Dieb13, Djll, Greenlief, Robair, and Ueno at CNMAT

Last Thursday, I found myself back at my old “stomping ground”, the Center for New Music and Audio Technologies (CNMAT) to hear an evening of improvised music.

Dieb13 (aka Dieter Kovacic) opened with a solo set for multiple turntables. It started with a single turntable producing noise/static sounds, and gradually incorporated electrical hums and synthesizer sounds, along with complex repeated rhythms. The rhythmic patterns were sometimes metric, sometimes more stuttering. With three turntables going at once, Kovacic’s performance seemed more “synthesizer” and less “DJ.”

Dieb31 was then joined by Tom Djll (trumpet and electronics), Philip Greenlief (saxophone), Gino Robair (percussion and electronics) and Kenn Ueno (extended vocal techniques). The set began with “scraping sounds”, Robair blowing a small horn against a drum and Greenlief scraping a mouthpiece cover along his tenor sax. Indeed, the acoustic instruments as noise sources dominated the first section of this extended improvisation, before the Blippo Box, the other electronic instruments and Dieb31’s turntables entered. It was interesting to hear how the sounds from the turntables an Ueno’s vocal techniques matched the acoustic instruments, and it was a challenge at times to tell which sounds were acoustic and which sounds were electronic.

Another notable confluence was Ueno’s throat singing set against low-frequency sounds from the turntable and the Blippo Box. There were also contrasting sections with percussive short notes on all the instruments (trumpet, electronics, sax, voice, turntable, percussion) in rapid succession. There was a very soft section with saxophone multiphonics (we have commented on Greenlief’s expertise with multiphonics in the past), vocal whispers, low-level electrical sounds, and a resonant tube; and very loud moments, screeching, high-pitched. One very rhythmic section featured Gino running fan against cymbals and Tom Dill running a similar fan against his trumpet. Greenlief joined in running keys against his sax. The piece ended with loud notes that came to a sudden stop.

This was followed by a much shorter “encore” improvisation, whose memorable moments were the variety of sounds from the turntable, which included an excerpt from a bebop recording and a toilet flushing.

Containment Scenario: FUEL, Luggage Store Gallery

This performance, entitled FUEL, was part of the Containment Scenario performance series “which explores the current environmental situation through the lens of improvisational music-dance-theater.” This was the third part of a five-part series adopted from the book Containment Scenario: DisloInter MedTextId entCation: Horse Medicine by M. Mara-Ann, who also directed this performance.

This was a multimedia piece with voice, text, instruments, dance and reactive video (Luke Selden). It began with the vocal leads (M. Mara Ann and Sarah Elena Palmer) sitting down in the front of the stage with computer printouts, loudly ruffling and connecting them up with packing tape. As video of bucolic grass scenes and a close-up of a human are projected on the walls behind them (and onto their reflective white dresses), we hear their voices come in, speaking words disjointed and percussively. The voices gradually become more melodic, but all the while the “paperwork” continues. The other performs move slowly onto the stage, all wearing white shirts. As they take their positions, first the guitar (Noah Phillips), then the electronics (Travis Johns), then violin (Emily Packard) and percussion (Anantha R. Krishnan) all came in.

Musically the texture remained very gradual, interspersed with vocals, though the words became clearer and louder over time. This was aided by the fact that the text (presumably from the Containment Scenario source) became synchronously part of the music and the projected media. Text scrolling by on the right video projection was recited in various musical styles, harmonic, percussive, expressive, while the vocalists took turns typing their words into a laptop that would project onto the other screen, sometimes mixed with other videos. During this section, the instrumental music was much more sparse, often silent as the written and spoken words became the focus.

Later textual recitations returned from the video to the computer printouts. At times the words came out as whispers, sometimes more melodically, with the instrumentals returning into the mix. As the performers moved around the stage, there were dramatic visual moments where they became part of the video projection, their white shirts and dresses becoming screens on which the video was reflected and distorted and combined with the flat background.

