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Nnux + Lisel + BAKUDI SCREAM

Friday, September 23 at 8:00 PM

Online tickets not available

Friday, September 23 at 8PM

Nnux + Lisel + BAKUDI SCREAM

1815 S Main St, Los Angeles, CA 90015, USA

Online tickets not available
September 23rd

Mask wearing is highly recommended indoors. N/95, KN/95, surgical masks suggested and provided.


Nnux is the solo project of Mexican composer, producer and keyboard player Ana López-Reyes, who is based in Mexico City. Her music is based on the digital processing of samples from voices, acoustic instruments, everyday sounds, electronic beats and synthesizers. Influenced by experimental music, electronic music and pop, Nnux creates music that aims to be emotional and vulnerable while still being experimental and imaginative.

Ana has performed in different venues in Mexico and the USA, including cultural spaces, DIY venues and festivals in Mexico City, Boston and New York City. Her music has been featured on BBC Radio1, FACT Magazine, and XLR8R. She has been commissioned by Metropolis Ensemble (NYC) for the Flamekeepers and Biophony projects (2021) and is currently one of the members of the project MUXX, which received the Art and Technology Grant awarded by Los Angeles County Museum of Art (LACMA). She’s been twice awarded the prestigious Jóvenes Creadores grant by the National Endowment for Culture and Arts (Mexico), both in 2019 and 2021. Also interested in the social impact of music, she was recently appointed co-director of Found Sound México, the Mexican division of NY-based organization Found Sound Nation, working in providing support for musicians whose work plays an important role in empowering communities.

In 2017 she released independently the EP Distancia.
In 2020, she released her debut LP Ciudad on Mexico City-based label VAA.

Ana holds a degree in performance and composition from the New England Conservatory in Boston. ​


Called “otherworldly, warped” (Stereogum) and “billowing, crystalline” (Gorilla vs. Bear), Lisel is the sweeping, ethereal avant-pop project of vocalist and experimental musician Eliza Bagg. A “fractured, futurist form of pop” (WNYC), Lisel’s music is grounded in her extensive career as a vocalist of minimalist/post-minimalist and Renaissance and Baroque singing styles, as she “disintegrates her voice into a euphoric, Auto-Tuned goo, emerging from the other side of the abyss an electro-pop alien” (NPR).

As a vocalist, Bagg has collaborated across genres with many prominent experimental artists — from performing in Meredith Monk’s opera Atlas with the LA Philharmonic to touring regularly as a member of Roomful of Teeth. In this capacity, she has sung as a soloist with the world’s top orchestras, including the Boston Symphony and the New York Philharmonic, collaborated with artists from John Zorn to Caroline Shaw and Julianna Barwick to David Lang, and performed at venues from Lincoln Center to The Kitchen to Iceland Airwaves.

As Lisel, Bagg has received particular recognition for her use of extended vocal techniques and unique vocal sound, which Pitchfork compared to "a lovelorn alien reaching out from the farthest reaches of the galaxy.” Her voice grounds the otherworldly landscape of her music, which she self-produces, usually beginning with manipulated vocal samples and improvisations, or patterns built from extended vocal techniques.


Rohan Chander (a.k.a BAKUDI SCREAM) is a musician based in New York and Los Angeles. His work concerns the positioning of personal experience upon post digital culture, calling attention to identity, body, performativity, and bias. Rohan’s primary engagement with genre space as a vehicle for critique of community against the self creates larger, often extra-terrestrial narratives about methods for self actualization. His work attempts to grapple with how these processes enable a malleable understanding of identity while recognizing our responsibility towards community, equity, and expressive liberty.

Described as “hypersensory” by the Washington Post, Rohan’s work has been commissioned by organizations such as the Barlow Endowment for Music Composition, the Los Angeles Philharmonic Association, the Matt Marks Impact Fund as well as Bang on a Can, and has had works performed by the International Contemporary Ensemble, Alarm Will Sound, Chromic duo, So Percussion, and Bearthoven. His solo album, FINAL SKIN (released May 2022 on Cantaloupe Music) was nominated for the 2022 Gaudeamus Award in composition and was met with acclaim from icareifyoulisten and The Wire Magazine, where it was described as a “sonic fantasy.”

Rohan also is active as a producer and electronic musician recently performing in the west coast performance of Ted Hearne’s Grammy nominated project Place. Rohan has also served as the production manager for the Wet Ink Ensemble. For more information about his work history, please refer to the resume.
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