Surplus 1980 and Fred Frith Trio, Brick and Mortar

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.

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

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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ReCardiacs Fly, Surplus 1980, PG13 at Hemlock Tavern

Today we look back at ReCardiacs Fly’s show at the Hemlock Tavern in San Francisco last month. It was a great show of music in prog and post-punk styles together with experimental/avant-rock groups PG13 and Surplus 1980.

The evening opened with PG13, the “power trio” of Phillip Greenlief (saxophone), John Shiurba (guitar), and Thomas Scandura (drums). I had originally heard them a few years back at the Skronkathon. They did have the loud-rock-trio thing down at the time, but in the intervening time they have become more finessed and detailed without losing that original intensity.

[Photo by Michael Zelner.]

They opened with driving syncopated rhythm and power chords. The rhythmic textures brought all three instruments (saxophone, guitar and drums) together. This was undeniably rock – held together by Scandura’s drums – but later sections did have a more jazz-like quality, which I thought worked when done with sudden changes in volume and texture. I of course did like that one of their songs (composed by Greenlief) was The Totally Unbelieable but Absolutely True Adventures of George Cleaver the Cat. Loud music with complex rhythms about cats works for me any day.


[Photo by Michael Zelner.]

After PG13, it was time for us to take the stage. For those who have not read the previous ReCardiacs Fly articles, we are (possibly the only) tribute group for the UK avant-prog band Cardiacs. We model our line-up after the original band, and don suits and creepy theatrical makeup reminiscent of their appearance in the 1980s. This music is complex and intense, and challenging to play, but a lot of fun for us and for the audience when we pull it off. A few songs came out quite well at the Hemlock, in particular “Burn Your House Brown”, which you can see in this video:

“In a City Lining” also came out quite well. On a technical level, the sound was the best we have had for any ReCardiacs Fly show, with the mix between the amps, speakers and acoustic space balanced so that we could hear everyone even in the loud parts. And we were quite loud, appropriately so.

As always, the performance was full of energy, and we got a great response from the modestly sized but enthusiastic audience. The full lineup of the band features Polly Moller on lead vocals, Masc Laspina on guitar, Chris Broderick on saxophone, Tim Walters on bass, Amar Chaudhary on keyboard,
Moe! Staiano on drums, and Suki O’kane on percussion.

The final set features Surplus 1980, a post-punk project led by Moe! Staiano with a rotating cast of band members. This evening features Moe! together with Bill Wolter and Melne Murphy on guitars, with Thomas Scandura returning on drums and Jason Hoopes on bass.


[Photo by Michael Zelner.]

The band was incredibly tight rhythmically and harmonically, as if they had been playing these songs together for years. In particular, there is the challenge of getting all three guitars to be in sync, which they were able to do, will Bill Wolter front and center. And the group’s lyrics were often quite funny (this in the context of our just completed Cardiacs’ set). It’s difficult to recall any particular line at this point, but they definitely worked at the time. Most of the musical techniques were standard but with complex rhythms and phrases, but Wolter did have quite an array of effects pedals, and during one of the final songs Moe! pulled out a vinyl record which he proceeded to use on his guitar like a pick and destroyed in the process (the record, not the guitar).

Overall, it was fun night of loud rock music from friends and colleagues whom I usually here in more overtly experimental contexts. I hope our bands will get a chance to play together again sometime.

Polly Moller at Trinity Chapel

Today we look back at a concert of works by Polly Moller at Trinity Chapel in Berkeley, CA that I attended back in December. This concert was a large undertaking, not only with a full night of music by a single composer, but a large cast of characters from the Bay Area new-music scene, as one might see at an event like the Skronkathon, but in this case all working towards a single purpose and vision. There were several pieces I was already familiar with from previous performances, including two that I have performed myself. Three others were being premiered. Mythology and narrative seemed to permeate all of the pieces, whether drawn from specific mythological stories or unfolding through rituals and rule-based processes.

(As with several of the larger performances and events I attended last year, I was live tweeting @catsynth, and have included a few choice tweets in this larger review.)