The dancers (Julie Binkley and Rebecca Wilson) eventually took the printouts used for the back screen and began to wrap each of the musicians in a cocoon of paper. First Travis Johns on electronics was encased, then the each of the others in succession, eventually binding the two vocal leads into a bundle of their own printouts. The piece concluded with the dancers bringing out large number signs (I’m not sure what these were about), and handing them to the vocalists, after which the sounds and words gradually stopped.


The performance of Containment Scenario: FUEL was preceded by two fun sets of improvisational music.

The first set was by Drew Ceccato, playing an electronic valve instrument (EVI) by Steiner and an analog synth by Crumar – a beautiful and intriguing instrument. The set began with a low rumbling, which joined with “watery” sounds and pitch modulation expressively controlled by the EVI to create a subtle rhythm. Over time, this become louder, with wider pitch modulations, beating, percussive sounds before returning to the low rumbling. The music then changed completely for more traditional “analog sounds” with traditional pitched notes, like a conventional wind instrument, though with extremely high pitches at times. It was a very brief, and very intense set, without a moment wasted.

Ceccato was followed by a duo of Gino Robair and Christopher Riggs who was playing “guitar and a box of cool looking stuff”. Of course, Gino Robair had his collection of cool stuff as well, analog synthesizers along with metallic resonant objects and various means of exciting them. It started with a metallic roar, which I believe was created by Riggs’ rubbing the guitar strings. This was combined with the chaotic sound of the Blippo Box and other synths. The two performers appeared to come to an equilibrium of sorts, with sounds repeated and played off one another. Indeed, it was sometimes hard to tell who was playing what sound – and this is a good thing. Robair moved on from the synths to cymbals, with loud dramatic resonances set against the guitar rhythms. I heard a plaintive brass synth set against a more “chattery” guitar; a styrofoam instrument that was “insect-like” in both its appearance and sound; a funny voice vaguely like throat singing made with a tube and a coffee can; and more metal objects excited by motorized fans crawling along the floor. After a climx with angry resonances and a metal on metal thud, lots of motion, convulsing and fast scraping, the sounds faded out.


The turnout for this particular evening was quite impressive, it seemed that all the seats were filled, even the extra “kiddie seats” that the folks at the Luggage Store often put out.

2009 Annual Transbay Skronkathon

It is mid-summer, and so once again the annual Transbay Skronkathon and BBQ comes around, with a full day of experimental and weird music at 21 Grand in Oakland. There are always a few from outside the Bay Area, or who are appearing in this setting for the first time, but overall it is a who’s who of local experimental and avant-guard musicians and familiar faces. We spend the whole day performing and listening to music, and dining on a variety of grilled food items in the neighboring alley.

I arrived at 4PM, which was already three hours into the event. I was just in time to catch most of Respectable Citizen, a duo of Bruce Bennett and Michael Zbyszynski performing live improvisation with keyboard/electronics and saxophone, respectively. The set started with ethereal noisy computer sounds in the background, with the noises increasingly insistent and louder over time, culminating in a defined whistle sound and a wave that became something akin to electrical noise. The electronics were complemented by the saxophone improvisation; there was a moment where the sax and electronics together formed a sound like an emergency siren. Then things became quiet again with the noise growing into an ever louder rumble.

Next was electric-guitar looping performance by George Ludwig. It was very similar to the looping guitar performances I hear annually at the Live Looping Festival in Santa Cruz, with drones and long tones; mostly harmonic, though there was some good clean distortion effects as well.

I made sure to be in for the next group, T.D. Skatchit, featuring Tom Nunn and David Michalak on custom instruments called skatch boxes. I had just seen Nunn and his custom instruments at the “Tuesdays at Toms” performance. This performance featured similar instruments, made primarily of cardboard and performed with combs and other implements. The result is a series of scratches, streches, scrapes, squeaks and other noises, all very musical. With two performances and multiple instruments, harmonies start to form. Even when not looking directly at the performers (which is quite interesting to do), the performance had a very “visual” quality. The overall texture reminded me of the sounds of the woods at night. I could hear scampering mechanical creatures. Although the structure of the music was very static, the performance was very expressive.

