Not our Luna, but another sweet black cat who shared the name 😻and all dressed up as a sushi roll for Halloween! From Yoselin Alcala via our Facebook page.
A Cats on Synthesizers Halloween submission! Our little Luna in her sushi costume with a Mellotron ✨🎃
“Sushi Luna” is posing with a Mellotron Micro synthesizer. We at CatSynth are quite interested in this smallest edition in the venerable Mellotron series. It is also the subject of our most popular CatSynth TV episode.
In general, I have been fortunate. Transphobia is rare in my own life. I was able to come out and transition on the job, I have supporting friends and family, a nice home, a sweet cat…I have not experienced any trouble in the more conservative places I enjoy traveling. In many ways, plain-old sexism and the increasing menace of misogyny have been a much bigger issue . This is why it can be so jarring when it does reach me, as it did over the past two weeks. There were three punches: the statement that existing civil rights laws on sex don’t apply to gender identity; the active support of businesses’ right to discriminate against transgender employees and applicants; and most sinister of all, the attempt to hard-define gender as fixed at birth, erasing the lives of trans people and taking away the rights and privileges we currently enjoy. This last one is the one that worries me the most – no, they probably won’t yank my passport or my social security card, but sadly I can’t trust them not to.
I don’t think the buffoon at the top of the executive branch cares one way or another about trans people, but he certainly does like to tweak his base, which seems to take particular pleasure in things that hurt women, trans people, gay men, and the like. That is the cynical answer to “why now”, but why this seems to be a particular obsession is a more complex question. I don’t pretend to have definitive answers, but I would point to the prevailing and growing misogyny. It’s not new, but it’s been particularly ugly of late. Basically, the recently concluded court fight made the statement that a woman’s pain from sexual assault is not as important as getting a man into a position where he will uphold the traditional authority of powerful men over, well, everything. They hate women who challenge them, and they hate men who are “not with the program.” This explains why it is gay men and trans women who bear so much of the anti-LGBTQ violence worldwide. Both groups are perceived as men who are deviating from the program, and therefore as much a threat as women who defy their authority.
Up to this point, I have focused on patriarchy and misogyny without looking at religion, but it’s impossible not to see the interconnection. The Abrahamic faiths are practiced by millions upon millions of wonderful people, and their worship and rituals are often very beautiful, but their scriptures are all deeply misogynistic to the core. It’s not surprising that the fundamentalists of each are the easiest people to rile up against women and sexual minorities. It’s time we finally recognize this and not treat it so gently. When civil rights are taken away from LGBTQ folks, they lose everything. When they are restored, no one loses anything. The deeply conservative and religious claim they are victimized but we must at every step ask them to list how they are harmed. Except for a few cases of violence which should be dealt with accordingly, they lose nothing. What does a county clerk lose when she hands a marriage license to a same-sex couple? Nothing. What does the baker lose? Nothing. If they fear they lose their faith by participating in civil society, it’s probably time to question the strength of their faith, and not the lives of others.
And progressives who claim to be allies need to prioritize this. No more excusing bad behavior for economic issues (again I could write a book about how some white progressives see only class and forget race, gender, or sexuality). No more cynically complaining about “pinkwashing” when a large company does the right thing, as several did in North Carolina two years ago. Don’t just say you stand with us, make it your priority! And don’t tolerate those who stand against us, whether TERFs, religious communities that claim persecution, or otherwise.
Oh yes, and please do VOTE. But that’s just a start…
Gracie is back! This time with an Ensoniq SQ-80 synthesizer. From Alsún Ní Chasaide (Alison Cassidy) via Facebook.
It seems that Gracie really likes this particular synth 😸
The SQ-80 is an interesting synth that came out about the same time as the Ensoniq EPS (which along with its successor the ASR-10 were mainstays of my studio until about 2000). From Vintage Synth Explorer:
The SQ-80 is basically a reved-up ESQ-1 with a total of 75 waveforms, a 61-note keyboard with velocity & aftertouch, floppy disk drive for storing patches and sequences, and an enhanced sequencer. Great for organs, analog-type sounds, pads and sound effects. Like the classic ESQ-1, the SQ-80 functions in providing analog-type 4-pole lowpass filtering and editing of digital waveforms. Each voice can combine up to 3 of the 75 waveforms. These waveforms include multi-sampled transient attack waves such as violin bow, plectrum picks, mallet, hammer, breath attacks and percussive sounds. There are also 5 sampled drum sets. Three LFOs are onboard for some pretty wild modulation of the sounds you create or edit.
We at CatSynth have been extraordinarily busy since the start of summer with work, music, and other obligations. As a result, our explorations of visual art have suffered a bit. But we start correcting that today with a report from the blockbuster René Magritte: The FifthSeason exhibition at SFMOMA. I’m glad I was able to get in to see it before it closes in two weeks!
