Vacuum Tree Head and More at All Tomorrow’s After Parties 2016

No sooner was I back from New York than I found myself preparing for another series of performances, this time in various groups for NextNow Present’s All Tomorrows After Parties 2016 at Berkeley Arts in the town of the same name. The three-day long festival was both a musical showcase for the community and a benefit for homeless action and support in the Bay Area. This article focuses on the first evening which featured a performance by Vacuum Tree Head.

Vacuum Tree Head
[Photo by Polly Moller]

The band is ever evolving, with a changing cast of musicians joining Jason Berry and Mike de la Cuesta. On this night the band included Amanda Chaudhary on keyboards, Justin Markovits on drums, Richard Corny on guitar, Galen Stagner on bass, and Jason Bellenkes and Joshua Marshall on horns. From just the images alone, one can tell this is a new incarnation of the band, with a well-dressed frontline coincidentally featuring “Nord red”; and a funkier, jazzier sound anchored by a tight rhythm section. You can hear our entire set in this video.

While the funky finale EMS Deluxe might be the most memorable of the set, each song was played well and had something unique to offer. This was my favorite rendition of Nubdug to date. The “Mystic Chord” and Gnostic Charms medley was our most abstract, featuring synth, a Waterphone and complex tones evolving into a driving rhythmic finish. And Hegemony Cricket opened things up with a bang. The set was well received by the audience; and I think everyone in the band that night was very happy with the performance. We hope to play together again as a unit in the not-too-distant future, so please look for updates here on CatSynth and elsewhere.

Vacuum Tree Head closed out an evening that was primary focused on music with words, although like us the first set was entirely instrumental. Joshua Allen and Rob Pumpelly combined forces in a frenetic duo.

Pumpelly / Allen Duo

Joshua Allen brought his virtuosic saxophone techniques to the performance; and between the two of them the energy never let up for the entire duration of the set. Their set reminded me a bit of the Coltrane album Interstellar Space.

Next up was Cartoon Justice, a noise-jazz project featuring Mika Pontecorvo on guitar, flute, and electronics, Kersti Abrams on winds, Mark Pino on Drums, and Elijah Pontecorvo on bass. They were joined by Meg Pontecorvo who read some of her science fiction writings.

Cartoon Justice

The music moved though a variety of sounds, but had a “space” vibe that complemented that texts. The concept brings to mind Sun Ra, though the sound was more reminiscent of Musica Elettronica Viva, a 1970s Italian improvising group that sometimes featured the likes of Steve Lacy and Frederic Rzewski. Of course, their sound is their own, particularly with Mark Pino’s unique drum style, Eli Pontecorvo’s bass bringing a bit of a rock/metal sound to the mix, Mika Pontecorvo’s electronic manipulations, and Meg Pontecorvo’s words.

Cartoon Justice was followed by Poetics of Narrative, a trio with guitar, electronics, and voice. I spied experimental writer Andrew Joron on theremin.

Poetics of Narrative

This group was fun and I liked there sound. It ranged from more noisy moments to playful songs with complex lyrics and melancholy melodies. In addition to the theremin, the performance featured accordion and other instruments among the ever-present small electronics. The combination of elements was reminiscent of the Tone Dogs and other avant-prog groups of that era. And the costuming and theatrics were a welcome addition.

Poetics of Narrative

I regret not being able to see the set by Oa, the duo of my friends Matt Davignon and Hugh Behm-Steinberg. But I know that their unique mix of electronic processing and poetry fit into the evening’s theme while taking the concept of music and words in a very different direction from the previous sets.

Overall, it was a wonderful evening of music, and in some ways I am still glowing from our Vacuum Tree Head set. We had a good and appreciative audience, and raised some good funds for the causes. We are grateful to have participated, and in particular would like to thank Mika Pontecorvo, Eli Pontecorvo and Mark Pino for all their help with both our set and the entire event.

Amanda Chaudhary / Tania Chen, SMOMID, Teerapat Parnmongkol at Brick Theater, Brooklyn

I recently reported on my performance with Tania Chen at Spectrum in New York. However, this was not the first of our New York collaborations. A few days earlier we debuted our set at The Brick Theater in Brooklyn.

