Amanda Chaudhary and Tania Chen at Spectrum, NY

Tania Chen and I take our duo to the Ambient Chaos series tonight at Spetctrum in New York. We had a great show on Tuesday at The Brick Theater, and looking forward to another one tonight. If you are in New York and would like to join us, the full details are below:


Ambient-Chaos is back with it’s May edition.

Spectrum
121 Ludlow St, Fl Second, New York
$10-20 dollar floating donation.

Acts: Load in is at 6:30pm, 30 minute sets.
7:30 pm sharp start time!

Live video by Jim Tuite!
https://vimeo.com/tumeitejas

Acts in the order below.

1) Hey Exit

“Beginning as a free improvisation project in 2009, Hey Exit was restarted in 2015 with a focus on modern pop and electroacoustic composition. Led by Brooklyn’s Brendan Landis, Hey Exit draws on his background in punk, harsh noise, and traditional Japanese music.”
www.heyexit.com

2) Jeff Surak

J. Surak
Improvised electro-acoustic musique concrète.
“We always enjoy his restrained yet unwavering approach, fearlessly exploring dark zones of implied violence and subdued terror.” ~ The Sound Projector
http://violet.zeromoon.com/

3) Amanda Chaudhary and Tania Chen

Tania Chen is a pianist, experimental musician, free improviser and sound artist, working with pianos, keyboards, found objects, toys and vintage and lo-fi electronics.
www.taniachen.com

Amanda Chaudhary is a composer and performer specializing in contemporary and electronic music; an artist; and a developer of advanced software for creativity. She performs regularly around the Bay Area and beyond, both solo and with various bands and ensembles. Her solo work involves experimenting with innovative sounds via analog synthesis and custom software with computers and mobile devices for new modes of expressive musical performance. She often incorporates folk and toy instruments from around the world, along with jazz, dance music and other idiomatic styles into her visually captivating performances.
http://www.amandachaudhary.com/

4) Jarvis Jun Earnshaw

Born in London 1982, Jarvis Earnshaw spent most of his childhood in Japan, and graduated Bunka Gakuin Art School and is a graduate of the Pratt Institute. His musical career as well as his Art career has been recognized worldwide, having solo exhibitions, residencies and performances throughout Europe, Japan, India to New York and LA. His work is often described as a cinematic experience, utilizing guitar, sitar and audio cassette tapes provoking memories of past and beyond, warm and rich as does the noise from a record needle touching an LP; at times violently explosive yet soothing and irresistible. Currently based in Brooklyn, New York, he has been engaged in numerous projects throughout the Art and Music scenes including performances and collaborations with: Walter Steding, Kenny Scharf, Amazing Amy the contortionist, Rumi Missabu of the Cockettes amongst many others, and currently also plays bass in the punk band Question. His photos have been featured in Asahi Camera Magazine, has had a solo exhibition at the New York Public Library Thompkin Sq. branch and will be performing at the Bruno Walter Auditorium/Lincoln Center on April 21st 2016 in celebration for the inauguration of the “Rumi Missabu Papers” to the NYPL.
jarvisearnshaw.com
http://toqsyold.blogspot.com/

5) Jenn Grossman

Jenn is a sound and experiential media artist based in Brooklyn. Her interests lie in modes of heightening emotional, social and sensory awareness through ambient soundscapes, multichannel composition, vocal experimentation, public sound intervention, and collaborations with dancers and filmmakers. She has installed and performed at venues such as Harvestworks, the MoMA PS1 Printshop, the New York Transit Museum, Reverse Gallery, Open Source Gallery, Club 157, for the Deep Listening Conference’s Cistern Dream Session, Brown’s OPENSIGNAL Festival, the Gallatin Arts Festival, amongst in everyday spaces such as the park archways and tunnels, garbage cans, street vents and stairwells.

http://jenngrossman.wix.com/sound
soundcloud.com/jenn8grossman

Upcoming in Brooklyn: Amanda Chaudhary & Tania Chen / Smomid / Teerapat Parnmongkol