The exhibition focuses on his later works, from World War II through the late 1960s. It is billed as “If you think you know Magritte (1898–1967), think again.” Yet, this period includes many of his most iconic works – other than perhaps his most famous La Trahison des images (aka “this is not a pipe”), including many of my favorites from the broader Magritte retrospective I had seen at SFMOMA in the early 2000s.
The work depicted above, Les valeurs personnelles, is perhaps my favorite of all. I find myself drawn to it not just because of the stark juxtaposition of larger-than-human-sized objects in a smaller-than-human-sized space, but for the various textures that defy painting. The objects themselves have the hyperrealistic sheen of graphics from the 1990s (we were all proud of our ability to render glass) with the more pedestrian room space and strangely realistic sky on the wall. These are the characteristics of many of Magritte’s pieces during his Hypertrophy period in the 1950s. It’s taken to an extreme in a piece that features one of his iconic green apples swelling to gargantuan proportions and pushing against the walls of a modest room.
And of course, there were many bowler-hatted gentlemen, some with green apples, some without.
The image of the bowler hat and the bowler-hatted man has appeared throughout Magritte’s career, but it was more closely associated with the artist himself in his later works, a form of self-portraiture.
In addition to the green apple, we see many objects and concepts that appear in other works from this period applied to the bowler-hatted man, such as the small round stone, birds, and negative spaces.
In both sets of works, we see the discrete juxtaposition of elements that may or may not fit with real-life experience. I see this is as “quintessentially Magritte” and consistent throughout most of his career. In that sense, I disagree a bit with the thesis of the exhibition that this later period was a break with surrealism, but rather a reimagining of it with different subjects and techniques and without the heaviness of the movement’s manifesto. If there was one section of the exhibit that truly represented a break from what I know of the artist, it was the first section that featured his vache period immediately following World War II.
I would never have guessed these grotesque parodies of van-Gogh-style impressionism were his work if they were not presented and explained. At the same time, it is not surprising that the experience of the war (Magritte remained in his native Belgium during the Nazi occupation). It feels like his weakest and least memorable work, but one theory suggests that his retrograde style during this period helped avoid Nazi attention and persecution. We are certainly glad he returned to form in his later years.
One of late series, collectively called The Dominion ofLight, brings together a nighttime city streetscape with a daytime sky.
It takes a moment of adjustment to realize the confounding of night and day in the image, as our eyes are so used to assumptions about the passing of time and light. The series is at once playful, but also a bit melancholy, pointing to the later years of a life and life’s work. Fortunately, there was one more chapter to come that was both more curious and more uplifting.
This bizarre series of boulders floating in space or sitting isolated on an apartment terrace is a return to form, but also an exploration of time and gravity and even more fundamental assumptions that we make in everyday life. Their lightness and starkness also make an interesting statement at the end of a career that spanned several decades and saw the massive changes of the 20th century. We should note that the bowler-hat portraits featured in this article were done during the same late period, and are stronger both as works in themselves and as a career-spanning statement.
The exhibit was overall a delight to experience. It was hung in a minimalist but also warm style without too much crowding or overwhelm, and it weaved a narrative even as I took in the works as individuals. It also marked a return a place of solace, the museum, after a long period of intensity and focus on other practices. I won’t stay away as long again.
Greetings, and L’Shana Tovah! Today we look back to a show from last weekend at The Chapel in San Francisco where two bands interpreted selections from John Zorn’s Masada songbook. It was part of a four-day residency by Zorn at the Chapel in celebration of his 65th Birthday.
“Masada” has morphed and grown as a musical concept since Zorn’s original Ornette-Coleman-inspired group from the 1990s. There have been follow-up projects, notably Electric Masada that we at CatSynth are most familiar with. But it is as much a songbook as a collection of ensembles. The “Masada songbook” contains hundreds of short compositions, sometimes just fragments, scales, or concepts. Originally intended to be performed by the ensembles, these compositions can be interpreted by other bands. And on this night, the bands took them in decidedly rock direction.
First up was Cleric. The Philadelphia-based “avant-metal” band currently features Matt Hollenberg on guitar, Nick Shellenberger on keyboards and vocals, Larry Kwartowitz on drums, and Daniel Ephraim Kennedy on bass.
As their background implies, the performance was decidedly metal, a full-on triple-forte projection with growling vocals and fast runs punctuated by heavy drones. Nonetheless, it was top-notch musicianship and an adventurous choice of music. Within the mix, I found myself mostly focused on Shellenberger’s vocals and keyboards, though Kennedy’s six-string bass took center stage visually, and Hollenberg’s guitar performance added a solidifying aspect to the music. It was a solid set, and certainly an interpretation of the Masada songbook we have never heard before (and may never hear again).