The next set was a trio of Jacob Felix Heule (drums), Tony Dryer (double bass) and
Jay Korber (tenor sax). This set qualified as actual “skronking”, with very rapid notes (especially on the drums) and the belting of inharmonic and variable pitch tones on the sax. Lots of details to listen to. But above all, skronking tends to be very loud, so I did end up listening to second part of the set from the alley, where I also had a chance to socialize and check out the barbecue.

However, the loudest set of all was yet to come, and it wasn’t even officially on the program. Someone in a ski mask with a table-saw on an old turntable record player claimed to be the next set Sndrft eeoo, though it turned out he wasn’t. Nonetheless, we were treated to ear-threateningly loud high-pitched noises that sent everyone out into the alley to join those of us already there for conversation and sausages (the official food of choice at the Skronkathon). Outside, the sound was somewhat bearable, and vaguely interesting. Sndrft eeoo and Mike Jacobs did get to play an abbreviated set once the impostor left the stage (much to our collective relief).

Hanuman Zhang described his set as found objects, toy piano, circuit-bent toys
noise, mayhem, and roaring silence. He was introduced by Tom Duff as playing “a big pile of junk” – but a nonetheless musical pile of junk. He started with stones and bass drum, making rhythms. He then moved to to bins and metal objects, all the while maintaining a basic rhythm. He bashed in a large plastic bottle really good. There were also some electronic circuit-bent toys, and a toy piano (acoustic toy piano being an instrument I am quite fond of). As the toys came to the forefront, the rhythm began to break down and the texture more sparse.

From loud skronking and found objects, we then had a very contrasting set from Protea, with Serena Toxicat and thereminist Joey D’Kaye performing ambient electronic music. Sporting a Hello Kitty tunic, Serena Toxicat gave an evocative performance with vocals and dancing . The vocals and theremin both consisted of long tones that followed one another without exactly matching. Overall, there were minor harmonies, etherial textures, gradual changes and a bit of tension.

We then switched back from ambient electronic to skronking (but it is really “skronking”?) with a free-improvisation set by z bug with David Leikam, Zachary Morris, Sheila Bosco and Craig Latta. Once again, lots of fast loud notes, with the bass acting as a third drum set (there were two drum sets in this group), and some performance with a Moog synth. Although the set was very loud at times, there was really a good range with sudden drops in volume where one could here bells and chimes sounding. However, I could not at all hear the vocals. I did like the sudden switch during the performance to a steady disco beat.

Tom Nunn and David Michalak returned as part of RTD3. Overall, the performance was similar to their set the previous tuesday, with Nunn and Michalak performing free improvisation together Ron Heglin on trombone and Doug Carrol on electric cello. However, Nunn’s instrument in this set was quite different. It was a much larger board that he played vertically. It looked a bit like a modernist painting with some elements that seemed derivative of Kandinsky, but it had a very clearly marked eye and geometric shapes. The texture of music was more sparsem and there was a good moment with soft trombone. it sounded like “a radio from the past.” There was a section that sounded vaguely ethnic (in the way that a contemporary western audience might label some music as “ethnic”) and then hit a watery pattern on Nunn’s instrument.

John Hanes and Steve Adams performed “dueling laptops” (and an iPhone). Moments in the music reminded me a bit of one of my favorite Stockhausen recordings, but there were also drums and beats, timbrally rich drones and bowed tones and loops. It reminded me a bit of the “Off-ICMC” concerts (often the more interesting performances) I would hear when I used to attend the computer-music conferences.

I did not get to hear as much of PG13 in detail as I would have liked because I was busy setting up for our upcoming set. The trio consisted of Phillip Greenlief on saxophone, John Shiurba on guitar and Thomas Scandura on drums. It seemed during the introduction that there was some question as to whether they should be described as “1970s rock” or not, but musically they did have a strong driving 4/4 beat with heavy drums and loud guitar. Greenlief also played very rhythmic accented lines on the saxophone that fit with the guitar and drums. So with my only partial listening, it did have a lot of “rock-like” elements, which were welcome, and a good lead in to our own set.