The concert opened with a performance of The Flip Quartet. I had first seen it performed at Hypnogogia at the Climate Theater in 2009, and then had the opportunity to participate in a performance myself later the same year. This performance brought back the original lineup of Karl Evangelista, Jason Hoopes, Thomas Scandura and Bill Wolter. Four stations were set up, representing the four cardinal directions and the traditional elements of air, water, fire and earth. At each station was an array of instruments and other objects that in some way represented that element (e.g., wind instruments at the air station, electrical instruments at the fire station, etc.). Each performer starts at a station and improvises using the objects for two minutes before advancing to the next and repeating the process. Musically, this can really go in many any number of directions (no pun intended) based on the particular objects available and the sensibilities of the performers involved. Often the sounds happen coincidentally, but every so often the four performers come together and produce that is musically integrated (@catsynth Lots of nice gurgling and drumming and whistling. Strong musical moment.) This was the first time I had seen the piece performed on a traditional proscenium. The previous performances were done in the round with the audience in the center and the stations surrounding them. While it was easier to see all the performers at once this way, there was something fun about the round format, the connection to the elemental and directional aspects and the ability to see the instruments close up.

Next was the premier of Duo No. 1 featuring Gino Robair on a variety of instruments and Krystyna Bobrowski playing a “sliding speaker instrument.” The piece has a dual identity as a narrative following the life cycle of a moth and an excuse to make Gino Robair “play really, really quietly.” And indeed, it was relatively quiet and subtle, but still with a lot of dynamic energy. Robair played a variety of percussion instruments, including the signature broken cymbal that I often see him play. Robair’s sounds are fed into the speaker in Bobrowski’s instrument and excite the tube, which she can then vary in length to change the timbre of the sound.

Bobrowski was able to get quite a variety of interesting timbres from her “acoustic signal processor”, which then informed how the improvisational duet unfolded within the context of the overall graphical score.

The next piece, Penelope, was perhaps the most traditional of the evening, as it was through composed for a single performer on piccolo with supporting vocal and foot-stomping parts. It was commissioned for and performed by Amy Likar.

The piece based on the final chapter of James Joyce’s Ulysses (which is of course itself inspired by Greek mythology), and the extended piccolo techniques, combined with the irregular foot-stomp rhythms and repeated breathy voicing of the word “yes” are intended to “evoke Molly Bloom’s sensual stream of consciousness.” I found myself mostly focused on the combination of the foot stomps, trying to find syncopated patterns whether or not they were there, and the surprisingly powerful sounds from the extended instrumental techniques. (@catsynth Who knew the piccolo could be such an angry instrument?)

After a brief intermission, the concert resumed with a performance of the Three of Swords. I had first seen Polly perform this piece for Pamela Z’s ROOM series at the Royce Gallery in San Francisco. This version was performed by Sara Elena Palmer using vocals and electronics.

The narrative structure is a bit more abstract in this piece, but it is nonetheless present through the highly ritualized nature. The program notes describe it as a “sound-art divination ritual for solo performer and tarot cards.” It unfolds with the setting of a 20-minute hourglass and lighting a series of candles. For each candle, the performer draws a card from the tarot deck arrayed out in front of her, and interprets the card musically. (@catsynth http://yfrog.com/hsv2tzj pick a card any card.) At the end of each section, the corresponding candle is extinguished.┬áSara Elena Palmer’s bright red costume and head covering (which she removed during the recitation concerning the heart) seemed to be an integral part of her interpretation of the ritual. Among the more interesting musical elements she employed was a radio used to generate analog noise sounds.

The next piece, Alcyone is based on the Greek legend of Alcyone, the Kingfisher Queen, who calms the ocean for seven days before and after the winter solstice so she can incubate her eggs in a nest on the waves. (Appropriately, this concert took place three days before the winter solstice.) Musically, the piece opens with an energetic instrumental quartet featuring Philip Greenlief on clarinet, Cory Wright on bass clarinet, Lisa Mezzacappa on contrabass and Suki O’Kane on percussion. After a stretch of time, mezzo-soprano Laura Malouf-Renning entered the stage regally costumed with a black cape and crown and carrying a nest with Christmas ornaments (@catsynth A festive birds nest). She silenced the instrumentalists one by one with a tap on the shoulder, and began an expressive monologue.

The final piece of the evening was Genesis for 12 performers. I had first seen this piece at its premier at the Quickening Moon Concert last year, and then had the opportunity to perform it myself with Cardew Choir last summer. This version followed closely the personnel and interpretation of the original performance, featuring Polly as the conductor and Matt Davignon in the role of the new universe. The piece combines “Western magical tradition” with the concept of the 11-dimensional universe from string theory. The performers represent each of the dimensions, with special roles for the conductor, the timekeeper who represents the time axis, and three performers representing the conventional spatial dimensions. The final performer represents the new universe that is born from the multi-dimensional processes.