First up that evening was our friend Nick Dimopoulos as SMOMID, which is also the name of his invented musical instrument.

The SMOMID is a “Strong Modeling Midi Device” that allowed him to control multiple synthesizers and sequencers. His performance was highly dynamic and uses a lot of familiar performance idioms from the guitar, but in the service of a very different musical style that included fast electronic drum runs and other rhythmic patterns. Overall it was an intense and visual performance.

Then it was time for us to take the stage! We started quietly and a bit tentatively with Tania on melodica and myself on keyboard and synthesizer. As with the Spectrum gig, the principle instruments for me were a Nord Electro and a DSI Prophet 12 (for some reason the Moog Mother-32 wasn’t working that night). After a bit of the sound became thicker and more animated. And then we moved to the central part of our performance: two pop-style songs, the first of which was called “Cheezy Love Song.”

The second was a decidedly more melancholy song called “I Still Love You”, with a darker tone provided by the P12 beneath Tania’s singing. From here we segued directly into another experimental electro-acoustic improvisation that showcased the variety of sounds and objects at our disposal.

Our final piece was a cover of the Jackson 5’s “I Want You Back”, which was of course a lot of fun and allowed me to exercise my pop and jazz keyboard skills. Overall, it was a good first performance, but we did learn a lot of things that we used to make Spectrum a few days later a great performance.

One feature of performing at The Brick is that it is a theater. Indeed, there was a play being staged that week, and all the sets had to accommodate the stage set. But it did make for a fun and unusual setting for the music, and in particular we took advantage of some of it within our performance.

The final set featured Teerapat Parnmongkol performing live ambient electronics along with live electronic video.

The music was reminiscent of electronic dance music in a club setting, but it did go off in other directions with noise hits, breaks in the rhythm and more. In the darkened space, however, one’s attention was squarely drawn to the video.

Overall it was a great show and we here happy to share the bill with these other artists. I would also like to extend a thank you to The Brick Theater and to Craig Flanagin for hosting us and making sure things ran smoothly. Hopefully I will be performing in Brooklyn again soon.

Amanda Chaudhary and Tania Chen at Spectrum, New York

Today we look back at my performance with Tania Chen at Spectrum in New York, a little over a week ago.


[Photo by BC]

Our duo is built around a mixture of experimental improvisation with electronic instruments and other elements, and songs with lyrics, melodies and chords, often segueing seamlessly from one to the other. Spectrum has a wonderful Steinway grand piano, which allowed to Tania to exercise her piano skills while I focused on chords and rhythm with a Nord Electro keyboard and DSI Prophet 12 and Moog Mother-32 synthesizers. At times the sound was dark and droning, others very sparse, and many times quite humorous – after all, we did sing a “Cheezy Love Song.” The songs themselves were quite structured, but there as well as the improvisations in between we were able to play off one another to create patterns and textures.



[Photos by BC]

I particularly like the sections combining the acoustic piano with the Prophet 12, and our dueling Casio keyboards. And yes, we had a lot of fun. You can see our full performance in this video below.

Overall we had a great time performing and it was quite well received by the audience. It wasn’t actually our first show together in New York. That was at the Brick Theater in Brooklyn and will be discussed in a separate article.


Our performance was in the middle of the bill. The evening began with a set by Hey Exit, a solo project by Brooklyn-based Brandan Landis.

Using guitar, electronics and video, Landis created a dark soundscape, sometimes noisy and drawing from his backgrounds in punk and noise, but at other times quite haunting and ethereal. The room was particularly dark, with light only from the video screen and a nearby candle.

Hey Exit was followed by a solo set by Jeff Surak featuring sundry electronic and acoustic sound sources.

Much of the set featured long drones with rich timbres, but also details such as beating patterns and occasional breaks in the sound. The timbres could be tense at moments, but overall tt was a very meditative performance; and a perfect sonic segue into our very different set.

We were immediately followed by Jarvis Jun Earnshaw performing with guitar, voice and electronics.

His sound at times was reminiscent of cafe folk singers, but his voice was anxious and abstract. The entire performance mostly followed the pattern of combining these elements with high-feedback delay and other effects.

The final set Jenn Grossman, another Brooklyn-based musician and sound artist.


