Posts Tagged ‘performance’

Surplus 1980 and Fred Frith Trio, Brick and Mortar

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A couple of weeks ago, Surplus 1980 joined the Fred Frith Trio at the Brick and Mortar in San Francisco from a night of energetic avant-rock and jazz. It was a show we have all been looking forward to for quite a while.

Surplus 1980 went on first, with a set that combined songs from our recent album Arterial Ends Here with older selections. In addition to Moe! Staiano and myself, the band includes Bill Wolter and Melne Murphy on guitar, Thomas Scandura on drums, and Steve Lew on bass.

Surplus 1980
[Photo by Michael Zelner.]

For this set, we expanded our Fred Frith cover “Cap the Knife” into a full medley featuring excerpts for some of his other songs. In a brief exchange back stage, it sounded like he appreciated the gesture, and even suggested that his group perform a “Moe! Staiano medley”, which would have been fun. But overall, it was our strongest performance as a band to date, with rhythms and phrasing much tighter as well as more sophisticated use of all parts.

After Surplus 1980 was done, Fred Frith took the stage with his trio that included Jordan Glenn on drums and Jason Hoopes on bass.

Fred Frith Trio
[Photo by Michael Zelner.]

It was quite a contrast, going from post-punk to avant-jazz. The trio played through longer pieces that moved between fast intricate sections and more familiar idioms with ease. The polyphonic sections were certainly impressive, but I do find when technically strong musicians play in unison or at least synchronous rhythms, it leaves a more memorable impression. Frith deftly filled up the otherwise sparse texture of the music, but not so much that one would get lost or overwhelmed.

Overall, it was a successful show, with a good turnout. Surplus 1980 is now looking forward to our next show in December, but I hope we get to play with the Fred Frith trio again.

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CatSynth in New York

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CatSynth NYC

It’s time once again for the annual pilgrimage to New York. In addition to family and friends, there will be much art-seeing and urban exploration, and two electronic-music performances. If you are in New York over the next two weeks, I invite you to come check them out.

Tuesday, November 26, 7:30
Ambient-Chaos presents Schyuler Tsuda, Amar Chaudhary (San Francisco), John Dunlop, RMA Trio

121 Ludlow St, Second Floor, New York

Robert L. Pepper (PAS) presents a night of Ambient-Chaos featuring Schyuler Tsuda, Amar Chaudhary (San Francisco), John Dunlop, RMA Trio. THE EVENT STARTS EARLY!. So please be there by 7:30 to settle in and enjoy the frequencies.

Saturday, November 30
Rachel Mason, The Use, and Amar Chaudhary at Harvestworks
Harvestworks, Broadway&Houston, New York

5.1 Surround surround performance at Harvestworks with Rachel Mason and The Use (Michael Durek), additional A/V element from Jay Van Dyke; and a set from Amar Chaudhary a.k.a. CatSynth.

I did want to include some analog modular elements in these performances, so I put together a miniature version of the rig featuring a cross section of modules, with an emphasis on live processing (Make Noise Echophon) and chaotic oscillation.

20131118-IMG_9347

The best way to keep up with CatSynth in New York is via Twitter @catsynth. But you can also follow us on Instagram. And of course we will continue with periodic blog posts.

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A Tale of Two Duos

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Today we look back at duo performances from the middle of September: an electro-acoustic spoetry performance with Polly Moller, and a punk-themed Pitta of the Mind performance at Bay Area Ladyfest. Musically, conceptually, and socially, these were contrasting experiences, but both very rewarding. Both duos combined voice with live electronics, and both involved my feminine persona . They also provided opportunities for different styles of playing and collaboration.

Ode to Steengo is a piece based on spoetry (spam poetry) derived from Harry Harrison’s “Stainless Steel Rat” series. Polly Moller and I performed it several times as an electro-acoustic duo in 2008 and 2009, and then later in our band Reconnaissance Fly. We reprised the piece for our duo performance at The Nunnery in San Francisco on September 15. It was a more expansive interpretation, with more instrumental breaks and live processing of voices. It was also different in that I used the analog modular for the electronic parts. The Make Noise Echophon was great for processing Polly’s vocals and wind instruments. And overall, I thought this was our best performance of this piece to date. The technology, timing and overall musicianship were strong, and we both had a good time while playing. You can enjoy it in its entirety via the video below:

Amar Chaudhary / Polly Moller Duo: Ode to Steengo, The Nunnery 9-15-2013 from CatSynth on Vimeo.

