Our year-end collage is a long-standing tradition at CatSynth. And we had a lot of fun making this year’s edition, so many wonderful images to choose from. One of my best solo performances to date took place at the Compton’s Cafeteria series at the Center for New Music. Big Merp came to live with has at CatSynth HQ. And our adventures took us from the halls of NAMM to the bottom of Death Valley to the subways of New York.
As we mentioned at the end of last year, most of the energy has moved to CatSynth TV and our social media platforms (especially our Facebook page). The blog is mostly our core cat-and-synth pics these days, although I do enjoy sharing long-form articles now and then. And In 2020, I do plan to revive the “primary highways” series from eight years ago.
On the video side, things have been going very well. Here are the top videos for 2019:
By early autumn, I was also thinking about this year as a “tipping point.” The transition from the blog to the video channel is the most obvious, but it also applies also on the personal side. The arrival of Big Merp was one of the big stories, and it’s been a tough integration getting both cats to coexist, but things have been trending well in the past few months, with Sam Sam regaining her confidence and HQ becoming a more harmonious place again. Musically, I have moved in a direction that is perhaps closer to my roots in jazz, fusion, funk while maintaining the experimental electronic aspects. I have also moved to a point where studio work is how I spend most of my musical time, between the videos and other projects. Finally, I am getting older, as we all are, and that adds both perspective and a need to focus on health and wellbeing. In 2020, I may “do fewer things” than in the past, but I hope the things I choose to do make an impact both personally and beyond.
There is a lot to look forward to in the coming days: NAMM 2020 is around the corner, I have a full queue of demos to share, and I am laying the foundations for some major musical projects. And of course, we will continue to post cats and synths.
Yesterday afternoon I was practicing for tonight’s solo electronic concert at the Make-Out Room in San Francisco; Merp decided that two of the main instruments, the Arturia MicroFreak and Novation LaunchpadPro, would make a great napping spot. Adorable as it is, it certainly made it more challenging to use them.
Merp’s rear paws occasionally kicked off beats on Ableton Live! while I was trying to do some playing on the Nord Stage EX (off-screen). Fortunately, he did eventually get up and I was able to continue with my preparations.
If you are in San Francisco this evening, please stop by the Make-Out Room to hear me perform several pieces on solo electronics. No cover charge, and close to public transportation. Details can be found here.
This past Thursday, the Center for New Music launched Compton’s Cafeteria Series, a set of occasional concerts featuring transgender performers. And I was there both the cover the show and be a part of it!
For those who are not familiar with the story, Gene Compton’s Cafeteria was a small restaurant chain and its Tenderloin location at the corner of Taylor and Turk Streets was one of the few places where transgender individuals, and especially transgender women, could safely congregate. There was, however, some tension between transgender patrons and the staff, who often called the police, with arrests and harassment ensuing. In 1966, this pattern led to the Compton’s Cafeteria Riots.
In the 1960s the Compton’s Cafeteria staff began to call the police to crack down on transgender individuals, who would frequent the restaurant.Management felt that transgender customers were loitering and causing them to lose more desirable business. In response, they implemented a service fee directed at transgender individuals and blatantly harassed them in an attempt to get them to leave the restaurant. In response to police arrests, the transgender community launched a picket of Compton’s Cafeteria. Although the picket was unsuccessful, it was one of the first demonstrations against police violence directed towards transgender people in San Francisco. On the first night of the riot, the management of Compton’s called the police when some transgender customers became raucous. Police officers were known to mistreat transgender people.When one of these known officers attempted to arrest one of the trans women, she threw her coffee in his face. According to the director of Screaming Queens, Susan Stryker, the cafeteria “erupted.”
This was nearly three years before the Stonewall Inn Riots in New York but has not gotten nearly the visibility in the time since. There is a plaque on the sidewalk in front of the former site at 101 Turk Street, and there is now an honorary street renaming of the 100 block of Taylor Street as Gene Compton’s Cafeteria Way – we featured the sign in our most recent Wordless Wednesday post.