I am in New York this week for a pair of shows together with Tania Chen. We will have some brand new songs and sounds to share. Also performing that evening with be Smomid (Nick Demopoulos) with his unique music instruments; and Teerapat Parnmongkol with a solo electronic performance. For those in New York City or who can make their way to Brooklyn tomorrow night, the details are below:

The Brick Theater
579 Metropolitan Ave, Brooklyn, New York 11211

8:00 PM Smomid
8:45 PM Amanda Chaudhary & Tania Chen
9:30 PM Teerapat Parnmongkol

Door: $10 Suggested donation

————————————–

TANIA CHEN is a pianist, experimental musician, free improviser and sound artist, working with pianos, keyboards, found objects, toys and vintage and lo-fi electronics.
www.taniachen.com

AMANDA CHAUDHARY is a composer and performer specializing in contemporary and electronic music; an artist; and a developer of advanced software for creativity. She performs regularly around the Bay Area and beyond, both solo and with various bands and ensembles. Her solo work involves experimenting with innovative sounds via analog synthesis and custom software with computers and mobile devices for new modes of expressive musical performance. She often incorporates folk and toy instruments from around the world, along with jazz, dance music and other idiomatic styles into her visually captivating performances.
http://www.amandachaudhary.com/

*

The SMOMID is a unique interface/musical instrument created by Nick Demopoulos. SMOMID is an acronym for “String Modeling Midi Device.” SMOMID hardware resembles a touch-sensitive guitar or bass. Its software allows the performer to control numerous aspects of a performance, including the playing of melodies and harmonies, the direction and pattern of a melody, controlling beats and bass lines, triggering samples, manipulating audio files, and more. All aspects of a performance can be controlled from the grid on the fret board and the buttons on the instrument body. In addition to emitting sound, SMOMID also emits light that is rhythmically in sync with the music the instrument is then creating.
http://www.nickdemopoulos.com/

*
TEERAPAT PAMMONGKOL was born in 1988 in Sakon Nakorn, Thailand. He lived there until 7 years old then he moved to Udonthani, Thailand with his parent. In 2006 – 2010 he studied music in Bangkok City, Thailand. After music school he moved to New York City, USA in 2011. He sometime release music album under alias such as Lemur Onkyokei, LO and his own name.
https://teerapat.bandcamp.com/releases

JERK, Future Death Agency + Amanda Chaudhary, Chani Bockwinkel

Today we look back at a a set of very unusual performances featuring friends by way of Portland and New York. When they came to perform at the Temescal Arts Center in Oakland, I was there to join them both as a collaborator and an audience member.

The evening began with a performance by Chani Bockwinkel in which she channeled the persona of Justin Bieber giving a TED talk.

Chani Bockwinkel channeling Justin Bieber

I have done my best to avoid sounds and sights related to Justin Bieber, but Bockwinkel definitely perfected the look and mannerisms of a swaggering young man steeped in sexuality and narcissism. The content of the fictionalized TED talk also seemed to dwell into aspects of his Christian faith, which itself seems intertwined with ego. There was also a mayonnaise taco. Bockwinkel’s performance was a well crafted presentation of an entirely repulsive individual.

Then it was time to take the stage as part of Future Death Agency. The set featured dance and performance by tippi and 3dwardsharp (aka Edward Sharp) for which I provided improvised sound from a Moog Sub Phatty, Mother-32 and Theremini.

Amanda Chaudhary and Tippi in Future Death Agency

One of the primary visual features during the performance was the dancers ensconced in garbage bags as the moved around the space, speaking backwards.

Garbage bag.  Future Death Agency

There were also numerous photographs scattered around the space, each of which had a handwritten statement on the back. 3dwardsharp and tippi occasionally read from these as they moved around, and also whispered some to members of the audience. Musically, I kept things fairly minimal, but trying to mix different textures and dynamics throughout. I looked for opportunities where I could match the sound with the movement, though as both were ever changing this could be challenging. We did have a few great moments of synchronicity that were frenetic and sensual. You can see the entirety of our performance in these videos.