This was our first time performing re-named as Reconnaissance Fly and as a trio rather than a quartet, with myself, Polly Moller (flute, voice, heatsink) and Bill Wolter (guitar, custom electro-mechanical “boat”). We are currently looking for a bassist/composer to round things out.

The set consisted of four pieces based on “spoetry” or poetry found in spam emails – most email spam (or blog-comment spam) is completely worthless text, but occasionally there are very poetic passages that can be used for creative work. I did two pieces setting spoetry to graphical scores in which the performers improvised based on interpretations of graphical elements, and Polly and Bill each did more idiomatic pieces. All the practicing and rehearsing paid off, and the set was quite tight and full of energy, with fun and theatrics – and I’m glad I brought the full keyboard for playing more traditional jazz piano at various spots alongside the more esoteric electronic sounds from the Kaos pad. Probably the most memorable moments were repeated riffs on “Ca-a-na-da-a”, and the rolling jazz bass and guitar in “Emir Scamp Budge”. And it seemed like we had a pretty decent audience.

We were followed by the all-acoustic sfSound group. As an acoustic group with winds, strings and percussion, they have a really rich palatte of textures and timbres. One can hear small percussive phrases emerge from a series of long tones. The winds (Kyle Bruckmann,
Matt Ingalls, Christopher Jones, and John Ingle) sometimes match the percussion (Kjell Nordeson) , sometimes the strings (Alexa Beattie, Monica Scott). The performance was very subtle with lots of dynamic range and empty spots, and quite a contrast to our set with its loud electronic improvisations and theatrics.

sfSound was immediately followed by another powerful accoustic set, featuring Karen Stackpole with her impressive array of gongs, Jen Baker and Ron Heglin on trombones, and Tom Djll on trumpet. An unusual instrumentation, “Brass and Bronze” (as introduced by Tom Duff). The set began with the gongs followed by really soft long notes on the three brass instruments. The gongs resonated as Stackpole moved along their perimeters, producing beautiful long stretched out tones. They formed inharmonic chords anchored by drones on the brass. The texture became less sparse over time with bowing of gong and faster swells on trombone and notes on trumpet. This eventually turned to loud hits and gong strikes, and more expresive phrases.

The final set of the Skronkathon featured Gino Robair and Amy X Neuburg on dueling Blippo Boxes. The Blippo Box is a custom analog synthesizer by Rob Hordijk that features chaotic oscillators and a wide range of non-linear modulation options – I wouldn’t mind having one of these myself. The Blippo Boxes produce constantly modulating sounds that are difficult to control in advance, the performer must react to whatever is produced using his or her best musically instincts. As the boxes can occasionally go unstable, being able to react quickly is key. Fortunately, we have two master musicians whose listening and improvisational instincts can be called upon to handle such situations. The result was a very expressive mixture of machine noise and rumbles, gargles, clicks and chirps – the chaotic sound actually becomes familiar after listening for a few minutes (though in fairness I should say years of listening to such music). And there were many moments where the oscillations of the two boxes seemed surprisingly on sync, with the waveforms and modulations slowing down to the level of musically distinct notes.

And once the Blippo Boxes went silent, this marathon event came to a quiet end.

Garden of Memory 2009

We passed another summer solstice a couple of weeks ago, and once again I marked the occasion by attending the Garden of Memory performance at the Chapel of the Chimes in Oakland.

For more views of the Chapel of the Chimes itself, please visit the review from last year. It is full of light and a mixture of large and intimate spaces, and a really interesting place to wander and hear different sounds.

The size of the event itself can be a bit overwhelming, with so many performers and galleries throughout the complex. One approach is simply to wander and discover the different spaces and music. But I tend more towards trying to go through the entire space systematically and see as much as possible, which I did with some success (I did unfortunately miss several performances).

Just like last year, I was greeted at the entrance by a performance by Jaroba and Byron Blackburn. Jaroba again had a gopichand in his collection of instruments.