The performance by Pitta of the Mind at Bay Area Ladyfest in Oakland was something altogether different. Maw Shein Win and I interpreted several classic punk-rock songs as “art-damaged” music and spoken word performances. Musically, this involved a mixture of idiomatic and freeform improvisation on electric piano, mixed with some odd synth sounds. As with Steengo, the performance itself was a lot of fun, and in this case we made that a deliberate and overt part of the show. This was especially apparent in our final piece, an interpretation of The Ramones’ “Sheena is a Punk Rocker” where we invited the audience to sing along with us.

Pitta of the Mind at Bay Area Ladyfest: The Ramones “Sheena is a Punk Rocker” from CatSynth on Vimeo.

Both performances were well received by the audiences, which filled their respective venues, and of course I hope to do both again. Pitta of the Mind already has two more performances scheduled this year, and of course Polly and I perform together quite often. It is a good reminder to make time for duos as a specific performance format even while spending much time on solo work and on full-size bands.

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CCRMA Transitions

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We close out the year with one final gig report: my performance at the CCRMA Transitions concert at Stanford University’s computer-music center. The two-night event took place in the courtyard of CCRMA’s building, with a large audience beneath the stars and between an immersive 24-channel speaker array.

I brought my piece Realignments that I had originally composed in 2011 for a 12-channel radial speaker and eight-channel hall system at CNMAT, part of my Regents Lecturer Concert there. This version, outdoors in front a large audience and clad in a provocative costume, was quite an experience, and you can see the full performance in this video:

The Transitions version of the piece was remixed to use the eight main channels of the speaker array at CCMRA. Once again, the iPad was used to move around clouds of additive-synthesis partials and trigger point sources, which were directed at different speakers of the array. The overall effect of the harmonies, sounds and immersive sound system was otherworldly. I chose this particular costume to reflect that, although I had also used it a couple of weeks earlier in my duo “Pitta of the Mind” with poet Maw Shein Win at this year’s Transbay Skronkathon. I am planning more performances with this character (but not the same costume) in the coming year.

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Surplus 1980, Satya Sena and Electric Chair Repair Company, Bottom of the Hill

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Today we look back at the December 5 show featuring Surplus 1980 with Satya Sena and Electric Chair Repair Company at Bottom of the Hill in San Francisco. It was a “post punk” affair, a night of loud, intense, and creative rock music. It was also my first time playing on stage with Surplus 1980.


[Photo by Polly Moller.]

I am somewhere there in the “back line” along with Thomas Scandura on drums and Steve Lew on bass. With guitarists Melne Murphy, Moe! Staiano and Bill Wolter in front. We were loud and aggressive with a lot of percussive pounding on otherwise tonal instruments, but there was also just the right amount of complexity with metric changes and chromatic riffs. Things were also deliberately out of tune, which when combined with ring modulation and other effects made it challenging to follow in a traditional melodic sort of way. But that would not have been the point. And the audience got that, enjoying moving along with our noisy percussive lines. It was also fun to play the vintage toy piano for our improvised piece and our finale Ed Saad (though I wish the contact mic had not fallen off halfway through it).

The evening opened with a performance by Electric Chair Repair Company, a self-described “post-punk noise trio.”

They lived up to their description with their instrumental performance, a bit more of the traditional sound that one would expect with loud driving chords and drums and switching between fast and slow tempos. During the set. they also joined forces with guests from “The Girlfriend Experience”, who were quite entertaining.

Electric Chair Repair Company was followed by Satya Sena, a duo of Jason Hoopes on bass and Peijman Kouretchian on drums. They also had a huge column of amplifiers.

Satya Sena was impressive to say the least. Their music was full of complex and intricate rhythms and they had a full dense sound that one wouldn’t necessarily expect from just bass and drums. I found myself watching Kouretchian’s frenetic drum playing through much of the set. It was almost impossible to capture a moment where he wasn’t in motion like this:

Hoopes of course was technically strong as well, and was interesting to see him performing in a different context like this.

