    To allow each of the lush, Ludwiggy chords to ring out and fade in the Tank, the quartet had to slow the work radically, so that this short movement, some seven minutes long in the original tempo, took more than 45 minutes for them to play. The result is otherworldly, part Beethoven and part something entirely new. The work remains true to Beethoven’s emotions in this meditation on grief, resolution, existence itself, and these feelings may even feel intensified in this slower version.

    released April 28, 2023

    Performed at National Sawdust by
    Lara St. John \ Violin 1
    Miranda Cuckson \ Violin 2
    Milan Milisavljevic \ Viola
    Jeffrey Zeigler \ Cello

    Executive Producers
    The Gil Schwartz Foundation
    Jan Burton
    David Brunel
    Sam Tolley

    Recorded at The TANK Center for Sonic Arts, Rangely, Colorado
    Conceived by Bruce Odland
    Produced by James Paul and Bruce Odland
    Engineering by Jeremiah Moore, Bruce Odland, Charles Hagaman, and Taylor Deupree,
    assisted by Samantha Wade and Michael Van Wagoner
    Design by Jennifer Sonderby
    Label and Album Publicity by Sacks and Co, New York, Nashville, Los Angeles

    Special Thanks
    Laura Svienty, Sherry Finzer and Heart Dance Records, National Sawdust, Meyer Sound Laboratories Corporation, Grace Design, Charter Oak Acoustics, RME USA

  • Im a vocalist and sound healer from Denver, CO. I recorded my first album of sonic meditations at The Tank in August 2022 and released the album, “Meditations” in January of 2023. I absolutely loved my experience and hope I can record again! Thank you for this amazing space!