Today we look back at the recent performance by Pet the Tiger invented instrument collective in Golden Gate Park. It was part of a series hosted by Dan Gottwald featuring invented-instrument performances in the tunnel near the Conservatory of Flowers. You can see and hear excerpts from the concert this CatSynth TV video.
The centerpiece of the performance was the harmonic-series gamelan, a set of instruments that employ tuning based exclusively on the harmonic series. This leads to just-intonation relationships among pitches, but not necessarily those of conventional Western twelve-tone music. The results are haunting and exquisite. This is especially true of the 5-octave metallophone demonstrated by David Samas in the video, and played by Samas and others in the concert.
There was also a large kalimba-like instrument performed primarily by Samas and Derek Drudge, and a large instrument created and played by Bart Hopkin.
In addition to the metallophones, there were various wind instruments. Peter Whitehead played an instrument that resembled a longitudinal bass flute, and whirling tubes, all of which also conformed to the harmonic series.
There was also a stringed instrument performed by Ian Saxton.
Harmonic series relationships are well known to be very pleasant to the ear, and there was an overall pleasing tone to the music, amplified by the acoustic properties of the tunnel, the lighting and the fellowship of performers and audience. In addition to the long meditative pieces, there were sections combining music with anxious dystopian poetry, and even a rendition of George Harrison’s “Within You Without You” from Sgt. Pepper’s Lonely Hearts Club Band.
Overall, it was a lovely and poignant evening, with the light show from the Conservatory of Flowers in the distance and a warm friendly atmosphere in the tunnel that mitigated the approaching chill of the night in Golden Gate Park. The series is over for the season, but we do expect to hear more of Pet the Tiger and these inventor-musicians in the near future.
Today we look back at last week’s show at Canessa Gallery in San Francisco, featuring Elliott Sharp, Tania Chen + Wobbly, and Euphotic. This show was the subject of CatSynth TV Episode 8, and you can see and hear a bit of each set.
We were quite pleased to see Elliott Sharp. We saw him back in the 1990s, but it’s been a while since he made it to the Bay Area.
He has a unique and idiosyncratic sound, with fast runs, harmonics, and extended techniques, along with electronics. The electronics, which appeared to include some looping, sampling, and delay, did not overpower his guitar playing, and the individual gestures, from frenetic fingerpicking to expressive scratches, came through strongly. Although his style is unusual, it is still quite melodic and harmonic, something that comes out particularly in a solo-performance setting.
The evening opened with Euphotic, a trio project featuring Tom Djll (electronics, trumpet), Cheryl Leonard (instruments from natural found objects) and Bryan Day (invented instruments).
The sound was subtle and detailed, with a lot of short sounds clustering like schools of fish. Djll’s electronics bridged the space between Cheryl Leonard’s organic sounds and Bryan Day’s more chiseled electro-acoustic creations. There was also a quality in Day’s performance that foreshadowed Elliott Sharp’s sound and style later in the evening.
Euphotic was followed by a duo featuring Tania Chen on electronics, voice and found objects, with Wobbly (aka Jon Leidecker) on electronics. He had an array of iPads linked together.
The performance centered around “Feasibility Study”, an episode of the television show Outer Limits, slowed down beyond recognition. Chen’s vocals and found-object performance featured material and ideas from the episode, including chomping on biscuits and pop rocks to represent the rock-like aliens in the video. She also performed a melodic section on an iPad, which complemented Leidecker’s complex electronic processing. His sounds were slower and more undulating, providing an eerie setting for the overall performance.
We had a great time at this show, as did the rest of the audience that filled Canessa Gallery to capacity. We look forward to more interesting music from these artists and from this venue. And thanks to Bryan Day for continuing to host this series.
Today we look back at last weekend’s APAture Book Arts Showcase, hosted by Kearny Street Workshop. You can see a bit of the event, and three of the artists, in our companion video on CatSynth TV.