Overall it was a fun night of good music. Our audience (on a Wednesday night in San Francisco) was not particularly large but was certainly appreciative, and I look forward to more performances with Surplus 1980 next year.

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Reconnaissance Fly in Berkeley, June 20

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Tomorrow night, Reconnaissance Fly will take a break from the studio for a live performance in Berkeley.  We will be sharing the bill with our friends Vegan Butcher.

The Berkeley Arts Festival Wednesday/Sunday night series continues with the charmingly incoherent art-pop of Reconnaissance Fly and the gritty psychedelic honey-drips of Vegan Butcher.

The Berkeley Arts Festival space is located at 2133 University Avenue, Berkeley, CA USA.

BAND BIOS:

Reconnaissance Fly is a band of composers who have reclaimed the best spam poetry (“spoetry”) for humanity, deploying jazz, progressive rock, funk, samba, free improvisation, a small Chinese gong, and an arsenal of wind instruments against the dastardly internet robots.

The five members of Reconnaissance Fly are Chris Broderick playing clarinet, bass clarinet and C-melody saxophone; Amar Chaudhary with keyboard and electronics, Polly Moller with flute, bass flute and voice; Larry the O on the drums, and Tim Walters on bass guitar and electronics. When not playing live around the Bay Area they are recording their debut album Flower Futures, awakening their inner Peter Frampton, and denouncing pineapple pizza.

http://reconnaissancefly.bandcamp.com/

Vegan Butcher plays music of John Shiurba. Only music written in January is allowed. The nine note January scale is used exclusively. The lyrics were written accidentally before John was completely awake. In addition to John on guitar, Suki O’Kane plays drums, Wil Hendricks plays bass, and Val Esway occasionally sings.

Suggested ticket donation is $10 at the door.

 

I have to admit, I like our music being described as “charmingly incoherent art-pop.”  I hope we continue to use that.

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Reconnaissance Fly in Oakland and Sacramento next week

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The first performances of 2012 both feature Reconnaissance Fly with our new expanded lineup.  Chris Broderick joins myself, Polly Moller, Tim Walters, and Larry The O.  We will be back at Luna’s Cafe in Sacramento on Monday and then at in Oakland on Wednesday.  Details below:

Monday, January 9, 2012, 7:30PM
Luna’s Cafe, 1414 16th Street, Sacramento, CA

Reconnaissance Fly is back hoping to get stuck in the Luna’s Cafe guacamole once more. Phillip Greenlief & Jorrit Dykstra will play transcendent saxophones and Luke Westbrook will make guitar magic.

Wednesday, January 11, 2012, 9PM
Light A Fire Returns! Luke Westbrook/Grex/Reconnaissance Fly
Revolution Cafe,1610 7th St, Oakland, CA

The Light A Fire series returns! This will be the pilot show for a brand new curation–if we turn out, this series stands to provide a regular home for the local creative music scene. Come out and enjoy the weird and wonderful environs of Cafe Rev in Oakland (fully stocked with great food, coffee, a stage area, and copious seating…)

1. Luke Westbrook/Vijay Anderson Duo
Luke Westbrook (guitar), Vijay Anderson (drums)
westbrookmusic.net

2. Grex
Karl Evangelista (guitar, vox, etc.), Rei Scampavia (keys, vox, etc.)
www.grexsounds.com

3. Reconnaissance Fly
Chris Broderick, Amar Chaudhary, Polly Moller, Larry The O, and Tim Walters
www.myspace.com/reconnaissancefly

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Space Music Night at the Luggage Store Gallery, San Francisco

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Earlier this month, I participated in a show at the Luggage Store Gallery in San Francisco called Space Music Night that turned out to be quite memorable. So what exactly is “space music”? It is not straightforward to come up with a definitive answer, except that it should reflect some sense of “outer space” as one might imagine it. Or, perhaps more accurately, as people might have imagined it in the 1960s and 1970s. The music that we performed that evoke “space rock” that one might associate with early Pink Floyd or Gong, but also more freeform ambient soundscapes. The latter comes closer to ambient music one might hear on NPR’s “Hearts of Space” program but without crossing over that dangerous line into New Age. The music was certainly contemplative at times, but retained an edge to it and often veered back to rock and jam idioms, and moved back and forth between defined harmonies and more abstract timbres. The “space” effect was also heightened by having a dark room with abstract video projections by Tim Thompson.