In the main chapel, I saw performances by Sarah Cahill and the William Winant Percussion Group. I thought the latter sounded a bit like Philip Glass with its repetitive patterns, pentatonic scales and harmonies, and marimba rhythms. At the end of the performance, I found out it was in fact a piece by Philip Glass.

The more electronic “stage acts” were in the Julia Morgan Chapel at the other end of the building. Amy X Neuburg gave another of her charismatic and very tight performances that we at CatSynth have reviewed in the past. This was followed by Paul Dresher and Joel Davel, whose performance featured a marimba lumina as well as a large and intriguing bowed string instrument:

Musically, the performance began with repeated undulating tones, minor modal harmonies, and syncopated rhythms, with expressive bowing on the large instrument throughout. Gradually the performance become more “electronic” – even though the entire performance involved electronics from what I could tell, the sounds became more characteristic of electronic music – with more effects, noises and hits as the rhythmic pattern faded out. There was a “surprise note” followed by more percussive computer-like tones, bends and glissandi on the stringed instrument, looping and effects. The instrument was also “prepared” with metal objects during this part of the performance. Eventually the rhythmic patterns returned, but they seemed “darker.”

Matthew Goodhart’s installation in the Chapel of Patience (I really like the names of the different chapels and halls there) featured cymbals with transducers, producing long metallic tones and visual effects and they reflected the light:

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Leaving the cymbals, I then followed the sound of Gino Robair’s bowed gongs to find his performance along with Polly Moller and Tom Duff:


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My favorite moment during their performance involved Tom Duff singing God Save the Queen set against cymbal resonances and a perfect fourth by a tone tube (I forget the formal name) and Polly on bass flute.

In the previous two photos for the Goodhart installation and Gino Robair’s ensemble, one can truly get a sense of the setting. Each of the squares in the grids represents the location of cremated remains, someone’s final resting place.

I tend to be drawn to metallic sounds, so a next followed the hall to an installation Loving Kindness by John Bischoff. Although this was a computer-controlled electromechanical piece, with motors affecting the sound-making objects, it reminded me musically of Stockhausen’s Kontakte (a favorite piece of mine).

From metal we then move to strings, with Larnie Fox and the Crank Ensemble. The plethora of plucked string tones fit perfectly with the visuals of the musicians moving around a large square of cable. It was held in place by some of the performers while one moved around:

I did also notice the “live knitting”, which was an integral component of the performance.

Tucked away in a small chamber and easy to miss was an installation by Joel Colley featuring a macabre set of animal skulls atop stones, with ambient sounds in the background.

Over the course of four hours, it is not surprising that some performers will need to take breaks. It did mean I missed a couple of interesting performances which did not publish specific times. Pamela Z did publish performance times, so I did get to see part of her performance with the iPhone Ocarina application.

Michael Zbyszynski performed more traditional wind instruments, flute and saxophone, but with modern extended techniques mixed with jazz idioms, in the Chapel of Resignation.

Nearby, in one corner of the main atrium, Thomas Dimuzio and Wobbly performed on guitar and live electronics, respectively. The music unfolded as long ethereal sounds with strong resonances, and some bowed metal sounds as well.

Maggi Payne presented this cool-looking installation founded that blended quite well into the permanent elements of the room:

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In a nearby room was a performance by the ensemble Vorticella. We previously reviewed Vorticella, which consists of Krystyna Bobrowski on horns, Erin Espeland on cello, Brenda Hutchinson on aluminum tube and vocals, and Karen Stackpole on percussion, as part of the Flower Moon concert. Once again, the four very different performances produce a rich and complex music.

In the next room was a duo of Svetlana Voronina and Joe Straub with glockenspiel and electronics. Before hearing them perform, I wandered over during one of their breaks, and found their setup visually interesting:

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Upstairs, I caught part of a performance by the ensemble Natto, which featured electronics, flutes, strings and a Chinese lute (I believe it was a pipa). The music consisted of heavy strumming, electronic “wipes”, harmonics on the wind instruments and resonances and delays used for pitch effects.