Overall, it was a lot of fun to perform, and I was happy with the result especially after seeing how it worked with the dance from the audience’s perspective. (One item to note is that the woman who blurts out a question about the structure of the piece in the second video was not herself part of the piece. We simply reacted as best we could in the moment, as one does in live performance.)

The final set featured Alex Romania performing excerpts from his piece JERK.

Alex Romania performing JERK
[JERK. Photo by Daniela Sanchez]

From Romania’s notes on the piece:

This physically vulnerable choreography frames the male body between violence and pleasure — a microphone is bound to the body and swung from the pelvis evoking forms in the realm of BDSM, pornography, athletics, games, and flagellation. Through genital hypnosis and rigorous discomfort, this is a dance of (narcissistic) pleasure and (quiet) longing, (self) mutilation and (self) care. A dance to flatten and complexify the male body, to tenderize the flesh, to move beyond and to newly inhabit — a phallic solo to recompose the phallus.

From the start it was both provocative and physically rigorous, with Romania wrapping himself and tying himself in microphones and cords that were attached to effects pedals and a loudspeaker. The microphones against his body produced the primary sound of the piece. At first the sound was sparse and matched exactly his movement against the cords in the manner of BDSM play. But then he released some of the cords it took a more athletic direction as he twirled the microphones through the air using not his hands other parts of his body (e.g., pelvis and genital area), adeptly leaping over and ducking under the cords to avoid collision. There was a quieter, more textual and conceptual moment towards the end which I assume helped Romania recover from the tremendous energy of the main sections of the performance. The intensity of the experience was increased by the otherwise silent room with flat white lighting.

Alex Romania performs JERK

[JERK. Photo by Daniela Sanchez]

It is interesting to note that both the first and final sets focused on a single character who embodied male sexuality, but in very different ways. “Justin Bieber” in his TED talk was all swagger, narcissism and unwavering self-confidence even with his vaguely provocative dance during the mayonnaise-taco part of the set. Romania’s persona in JERK was both frighteningly powerful and vulnerable, more adept and genuine in his movements but also projecting a bit of uncertainty.

I was happy to have been a part of this unique evening of performances and hope to work with everyone again.

Faust in San Francisco

One week of musical adventures in San Francisco has taken us a bit longer than one week to share on these pages. But today we look at the final show from that week, featuring Faust at The Chapel.

Faust at The Chapel

So how exactly does one describe a band like Faust? As it says in the show description from The Chapel, ” Neither the habitus nor the music of this Hamburg group is easy to grasp.” The usual label of “krautrock” isn’t particularly descriptive, though it does orient them within the world of hard rock and experimental music coming out of Germany in the early 1970s. Many of the experimental elements around European and North American rock in that era can be found in their early albums like Faust IV. These elements were in abundance during the performance, with simple but meandering patterns mixed with a multitude of avant-garde elements. And it was all anchored by steady hands of original members Werner “Zappi” Diermaier and Jean-Hervé Péron.

There is a basic underlying hard-rock jam underpinning the music, which is then mixed with words, a variety of electronic sounds, and elements that were unique to the San Francisco show, including antiphonal vocals from the Cardew Choir and Lutra Lutra. (We have written about the Cardew Choir numerous times before on this site). The highlight of the collaborations was a final procession to the center of the crowd with large brass instruments dancing above the heads of the audience.

20160319-IMG_8764

This was a contrast to the beginning of the set that featured soft vocals and percussion against a film playing in the background.

Faust

Another unusual feature of the set was the use of a graphical score, projected so that it could be seen by the audience as well as the musicians. Diermaier even turned his drum set around to face the projected score.

Faust Graphical Score

This photo also illustrates one other unique element to Faust’s performance: a “knitting lady” sat at the front of the stage calmly and silently knitting throughout the set.

I also spied friend and fellow Bay Area synthesizer player Benjamin Ethan Tinker sitting in with the band, which was a fun surprise.

The show was sold out to a very appreciative audience and they were well received by longtime fans and newcomers alike. It was definitely a unique and unusual experience, but still one that felt very musical. I would not describe it at all as an evening of “noise” (not that there is anything wrong with that). They lived up to their billing as legendary purveyors of experimental avant-garde rock.