The show was divided into two sets with four musicians each. Although many of us were familiar to one another, this was the first each each set of four played together as a group. The first set featured Matt Davignon on drum machines and effects, Kristen Miltner on electronics, Karl Evangelista on guitar, and Andrew Joron on theremin. Musically, this set had a very thick electronic texture with a soft beat from the drum machines that came in and out of presence. The electronics and heavily processed guitar provided anxious harmonies, and the theremin seemed to be narrating a space story with warbles and slides that approached the rhythm of human speech. At moments, the rhythm dropped out altogether, while at others it came closer to an extended jam. You can hear a bit of the set in the following video:

In the second set, I performed with iPad and the Dave Smith Evolver, along with David Leikam, Sheila Bosco on drums, and Steve Abbate on guitar. Perhaps it was the instrumentation of the set, or the musical leanings of the performers (including myself) towards strong rhythm, but we very quickly gelled into a steady rock jam rhythm that extended for most of the length of the set except for avery deliberate breaks. I mostly used Sunrizer on the iPad to provide ethereal harmonies to set again Leikam’s Moog Rogue and his “electric bass cello” and provide structure for melodic improvisation. This was definitely approaching the “space rock” idiom that inspired the evening.

I was quite happy with how well we able to play together despite having not played together before, and indeed a few people afterwards expressed some surprise that we hadn’t. But perhaps we will get a chance to play again.

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Experi-MENTAL night at TheaterLab, New York

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Today we look back at the second of my November performances in New York. This one took place at Theater Lab in Manhattan in one of the venue’s stark white studios that served as both performance venue and blank canvas. There were several now-familar faces from east coast shows, as well as new artists that I heard for the first time.

The show opened with an acoustic performance by PAS, featuring Robert L. Pepper, Amber Brien, Michael Durek and John “Vomit” Worthley with guest Carlo Altomare (one of the founders of TheaterLab) on piano. The acoustic instruments included a wide variety of percussion, strings and winds, as well as DIY combinations of objects (buckets, balloons, etc.) to produce other sounds. In this way, they played acoustic instruments as if they were synthesizers.


[PAS. (Click images to enlarge.)]

The performance moved between gradually evolving by strongly rhythmic material and more freeform noise textures, all expressive and performed with a wide dynamic range. At various times, the performers moved around the space, among the audience and up into the loft, which added a theatrical element as well as spatialization. You can see and hear for yourself in this video:

PAS live with Carlo Altomare at Experi-MENTAL Night at Theaterlab. November 26th, 2011 from PAS Music on Vimeo.

The particular combination of instruments and idiomatic playing gave portions of the performance an Asian feel (particularly at the beginning of the video), but even there the piano provides an avant-gard counterpoint and the overall texture moves to something more reminiscent of Henry Cowell before moving into a more experimental dramatic mode featuring Altomare soloing on piano and Pepper repeatedly chanting “Piano Man!” I like how they were able to move so easily between the different timbres and textures and rhythms without stopping, except of course for the silences that occurred in response to the instruction “Silence!” In all, a great set that set a confident tone for the entire evening.

Next was a duo featuring Richard Lainhart on a Buchla synthesizer and Lucio Menegon on strings and effects. They performed a live improvised set to a film by Scratch Film junkies.

The film was beautiful and mesmerizing, though I did find myself also watching the Buchla to see and hear what was happening. In general, the synth performance was subtle and blended well with the string sounds to produce an overall ambient texture, with occasional metallic and inharmonic swells. The eerie and slowly moving sound fit the abstract video, with frequently changing clips overlaid with digital effects that simulated paint and chemical treatment. At times, the harmonies and timbres seemed to approach an acoustic orchestra and choir, as one might hear in a science fiction film, while others seemed to channel the sounds of bowed metal and glass.

PAS presents Experi-MENTAL Night with a duo by Richard Lainhart and Lucio Menegon at Theaterlab from PAS Music on Vimeo.

This was followed by a trio featuring Jay Pluck on piano, Julia Violet on vocals, and Michael Durek returning, this time on theremin.


[Jay Pluck, Julia Violet, and Michael Durek. Photos by Michael Zelner. (Click to enlarge.)]