In the video, we see a reading by featured artist Innosanto Nagara of his recent book A Night at the Planetarium, which introduces readers to the culture and history of Indonesia, and one particularly intense night under Indonesian military rule (while “the general” is clearly Suharto, he is not mentioned by name). It is partly a memoir of the author at a young age and relates the story of a crackdown on his father’s dissident plays. Nagara is although the author of the award-winning and quite delightful A is for Activist (we love the black cat on the cover).
“Book Arts” covers quite a lot of territory in terms of discipline and media. There are formal, published books like Nagara’s, but also other print media like self-published zines. Mixed Rice Zines is the ongoing project of Jess Wu-O, and features voices that are often underrepresented, such as queer voices in the Asian American and mixed-race communities. One edition Queer Azn Musicians particularly spoke to me as a queer musician of South Asian descent.
The zines are self-published, as were many of the other pieces featured in the show. Bridge Ho presented these zines featuring her photography along with words by Michelle Velasquez-Potts. The published pieces are works of art, showing semi-abstract imagery on various printed materials including vellum.
Overall, however, most of the work in the show centered around illustration. Minnie Phan presented a variety of printed illustrations, including on cards, booklets, and her comic book They Call Us Viet Kieu, written after Phan visited Vietnam in 2013. You can hear her talk a bit about the experience in our CatSynth TV episode.
Similarly, we saw a variety of illustrated printed material from Cheez Hayama including these cat cards – each one is hand drawn and slightly different – and California activity book featuring our state bird.
More traditional “comic books” were on display as well, including the Time Fiddler by Ellis Kim. The series, told as detailed and well drawn graphic novels, follows a young woman on an adventure through time travel, space, and romance. And of course, there is a cat.
And with books and graphic novels, we come full circle with This Asian American Life by Katie Quan, featuring the everyday adventures of an Asian-American protagonist. Parts of autobiographical from Quan’s experiences, but also includes shared experiences from friends as well as entirely imagined scenes.
It was a well-attended show with many artists presenting – and selling – their work. We regret not being able to visit or include everyone. Congratulations to KSW and everyone involved on a great event.
Smoke and haze in downtown San Francisco, looking up Ellis Street from a building on Market. You can see what this view looks like under better skies here.
After a couple of relatively good days, the air quality once again took a turn for the worse. As bad as it is, it’s nothing compared to what our friends to the north have gone through with the terrible fires, and our thoughts are with them as they recover.
Today we look back at last weekend’s opening of Art for the Naked Eye at Far Out Gallery in San Francisco. The show covers twenty years of work by local artist Kasper Rodenborn.
You can see and hear a bit about Rodenborn’s art in his own words in our most recent CatSynth TV episode.
Rodenborn’s work falls into several periods and categories. First, there are the more traditional paintings, with surrealist quality that particularly reminds us of Yves Tanguy.
Many of the works feature wildstyle, an homage to Rodenborn’s early days as an underground graffiti artist. But he combines this with other elements, including some that project out of the canvas in the sculptural realm, as in the Rauchenberg-esque elements in Aside from Concrete Existence displayed below.
[Kasper Rodenborn, Aside from Concrete Existence. This piece will be hanging in CatSynth HQ after the show!]
Over time, we observe his work to move in the direction of collage and ultimately assemblages, as in these intricate pieces.
The most recent works are a return to flat surfaces. But these flat pieces have depth and motion, as they respond to changing light colors. They were displayed illuminated by rotating-color LED bulbs.
It was a strong exhibition, we are glad to have attended. And Far Out Gallery was an excellent discovery in the Sunset District of San Francisco – we expect to be back for future shows.
Kearny Street Workshop’s APAture 2017 Festivalkicked off with a bang this past weekend. A large crowd packed into ARC Studios and Gallery in San Francisco to see the Visual Arts Showcase and KSW’s first ever APAture Focus Awards. You can get a little taste of the event in our latest CatSynth TV Episode.