Faust was preceded by two opening acts: a solo performance by Bill Orcutt on guitar. It was a softer, but quirky take on blues guitar. Orcutt was followed by Heron Oblivion. While coming out of the milieu of “cosmic guitar music”, they did have a darker, and sometimes frantic sound. They moved back and forth between more frenetic drum and guitar, and that soft plaintive sound in alternative pop. Overall, both acts fit with the theme of the evening, adding a bit of weirdness grounded in various conventions.

Martha and Monica: Morton Feldman’s On Patterns in a Chromatic Field

12719352_10153950108344314_418060891337331788_oWe at CatSynth have had quite a few unique musical experiences this season. Today we look back at another of them. In early February, the duo Martha and Monica (Hadley McCarrol on piano and Monica Scott on cello) performed Morton Feldman’s Patterns in a Chromatic Field in its entirety.

“In it’s entirety” is no small thing, as the piece consists of a single continuous 90-minute movement. It’s a feat of endurance for both the listeners and performers. But McCarrol and Scott made it seem straightforward and effortless. The performance began with very sparse but unsettled harmonies, with the texture increasing but then returning to sparseness again. It was only the final third that the texture and intensity grew towards a bolder and thicker sound. All the while, the music was constantly changing, repeating a few times, leaving a bit of space, and then going on to something else. This is consistent with Feldman’s interest in sound as something ephemeral and lost, and in creating a sonic space where memory is subverted or “disoriented.” The spaces in between the sounds are important as well, given moments of reflection and mental echoes.

All of this might make the piece seem daunting to listen to, especially at the length of a typical feature film. But the combination of space and disorientation were helpful, making it more like thoughts passing in a meditative space. The anxiety in a passage builds, but then dissipates – one acknowledges it and moves on. The passage of time itself became background noise and the sounds became more spatial than temporal. This effect might be more pronounced for someone like myself who sees shapes when listening to music, but I suspect other deep listeners had analogous experiences.

Unlike Feldman’s earlier pieces, this one was fully notated using common practice notation. This would both facilitate and make more challenging the process and playing and learning such a piece, where every note makes a difference. It was overall an impressive feat of musical performance, and glad I got to spend an afternoon hearing and seeing it.

Vacuum Tree Head Live at Berkeley Arts, January 10, 2016

Vacuum Tree Head
[Photo by Christina Stanley]

On January 10, 2016, Vacuum Tree Head performed at Berkeley Arts as part of the “Hardly Strictly Personal” benefit festival curated by Mika Pontecorvo. We played a short instrumental set that featured refinements of existing songs from our previous performance as well as new compositions. You can see and hear the highlights in this video.

As you can see from these highlights, it was short and energetic, and we certainly had a lot of fun playing.

Amanda Chaudhary and Jason Berry, Vacuum Tree Head.
[Photo by Christina Stanley]

The band was led as always by Jason Berry, who also played soprano saxophone and electronics. The rest of the best included Amanda Chaudhary on Nord Stage and Moog Sub Phatty keyboards, Michael de la Cuesta on guitar and synthesizers, Rich Lesnick on saxophone and bass clarinet, Thomas Scandura on drums, and Stephen Wright on bass. Mixing, editing, and interstitial music was done at CatSynth HQ; and the animations were by J.B.

Boulez and Bowie

In the span of just one week at the start of this new year, we lost two musical heroes (whose names, coincidentally, both begin with “B”). Pierre Boulez and David Bowie may seem worlds apart musically and stylistically, but they both had strong influences on where my own music and performance has gone especially in the last few years.