[Photo by BC]

Her electronic set featured vocal experimentation with electronics, including rhythmic and ambient elements. Although also making use of drones, it was very different from Jeff Surak’s sound, more harmonic and thicker, more like a dreamy movie scene versus a tense dark space. There were percussive hits and noisy bits as well, which gave the music a defined texture.

It was overall a great experience being back at Spectrum and performing along with all the other acts. And we had a sizable and appreciative audience, despite the space being a little hot that evening. Thanks as always to Robert Pepper (Alrealon Musique) and Glenn Cornet for hosting us, and hopefully I will play there again soon.

NextNow Presents All Tomorrows’ After Parties 2016 (with Vacuum Tree Head and CDP Trio)



[Artwork by J.B.]

Well, it’s finally here, the big show at Berkeley Arts, Next Now Presents All Tomorrows’ After Parties. I will be performing tonight with Vacuum Tree Head at 9:30PM, and tomorrow with my new CDP Trio at 7:00, preceded by the Lingua Incognita Session at 5PM. If you are in the Bay Area, please join us either or both nights for this great event. Details are below.


NextNow’s All Tomorrows’ After-Parties 2016

June 3rd-4th-5th 2016 Berkeley Ca

PURPOSE
A spring celebration of the creative music community in the Bay Area and beyond. Coming together
to support worthy grass roots non-profit organizations, this Spring our proceeds will benefit the
Homeless Action Center http://homelessactioncenter.org
SF Coalition On Homelessness http://www.cohsf.org

DATES
JUNE 3,4,5 (Friday Evening, All-day Saturday and Sunday)

LOCATION
Berkeley Arts Festival Space, 2133 University Ave, Berkeley CA

ADMISSION
$12 for one day, $20 for all three days.

ARTISTS

Friday June 3rd
07:00 PM Pompelly/Allen Duo
08:00 PM Cartoon Justice w/Authors Meg Pontecorvo&David Gill
08:30 PM Poetics of Narrative
09:00 PM Oa
09:30 PM Vacuum Tree Head

Saturday June 4th
02:00 PM SHIVA X
02:30 PM Trois Chapeaux w/Jorge Bachmann
03:00 PM Jack Hertz
03:30 PM T.D. Skatchit
04:00 PM Reconnaissance Fly
05:00 PM Lingua Incognita Session
06:00 PM Matti Bye Ensemble (Sweden)
06:30 PM Jeffrey Alexander Trio
07:00 PM CDP
07:30 PM Lau Nau (Finland)
08:00 PM v’Maa w/kinetic video sculpture
08:30 PM Bill Wolter Project
09:00 PM Ear Spray
09:30 PM Tri-Cornered Tent Show

Sunday June 5th
02:00 PM Alphastare
02:30 PM Denny Joints
03:00 PM zBug
03:30 PM Will Alexander
04:00 PM United Separatists
05:00 PM Colin Dyer
05:30 PM Mark Clifford Project
06:00 PM John Shiurba/Philip Greenlief Duo
06:30 PM Cosmists
07:00 PM Jordan Glenn
07:30 PM R Duck, Wayne Jackson, Doug Lynner
08:00 PM Amy Reed
09:00 PM Ebolabuddha

Mensa Cat Monday: All Tomorrows’ After Parties 2016

Next Now Presents’ All Tomorrows’ After Parties is a three-day festival of music happening in Berkeley on Friday June 3 through Sunday June 5. Here is our video for the event, courtesy of Jason Berry (J.B.) of Vacuum Tree Head.

Voice credits:
Jason Berry…………Male Mensa Cat, Announcer
Amanda Chaudhary…….Female Mensa Cat, Trump Duck

I will be performing Friday night at 9:30PM as part of Vacuum Tree Head. We have a great new lineup and sound, and I am really excited about the direction of the band.

I am also playing in two additional sets on Saturday June 4. At 5PM, I will be with Mika Pontecorvo and others in Lingua Incognita Project, and at 7PM I will debut one of my new bands, Census Designated Place (CDP) with guest Rent Romus. All three sets I am playing in will be funky!

Please join us, not just for these sets for the rest of the performances as well. It’s going to be some great music for a great cause (all proceeds go to benefit local homeless action projects in the Bay Area).

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.