More importantly, the immediate vicinity has been recognized by the city as a “Transgender Cultural District.” As the Center for New Music is located in the heart of this new district, it seemed natural for them to host a series celebrating transgender visibility (and audibility), and I am grateful to the staff there and to my friend David Samas for proposing this and making it happen.
The show itself was a successful event featuring vary different performances, although they all made extensive use of hardware synthesizers. You can see some of the highlights in my latest video.
The evening started with a set by Rusty Sunsets (aka Cara Esten). Her performance was divided into two sections, the first featuring acoustic guitar and voice, and the second incorporating synthesizers and drum machines. Both parts were unified by Esten’s folk-song style, with a series of compositions about her upbringing in Oklahoma and loves lost and found. Perhaps the poignant was a love song inspired by the 1911 Triangle Factory fire in New York where 146 workers, the vast majority of whom were women, perished. My favorite was the final song which brought together a Moog Mother-32 and other synthesizers with plaintive but optimistic singing.
Next up was Pitta of the Mind (Amanda Chaudhary and Maw Shein Win). We performed a short set with a featured color of blue – set against the fuschia background lighting and my automated multicolor blinking lights. Musically, it had a very punctuated quality with abstract sounds from the modular and Arturia MicroFreak against some of Maw’s poems that featured open space and short lines. We mixed it up for the final piece, which had lusher and more emotive quality with longer lines and acoustic piano – these pieces are a strength for us and we always include at least one.
Then it was time for the final set, featuring my solo electronic performance. I started with the solo version of White Wine (and a cup of white wine). The Casio SK-1 was sampled and remixed in Ableton Live, with the statement of the melody and cords, followed by a cacophony leading into two distinct rhythmic sections: first a funk/disco sound featuring MicroFreak bass and a jazz piano improvisation; and then a Stereolab inspired electric-organ solo leading into a final section of tape-delayed metallic sounds (Strymon Magneto and Pocket Gamelan from Crank Sturgeon).
After that, it was on to the cat-infused and disco-and-French-House inspired Donershtik. The piece is just a lot of fun, a classic 70s analog melody (in this case on the Arturia MiniBrute) in Phrygian mode followed by playful modular improvisation (anchored by the MOK Wavewazor) going into the electric piano disco/house section.
Overall, I think this was one of the best of my live solo sets, tightly choreographed with a relatively diverse and robust setup, and well-defined and well-rehearsed pieces. Once again, structure and hard work paid off.
But I also fed off the positive energy and enthusiasm of the crowd, which brought together regular friends and fans with members of the transgender community. It was a beautiful night overall, and I look forward to both being present and helping organize the next in this series.
I have attended the Garden of Memory at the Chapel of the Chimes in Oakland many a summer solstice since moving to San Francisco – and written multiple reviews on these pages and even presented a CatSynth TV showcase last hear. But 2019 is the first time I have performed at this annual event as a named artist. It’s a very different experience from the inside looking out. This article describes the adventure.
My friend and sometime collaborator Serena Toxicat and I were excited to be accepted into this years program for our project Manul Override. We joined forces once again with Melne Murphy on guitar and also invited Thea Farhadian to sit in with us on violin.
I had a rather elaborate setup, anchored as usual by my trusty Nord Stage EX. The Sequential Prophet 12 has also become a mainstay of my smaller collaborations, providing rich ambient sounds. The Arturia MiniBrute 2, Moog Theremini, and a collection of Eurorack modules rounded out the rig.
Getting everything into place in the catacombs-like building – a renowned landmark designed by Julia Morgan – was a challenge in itself. Fortunately, I found parking nearby and was able to load everything onto carts or wheeled cases, and had plenty of help getting things downstairs where we were playing.