By Joost Evers / Anefo (Nationaal Archief) [CC BY-SA 3.0], via Wikimedia Commons

By Joost Evers / Anefo (Nationaal Archief) [CC BY-SA 3.0], via Wikimedia Commons

I am most familiar with Boulez not as a composer but as the founding director and god father of IRCAM in Paris; and as a renowned conductor. One fun memory of the latter involves one of his recordings conducting Luciano Berio’s Sinfonia. It was a favorite of mine, and when I got the chance to present it to Berio for an autograph, he declared his dislike of the recording, but signed my CD atop Boulez’ face. As a figure who loomed large in the world of avant-garde music, and then electronic music, he certainly evoked strong opinions from others. There is no doubting the influence of his leadership at IRCAM in both my electronic-music composition and research, even as I disagree with aspects of the institution’s culture, such as strict control and division of music and technology research. But it’s worth stepping back and looking at Boulez as a composer. His masterpiece Répons combines electronics with an acoustic chamber ensemble in ways that make the electronics disappear at times. It also has a very visual quality to it, evoking a complex film scene or theatre piece.

By k_tjaaa (Flickr: David Bowie Mural) [<a href="http://creativecommons.org/licenses/by/2.0">CC BY 2.0</a>], <a href="https://commons.wikimedia.org/wiki/File%3ADavid_Bowie_Mural.jpg">via Wikimedia Commons</a>

By k_tjaaa (Flickr: David Bowie Mural) [CC BY 2.0], via Wikimedia Commons

The theatrical is one of many ways David Bowie’s influence comes into the picture, along with the use of gender experimentation and constant stylistic reinvention. His gender-fluid and sometimes overtly feminine presentations on stage were “transgressive” for the time, but have certainly impacted many of us and made space for our own expression in music and in person. It set an example for me to be able to first come out on stage and then eventually in person. In addition to gender, Bowie’s onstage persona gave freedom to be decadent and glamorous, something which many styles of music seem to lack. Now when I perform Boulez-influenced music, it is definitely with Bowie-influenced staging and theatrics. And of course the costuming.

But David Bowie was himself a talented musician and writer. In the same ferment of the 1970s in which he developed his personae, he also pushed the use of synthesizers and electronics in music that was still referred to as “Rock”. His song Subterraneans is a prime example of both technology (ARP synthesizers, backwards bass guitar) and theatrics in his music, as illustrated in this tribute video.

The album that includes this song, Low, was preceded by Station to Station, one of my favorites for its funk influence, including the song Stay. The funk and soul sound of this album, along with his more unambiguously masculine persona in the album art (at least to my sensibilities), exemplify his ability to change and reinvent quickly from one project to the next. It’s the album I have returned to primarily after the announcement of his death on Sunday night. But I do want to close with one if his most hauntingly beautiful songs: Drowned Girl is one again something different altogether.

Music by Lindsay Cooper, Mills College

Earlier this month, the Mills College music department dedicated an entire concert to the music of Lindsay Cooper. It was an extraordinary event, not only for bringing her work together in one setting, but for the cast of talented musicians who made up the ensemble.

Ensemble performing the music of Lindsay Cooper
[Ensemble performing the music of Lindsay Cooper]

Lindsay Cooper is perhaps best known for work with the experimental rock group Henry Cow, but her musical career spans a variety of other styles and disciplines before and after. And while her instrumental first love remained the bassoon, she also played many other wind instruments, and had a very distinctive haunting voice that could be heard on many of Henry Cow’s recordings. Her compositions, including her time with the band and her later projects including News from Babel up to her retirement while suffering from MS, are not often heard in concert calls. The concert on this evening was a step towards rectifying that.

Musically the concert was a high-speed tour through Cooper’s music. Many of the pieces were short an energetic. Some carried the energy and rhythm of experimental rock, with driving lines on keyboard, guitar and drums; others were quite abstract with longer sounds. There was an anxiety and restlessness that permeated the music, with a need to move forward, sometimes almost tumbling. It was also full of intricate details and contrapuntal lines, which were brought out especially in the horn parts. There were moments which had the grand style and fast-moving details of a classic film score, particularly reminiscent of a closing “The End” from a film for which the ending may not have felt quite so final.