The awards made this opening night a little different from the past, with the awardees sharing the spotlight with the artworks. But it was a great addition, especially as KSW celebrates its 45th Anniversary. Comedian and performance artist Kristina Wong and visual artist Michael Arcega were on hand for their awards, while comedians Ali Wong (you may have seen her show Baby Cobra on Netflix) and Hasan Minaj (Daily Show) accepted in absentia. There was also a very touching presentation to the late poet Justin Chin, which included an introductory statement written by our friend Maw Shein Win. As a former APAture artist myself, it’s always amazing to see how many people have come through the festival over the years and gone on to do great things in their fields.
[Kristina Wong (right) receiving her APAture Focus Award from Weston Teruya]
This year’s featured visual artist was Rea Lynn de Guzman, a works in a variety of media including painting, printing, and sculpture. For APAture, she created a textile sculpture representing a traditional Filipiniana “Maria Clara” dress that floated in the middle space. It was very much in keeping with this year’s theme of “Unravel”, as de Guzman states in her own words:
Among the other pieces that particularly spoke to me was Jerome Pansa’s Stands (Body of Six), with its six polls topped with triangles painted in solid geometric patterns. It would work at CatSynth HQ!
[Jerome Pansa. Stands (Body of Six)]
Webster Quoc Nguyen packs many symbols into his triptych Double Consciousness. The figures use a bold, illustration style that is both fun and a bit dark at the same time as he juxtaposes symbols of Western influence, Asian stereotypes, and Catholic iconography and practice.
[Webster Quoc Nguyen. Double Consciousness.]
As it was crowded that night, I will need to go back and see these and the many other pieces in more detail on a quieter day. We at CatSynth are also looking forward to the upcoming APAture events featuring other artistic disciplines:
Music Showcase: Saturday, 10/7, 6PM. f8 Nightclub & Bar | 1192 Folsom St
Film Showcase: Thursday 10/12. 7PM. Z Space (Z Below) | 470 Florida St.
Book Arts Showcase: Sunday 10/15 1PM. Arc Gallery & Studios | 1246 Folsom St.
Performing Arts Showcase: Saturday 10/21 2PM. Asian Art Museum | 200 Larkin St.
All locations are in San Francisco, California.
We proudly present the inaugural episode of CatSynth TV!
This first episode visits the Luggage Store Gallery for the regular Thursday night new-music series. This particular evening had two intriguing and performative sets: a solo for santour and drums by Sahba Sizdahkhani and a duo by PC Muñoz and Karl Evangelista on percussion/electronics and guitar, respectively.
Sizdahkhani’s set was a thing of beauty, with layered loops from the santour providing a rich harmonic and rhythmic background. The drums in many ways functioned as the melodic instrument, with expressive phrasing of the rhythms and textures. Muñoz and Evangelista had some powerful jams in odd-time meters, along with some more subdued moments featuring pedals and Muñoz on Korg Delay Monotron and spoken word.
CatSynth TV is not replacing our long-form articles, but rather a complementary offering. Please do subscribe to our new channel to catch more installments. There is another coming this week 😺
By Jason Berry and Amanda Chaudhary
L’Shana Tova! To start the new year off in a sweet way, we headed down to The Independent on Divisadero in San Francisco to check out Moira Scar and Psychic TV. The Independent, as we soon learned, is housed on the site of the former Kennel Club. We were quite pleased to run into quite a few friends amongst the audience from various communities, including the local experimental and electronic music scenes, and Kearny Street Workshop.
First up was Moira Scar. We saw them about a year ago, and they have continued their musical growth into something most weird and wonderful. The always visually captivating group is headed by Roxy Monoxide (guitar, saxophone, vocals) and LuLu Gamma Ray (synth, vocals), together with Monica Ramos and Aimee Schott on bass and drums, respectively.