The acoustics of the space are also quite challenging. It is a set of oddly shaped stone chambers, some large, some small, so echoes abound from both the crowds and other performers. Figuring out how to balance our sound is not easy, and I don’t pretend to have gotten it right on the first try, but it’s a learning experience. But we did get ourselves sorted out and ready to play.
The set unfolded with an invocation, a drone in D mixolydian mode set to Serena’s text Mau Bast, read first in French and then in English. It seemed a perfect piece for the occasion. We then switched things up with a more humorous piece (Let’s Hear it for)Kitties, which was a crowd favorite. You can hear a bit of it in this video from the event.
I have learned how to best follow Serena’s style of speaking and singing, with a more open quality; and Melne and I know how to work together well both in terms of timing and timbre. Thea’s violin added an interesting counterpoint to the voice and electronics. Her sound was sometimes masked by the other instruments and the acoustics but when it came through it added a distinct character and texture. The remaining two pieces were more improvised. One was a free improvisation against one of Serena’s books Consciousness is a Catfish, and another was based on a graphical score with 16 symbols that I first created in 2010 but have revised and reused over the use. The newest version included a cartoon pigeon in honor of my bird-loving co-conspirator Melne.
The performance was well received. Crowds came and went throughout the evening, but many people stayed for extended periods of time to watch us, and others came back a few times. We played two hour-long sets, and in between I had a small amount of time to check out some of the other performs. In particular, I enjoyed hearing Kevin Robinson’s trio, with whom we shared our section of the space.
His spare group and arrangements with saxophone, upright bass, and drum, provided a distinct contrast to our thick sound. The moved between long drawn-out tones and fast runs with short notes that reverberated around the space in between. Robinson’s music often has a meditative quality, even when it is more energetic, so it fit well.
Around the corner from us was the Stanford Laptop Orchestra (SLOrk). They had a quiet set featuring performs seated on meditation cushions with laptops as well as various percussive objects as sound sources.
I was particularly inspired by Anne Hege and her Tape Machine, an instrument with a free-moving magnetic tape and several heads, pickups and tiny speakers. She sang into it at various points and moved the tape, created an instrumental piece that was part DIY-punk, part futuristic, and somehow quite traditional at the same time.
Her performance gave me ideas of a future installation, perhaps even to bring to the Garden of Memory in years to come…
Thea pulled double duty during the evening, also performing as part of a duo with Dean Santomieri, sharing a space with Pamela Z. Our friends Gino Robair and Tom Djll brought the duo Unpopular Electronics to one of the darker columbariums, and IMA (Nava Dunkelman and Amma Arteria) performed on the lower level. In retrospect, our group might have been better placed sharing a space with them, as we are both electronic groups (all women) with large dynamic range.
Overall, it was a wonderful experience, and with the opportunity to play as well as listen it’s my favorite to date. Thank you Sarah Cahill, Lucy Mattingly, and the rest of the crew at New Music Bay Area as well as the Chapel of the Chimes staff for letting us be a part of this event!
Getting the two cats to coexist at CatSynth HQ has a long and sometimes bumpy road. Sam Sam in particular has a tough time of it. But things are starting progress to the point were we at least of tolerance and respect. Sam Sam mostly stays on the mezzanine level of HQ, splitting her time between the bedroom and the studio, but she is starting to come out more and reassert herself as the sassy queen of the house.
Big Merp has the run of the downstairs level and enjoying both the relaxing and fun of living here.
He does sometimes come upstairs. In this photo, he jumped up on the main studio console that houses the Nord Stage, Prophet 12 and Pro Tools workstation, and has found a nice hiding place behind the monitor.
From his perch, he supervised part of the postproduction for our latest CatSynth TV, which you can now see here.
Sam Sam also hangs out in the studio a lot. In this video she gives as a little mew as a greeting.
This is Chancer Von Chonkerfloof, a rather handsome fellow if we say so. This studio portrait comes to us from skinfitz via Instagram. And he is posing with synthesizers from Moog and Nord, two brands dear to our hearts at CatSynth.