This was the most traditional and idiomatic of any set during the show. The songs were songs, quite lyrical and featuring traditional harmonies and melodic lines for voice and theremin. The introduction featured a theremin solo – Durek is quite good at getting standard pitching and phrasings from the instrument – set against gently rolling arpeggios of romantic chords on the piano. As Violet’s vocals enter, the music takes on a light cabaret feel, but the theremin backed with Mini-Kaoss Pad effects, continues to give it a somewhat otherworldly quality. The second song, which featured more major harmonies, had a bit of a 1960s rock quality to it, as if it was it was a song from a popular album rescored for piano and voice. Here the theremin had a bit of a darker tone.

After that it was time to take the stage. It was basically the same setup as a few nights earlier at the AvantElectroExpectroExtravaganza in Brooklyn, but with a few musical differences. I opened with a newly programmed piece that featured timbres based on the Bohlen 833 scale in which I could call up individual pitches and harmonics via the monome and iPad working together. The end result was a somewhat an ambient piece that was relaxed but with anxious undertones.

[Click to enlarge, if you must.]

I did reprise my Wicks Looper and Korg Monotron improvisation that had worked well at the previous performance, as well as another another piece featuring additive synthesis in which iPad-controlled tone clouds are set against short percussive tones. At the end of the set, I was joined by Robert L. Pepper from PAS for a duo improvisation featuring acoustic instruments and electronics. We started with a steady pattern on the dotara and large drum, gradually bringing in some electronic sounds controlled by the monome and other acoustic instruments and effects. Overall, we meshed very well musically despite this being our first time ever playing together! I particularly liked the moment where we were both playing string instruments, as it felt particular aligned and expressive. This gave way to a finale with dotara and drums that approached traditional folk music and a well-defined final note. You can hear the full solo and duo in this video:

Amar at TheaterLab, New York. from CatSynth on Vimeo.

The final set featured Richard Lainhart’s film The History of the Future with a live soundtrack performed by the “Orchestra of the Future”, an ad hoc ensemble featuring many of us who had performed in the previous four sets. The film featured clips and images from old educational and demonstration films featuring depictions of possible feature technologies. It’s a snapshot of “what the future used to be” in previous eras.

[Orchestra of the Future.]

The improvised soundtrack, which featured a variety of acoustic and electronic instruments, was rich in texture and dynamism and dramatic moments. Everyone did a good job of watching what was happening on the screen and listening to each other. There were moments where it seemed like the relative volumes of instruments were off, but that was a minor issue. It was a great way to end the evening (and a bit of a relief to be in the large ensemble after performing solo).

We had a decently sized audience for the show and a very positive response both during the event itself and in talking to people at the small reception afterwards. It was interesting that although this event was in New York, there were Bay Area connections both among the performers and the audience. This year has been a good one for bi-coastal collaboration and I look forward to more of it next year.

[Additional photos available at Michael Zelner's flickr set. Additional videos available on vimeo by PAS Music and CatSynth.]

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CatSynth in New York

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As I do ever year at around this time, I will be spending a week in New York.  This promises to be a rather busy trip, visiting with family and friends, seeing art exhibits, partaking in various New York rituals, and playing in two music performances.  For those in the NYC area (or who have friends in the NYC area), here is the information on the shows:

November 20, 2011. 8PM. AvantElectroExpectroExtravaganza

13 Thames St., 3rd Floor, Brooklyn, NY.
SK Orchestra, Doom Trumpet, Amar Chaudhary, Loop B, Badmitten (damien olsen)

November 26, 2011. PAS presents Experi-MENTAL Night at Theaterlab. 7PM.

Theaterlab: 137 West 14th Street, New York.
A night of Experi-MENTAL music featuring: PAS, Richard Lainhart and Lucio Menegon, Koning’s Blauw, Amar Chaudhary, ‘History of the Future’ live film score directed by Richard Lainhart with ‘The Orchestra of the Future’.

Many of these names should be familiar from past shows, including last year’s Omega Sound Fix, the now defunct Ivy Room Hootenanny here in the Bay Area, and others.

I will try and post sporadically while I am there, but I do expect to continue with live updates of NY adventures via Twitter @catsynth.

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