Next up was Secret Chiefs 3, who brought a decidedly different sound and presentation to the stage.
Led by guitarist and composer Trey Spruance (formerly of Mr. Bungle and Faith No More) and heavily featuring Eyvind Kang on violin, the group weaved together jazz, rock, folk, klezmer, and Middle Eastern influences into their eclectic set. Rounding out the group on this night were Jason Schimmel on guitar, Matt Lebofsky on keyboards, Shanir Blumenkranz on bass, Ches Smith on percussion, and Kenny Grohowski on drums.
It was an inspired and highly dynamic performance from these hometown favorites, and the band seemed a good match for the Masada songbook. There is an explicit thread of mysticism and the esoteric in both Zorn’s music and the work of SC3, so this is not surprising. I even recognized a couple of songs from Electric Masada recordings. The orchestration was brilliant and clever, bringing out each of the musicians as well as the Jewish influences of the songs. There were contrapuntal moments where the musicians played different lines and rhythms but coming together for short emphatic choruses with syncopated lines. It was crisp, tight, but also fun. And one could sense that the audience – a packed crowd on both levels of the Chapel, was having a great time along with them. The set was also the perfect length, keeping up the energy without petering out or overstating their welcome, leading to a single climax note that ended the music and cued Zorn and the musicians from Cleric back to the stage for a final group bow.
Overall, a fine night of music. As with many multi-day festivals, I regret not being there for the other nights, but glad I was able to make it to the one that I did. September is always the busiest month for music (and art) in San Francisco, and we will have much more to experience and share in the coming weeks.
The vast majority of my recent photography has been done with the iPhone, but for the upcoming Outsound New Music Summit, I will need to use the SLR and lenses. So I’m getting back into practice with Sam Sam.
I think this one came out beautifully, especially as Sam Sam was being the perfect model. I recently got a new faster camera, and so far it has been a joy to use, especially with our existing portrait lens on manual. With the iPhone, I have forgotten both the fun and hazards of managing optics. When focused properly it really brings out the detail of her fur and puts the background in the background. Some shots work better than others, of course. This one was less than perfect, but I really liked her vocal expression.
And I would be remiss if I didn’t shoot some pictures of her scratch’n’roll.
Sam Sam definitely knows how to ham it up for the camera.
I will be on photography duty for most nights at the Outsound New Music Summit, or at least the nights I’m not also performing with my band CDP. You can find out more about the festival, including tickets, on the official website.
It’s been a little while since we last attended Church of Thee Super Sergeat Robotspeak in San Francisco, but we made a point of going this past weekend. For those who have not been there or read our past reviews, it’s an almost-ever-month show on a Saturday afternoon with live hardware-synthesizer performances. As the name suggests, some acts do include Serge synthesizers, but it is not required, and a wide variety of instruments are used. All three sets are featured in our most recent CatSynth TV episode.
The first set featured Lx Rudis performing on an Oberheim Xpander, a somewhat underappreciated instrument from the 1980s.
At its heart, the Xpander is a 6 voice analog synthesizer, but with a complex array of digital controls that can be programmed and applied independently to each voice. Lx Rudis took full advantage of these, especially the LFOs and lag generators, to create subtle and minimal metric patterns. He constantly moved voices in and out, configuring them on the fly, in a way that was very expressive and musical. I particularly liked the sections which had staccato rhythmic textures against slowly moving timbres deliberately out of sync with one another.
Next up was Franck Martin, who performed a solo set on a modular synthesizer with several standalone instruments.
Martin’s setup included a Moog Subharmonicon, which he built while attending Moogfest this year (we at CatSynth are a bit envious), as well as a DFAM (Drummer From Another Mother). There were also additional voices provided by Braids and Plaits modules from Mutable Instruments that he could bring in and out using a touch-plate interface. The result was a slowly changing beat pattern with an eerie inharmonic voicing and gentle undulation.
The final set featured our friends Gino Robair and Tom Djll teaming up as the brilliantly named Unpopular Electronics.
They had a wide variety of gear, including Serge panels in addition to Eurorack modules and standalone instruments from Bugbrand and others. In addition, Gino had an interesting small case that included touchpads.
The music was frenetic and intense, an avalanche of pops and hits and loud cloudlike tone clusters. And there were trumpet sounds entering into the mix at various points. But there was an exquisite detail to the madness with changes among the different instruments and sounds, and musical pauses and rests before the pair dived back into the frenzy. There were also many moments of humor and not just Djll’s book about why there aren’t any Zeppelin-style airships in the United States.
In between sets, it’s fun to browse around Robotspeak and see what’s for sale, or on display in the big glass case.
It’s also quite dangerous, as I am often tempted to leave with another module or instrument. On this occasion, I exercised restraint, but probably not next time…