In the upstairs section of the main atrium was a continuous vocal performance by the Cornelius Cardew Choir of Pauline Oliveros’ Heart Chant. The audience was invited to participate.

The upstairs of the atrium is also the place to arrive during the climactic moment of the evening at sundown. As sundown approaches, everyone is invited to ring bells – many people rang keychains. There was an interesting timbral and spatial juxtaposition of the sunset bell-ringing and Dimuzio’s and Wobbly’s drone sounds on the lower level.

The theme of bells and metal sounds continued as I left after sunset, passing a set of large chimes that seemed to mark the end of the event.

Weekend events in San Francisco (Music, Art and Cats)

Another busy weekend, especially with the number of things going on. We only have time for a partial review…

First, there a quick stop at downtown pub to see some friends/colleagues. Then a rush to BART to get across the bay to Berkeley and my old stomping ground, the Center for New Music and Audio Technologies (CNMAT).

I was a few minutes late, but still had plenty of time to hear Joker Neils and Gino Robair performing a improvised duet. Robair has an amazing talent for getting electronic-like sounds out of acoustic percussion instruments, and did so again on this evening. Neils was primarily using custom synthesizers, both professional instruments as well as circuit-bent toys. We have discussed circuit bending previously here at CatSynth. He brought several well-crafted examples, including Suziki Omnichords with contact-resistance interfaces; and he also brought a tremendous enthusiasm to his performance and to his discussion of circuit bending in between sets.

Also presenting was Rob Hordijk, who designs custom synthesizers (or “works of art” as he described them). Among the technologies he employed in the “Blippobox” that he presented were chaotic oscillator pairs, where two oscillators feed back into one another to create non-linear modulation, and a filter that he called the “twin peaks” filter (presumably because it has two resonant peaks).

Amy X Newburg lent her vocal and electronic-music talents during the presentation and in the second half of the show – readers may remember her from a a recent music festival that we reviewed.

I had some interesting conversions with both Amy X Newburg and Joker Neils following the performances, which is always a nice coda to a concert.


It was another exceptionally warm weekend in San Francisco (I wouldn’t mind it becoming less exceptional), so more opportunities for walking events. First off I finally made the trip to the San Francisco SPCA to inquire about volunteer opportunities and see their much touted adoption center. The cat area featured large rooms, “kitty condos” as well as comfy areas to hide – it actually seemed on par with the “cat resorts” where I looked into boarding Luna. The SPCA is actually a short work away from CatSynth HQ (well, it’s at least short from my perspective).

Another short walk in the opposite direction from CatSynth HQ led to the Yerba Buena Gallery Walk. Open studios and gallery events are pretty regular occurrences, even within walking distance. Plus, there’s often free food and drink. I didn’t see too many things that truly interested me, except for some abstract paintings at 111 Minna that I had already seen during the first Thursday earlier this month. But that doesn’t mean the afternoon wasn’t without its attractions. Some of the galleries, such as Varnish, were in very interesting spaces, such as converted industrial buildings from the early 20th century. A view of Varnish is in the photo to the left. Additionally, some of the sights on a gallery tour aren’t the works of art, but the people viewing them – and this is even more true on a warm sunny day. Finally, I did have a delightful conversation with Jesse Allen at Chandler Fine Art – his very psychedelic/natural works aren’t what I am usually drawn to, but some of them did include abstract representations of cats and other animals and one “wild cat” in particular caught my attention.


More art on Sunday, this time photography. This Sunday was “Pinhole Photography Day” (who knew?) and the RayKo Photo center featured an exhibit, demonstrations, and most notably a ride on the Bus Obscura a school bus converted into a large camera obscura.

The bus obscura toured our South-of-Market neighborhood, providing a unique view via the pinhole-camera images. Small dots of blurry light would suddenly come into focus as a sidewalk or car or storefront.

Because the image were so localized, it wasn’t always clear exactly where the bus was, though every so often a familiar landmark would emerge. The ride was accompanied by live acoustic and electronic music, adding to the experience and making it different from the regular “tours” of our neighborhood.