With a sound that hearkened back, to these reporters at least, to the great synth-punk bands of yesterday – Tubeway Army, leavened with a dash of 45 Grave – we enjoyed their energetic set. Some elements of spiky, Crimson-style prog seemed to be peeking into their new sound. We counted a 15-beat riff (subdivided 4, 3, 4, 4) and quite liked the way tenor saxophone worked in their sound. Did we mention that the band’s presentation and stagecraft were top-notch? We’ll be keeping an ear out for more of this group.
After a brief intermission, Psychic TV took to the stage.
We will admit a bit of uncertainty on our behalf on how this would turn out. The last time we saw PTV, in the late 90s shortly after the release of Trip Reset, they were, shall we say, less-than-inspired, and certainly unrehearsed. Genesis P-Orridge disbanded the group shortly thereafter for a time. This was the new, improved PTV we saw, or PTV3 as they are now billing themselves. Just as each edition of the band is driven along by the primary composer and musical director (Alex Ferguson, Fred Giannelli, Larry Thrasher), this edition is piloted by drummer and graphic designer Edly O’Dowd. His aesthetic is something new for PTV; gone are the rambling improvisations and sound collages of days past, replaced with a tight, solid band sound. The group focused on material from the recently-reissued albums A Pagan Day and Allegory and Self, starting with a guitar-and-voice rendition of the classic tune “Translucent Carriages”, originally by Pearls Before Swine, before moving onto “She Was Surprised / New Sexuality”, “Just Like Arcadia”, and others. Genesis stuck close to the script, reading the lyrics from a music stand.
The band delivered, and the crowd loved it! We headed back to CatSynth HQ satisfied and exhausted, still worn out from our recent return from NYC. But, more about that soon….
The geography of San Francisco is complicated, and the east and west sections of the city can sometimes seem quite divided. This is even more so when one is transporting a cat across the city, as I did on Thursday to bring Sam Sam from CatSynth HQ in the downtown area to our longtime vets at Especially Cats Veterinary Hospital in the western Sunset District. There are several tall hills in between, and the most efficient route is to hop on I-280 around the southern portion of the city and then up into the Sunset.
The Sunset is an interesting and intriguing place, almost a separate city. From 19th Avenue (CA 1), the alphabetically arranged streets and numerically arranged avenues slope gently down towards the Great Highway and the ocean. The Great Highway should be CA 35 all the way up to its northern end, rather than ending in the southern corner of the city along Sloat, but it does. Especially Cats is on Taraval Street, one of the main east-west strips in the neighborhood. It even boasts a streetcar line down to the sea.
This photo was from 2015 when I brought Luna in for her biopsy. It was a normal overcast gray summer day in the Sunset. Sam Sam’s visit was on a hazy sunny and warm day at the start of the current heatwave. The return to Especially Cats was a warm experience as well, albeit a bit emotional as it was our first reunion since Luna passed away. Fortunately, Sam Sam received a clean bill of health and charmed the staff with her cuteness. And she was remarkably well behaved on the trip over, just complaining a little bit. We decided to take the more geometrically direct but hilly and windy route back, taking Taraval to its eastern end a swanky neighborhood around Laguna Honda, and then over Portola and Market back to our corner of the city. The spot where Market and Portola meet is among my favorite in the city, with commanding views of downtown and beyond. And in between, there are dips and valley with unexplored roads and walks that I need to come back to when I don’t have an impatient cat in a carrier.
The whole of the city used to be mine, as I regularly moved from neighborhood to neighborhood for work, fun, or errands. Downtown San Francisco can be a bit of a gravity well when one both works and lives there. It’s a fine situation, in truth, but I can sometimes get a bit restless to move about rest of the city again. Especially some of the older sections, or the more industrial spaces that formed the backbone of my visual art (and “Wordless Wednesday”) but are rapidly disappearing. When will the last dilapidated warehouse give way to a banal medium-rise apartment building?
Finding this balance, doing all we want to do, and have to do, is perhaps this moment’s biggest challenge. But on this day I was happy to simply do right by a loved one while exercising a bit of the wanderlust.