The performers are arranged in a very specific spiral formation with the new universe (Davignon) at the center. The conductor (Moller) carries chimes and walks the spiral, tapping each performer to enter or exit. The sound starts out slowly and gradually, but then builds into a loud crescendo as the new universe is born. At this point, Davignon took over with a solo on live electronics. Like many of his other electronic performances, he achieves a very organic sound with lots of textural details, sometimes liquidy or like a series of objects being shaken or dropped. After the new universe solo, the spiral reverses as the other dimensions re-enter, but gradually get softer before a final statement by the new universe.

(@catsynth #pollymoller concert concludes. Good night!)

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.

Hypnagogia, Climate Theater

Hypnagogia defines the state between sleeping and waking: the state in which our dreams can seem more real to us than the waking world, and which, depending upon the nature of our dreams, our limbo-selves seek to flee, or to sustain.

My primarily mission in attending Hypnagogia at the Climate Theater was to see the performance of The Flip Quartet by Polly Moller, as I will be part of upcoming performance of the piece in July. The performance featured Karl Evangelista, Jason Hoopes, Thomas Scandura and Bill Wolter. The Flip Quartet is a composition for four improvisers who move between four stations representing the cardinal directions (north, east, south, west) and the four medieval elements: earth, air, fire, water. Each station had a variety of instruments and sound-making objects to represent elements.


[click to enlarge]

“Earth” had drums, stones, and blocks. “Air” included various wind instruments and shakers. “Fire” featured metal instruments and electric instruments (keyboard, electric guitar, etc.). And “Water” included water-filled containers, but also acoustic string instruments – this was the only association I had a difficult time figuring out, with my own interpretation being “standing waves.” Each section of the piece starts with the performers “flipping” a timer. When the time runs out, they stop and move on to the next station.

The audience sat in the middle of the theatre, with half the seats facing one pair of elements and half facing the others. Since there were two performances, I got a chance to see and hear the piece from “both sides.” Musically, the piece unfolded as ever changing harmonies of the different objects, often very discrete and percussive, along with many theatrical moments such as attempting to balance on the “earth” elements on the head of a drum. My favorite moment musically was the combination of the Asian pipe (shown one of the photos above), lute, shakers and thunder tube.

The other musical performance was Philip Greenlief performing a solo work The Fourth World. The piece is based on Hopi conception of time and the Fourth World from Hopi mythology, and is a solo performance featuring Greenlief’s expressive and virtuosic saxophone playing. I am always impressed with his multiphonics, which he manages to make seem as easy to play as standard tones. Spatially, this performance was the opposite of The Flip Quartet, with the audience seated in a circle facing inward and creating a more intimate space.

In addition to the featured live musical performances, there were visual art pieces, installations, and media and performance art. Sean Clute, Jessica Gomula and Gina Clark presented a “video action painting and performance” entitled Slippery Dreams 2009.

Live video of the drawings being created were projected onto the screens, and I believe also used to control the sound that was generated.

Louis Rawlins presented the installation Sleep Patterns, set up as a bedroom or sitting room where one could relax and touch the ball of yarn on the table.


[click to enlarge]
The string (which included conductive thread) was used to generate sounds in response to the viewers interactions. Presumably, one could interact with this piece while asleep.

The were several video pieces of varying subject and quality. I did like Vanessa Woods’ What the Water Saw, a short film that originally was shot on 16mm/35mm film and transferred to video. It was meant to mimic ocean with the distortion of images through water, as represented by the intense layering and deep colors of the film. After looking at Woods’ website, I think I might have been more interested in some of her black-and-white films. Rebekah May’s Celestial Cadence for video on five iPod Touches was an interesting visual in itself, with its arrangement of abstract color and shape patterns:

Among the purely visual works that caught my attention was the undulating Circulation III by Julia Anne Goodman, a mobile work that was created from junk mail (and there is certainly plenty of that around); also Klea McKenna’s Taxonomy of My Brother’s Garden from Center of Gravity:


[click to enlarge]

Finally, as it was quite stuffy inside the theatre and gallery on this rather warm night, there was the welcome retreat to the rooftop, where VoxMaids performed rhythmic and traditional-sounding music for drums, accordion and voices against projections of astronomical objects. Alternatively, one could look at a real astronomical object, the moon, on this rather clear night.