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.
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.
One of the primary visual features during the performance was the dancers ensconced in garbage bags as the moved around the space, speaking backwards.
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.
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.
[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.
OK Cat people….ya got to love this one …….Spooky grey cat sitting on a Moog, Mini-Moog Voyager Synthesizer, augmented with numerous unidentified Eurorack synthesizer modules, in Space……….. this cat spook is obviously being guided by the omnipotent, guardian CatSynth space spirit.———————From : Cats on Synthesizers in Space
A bunch of Cats invading Earth on various Moog Synthesizers…………………………………………………………………………………………..across the gulf of space, minds immeasurably superior to ours regarded this Earth with envious eyes, and slowly, and surely, they drew their claws against us…
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.
[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.