Evelyn Davis, Kate McLoughlin, Fred Frith
[Evelyn Davis, Kate McLoughlin, Fred Frith]

The main ensemble featured two of Cooper’s longtime collaborators, Fred Frith (guitar, keyboard) and Zeena Parkins (harp). Rounding out the ensemble was a group of familiar faces in Steve Admans, Rachel Austin, Beth Custer, Evelyn Davis, Jordan Glenn, Jason Hoopes, Kasy Knudsen, Kate McLoughlin, Emily Packard, and Andy Strain; with Miles Boisen on sound. The performances felt easy and flawless (no doubt the result of countless rehearsals), and with a relatively light texture despite the ensemble’s size. The concert’s sole departure was a performance by the Rova Sax Quartet of Face in the Crowd, a piece they had commissioned from Cooper in 1996. Judging from her biography and the date, it may have been one of her last compositions.

Rova Saxophone Quartet
[Rova Saxophone Quartet]

In addition to the performers on stage, the audience too was a cast of familiar faces and influential musicians from the Bay Area music scene. It seems that Lindsay Cooper had quite an influence on artists her; and thus this was a concert not to be missed. I am glad that I was able to be there.

New False Gods &The Xman, LSG Creative Music Series

It’s been a while since I have been able to attend Outsound’s regular weekly music series at the Luggage Store Gallery, but I was finally able to do so a week ago. The show featured two very different sets focused on electronics.

First up was the New False Gods, a “supergroup” of sorts featuring Eli Pontecorvo , Jack Hertz, Doug Lynner, Tom Djll, and R Duck.

New False Gods

I am quite familiar with all the artists and count them all as friends, but this is the first time I heard them together as this unit. Musically, this was an improvised set, but Jack Hertz’s rhythmic percussion helped provide a structural foundation for the other sounds, which varied from sparse and light to thick noisy pads. Doug Lynner provided intricate sounds on his Serge modular, and Tom Djll had an intriguing setup with trumpet driving a modular synth.

Doug Lynner, Tom Djll

Next up was Charles Xavier, aka The Xman performing a solo set with electronics and small sound makers. The central instrument in his setup was a malletKAT, an electronic MIDI mallet percussion instrument.

The Xman (Charles Xavier)

The Xman was musically quite different from the New False Gods. In addition to presenting a series of composed pieces as opposed to a set-length improvisation, his music was centered on standard tonal pitches, albeit sometimes in more atonal arrangements. There was a gentle and playful quality to many of the pieces.

Overall, it was a good night to come back to the series. Hopefully it won’t be so long before I attend again.

Optical Sounds: Dementia (Frith, Custer, Stanley)

Optical Sounds is a monthly series at the Center For New Music in San Francisco, curated by Tania Chen with Benjamin Ethan Tinker featuring live improvisation to soundless films. We had the opportunity to attend the most recent installment, which featured a trio of Fred Frith, Beth Custer and Christina Stanley interpreting the 1955 dialogue-less film “Dementia” by John Parker.

DementiaWe at CatSynth often enjoy unusual films, but “Dementia” is weird even among weird films, though the Variety description “May be the strangest film ever offered for theatrical release” seems a bit hyperbolic. The film follows the inner thoughts and actions of a woman as she wanders through dark corners of Los Angeles with even darker characters, while recalling violent events of her childhood. The film is part psychological thriller, part film noir, and part surrealist experiment, constantly jumping between the tropes of all three.

The original soundtrack featured music by George Antheil and a section with Shorty Rogers and his band who also appeared in the film. For this performance however, the original soundtrack was absent with Frith, Custer and Stanley providing the music. The constantly-changing nature of the film was reflected in the music, with eerie vocals by Beth Custer, percussive hits by Custer and Fred Frith, and a mixture of processed violin and analog synthesizer by Stanley. Overall, the music was energetic, with moments of chaos, but also some mellower pads by Stanley on synth. They did blend some film-score tropes into the performance, such as eerie sounds for the internal memories and thoughts of the main character, tense bits of sound for the dark streets of the city, and jazzy cabaret style riffs for the night-club scenes – the latter were definitely my favorite parts of the music.

The dialog-less nature of the film does facilitate such an improvised score, but the oddness of its structure must have made it challenging. But the trio pulled it off. I am glad to have been able to attend the performance and look forward to more in this series.