
From ⓉⒺⒸⒽℕ⌽▃ⒾⒹ●⒞⒪⒨ via Twitter.
@Nedavine: Case arrived with a week to spare. Thanks @noisebug @monorocket
Not much space left to sit inside this Monorocket case 😉

From ⓉⒺⒸⒽℕ⌽▃ⒾⒹ●⒞⒪⒨ via Twitter.
@Nedavine: Case arrived with a week to spare. Thanks @noisebug @monorocket
Not much space left to sit inside this Monorocket case 😉

Today we look at a recent performance by Amy X Neuburg at the Center for New Music featuring a new interpretation of Jerry Hunt’s “Song Drapes.” This project was part of commission Neuburg received from the Cultural Department of Cologne, Germany to reinterpret the piece, which was originally a collaboration between Hunt and the performance artist Karen Finley.
We at CatSynth are immersed in a world of unique and often odd artists. But Jerry Hunt stands out as exceptionally odd and enigmatic. The evening began with screenings of his video work that is rarely shown in public. Many of them featured the artist alone in a dark room with his strange homemade electronic controllers and bits of electronic sound.

There were other departures among his videos, including one powerful piece featuring a close-up of Hunt reciting what seems like a stream of random but intense thoughts; and other where he takes the viewer on a tour of his home in Texas pointing out the behavior of local wildlife and a customized homebrew toilet. Both of these pieces seemed to portend his tragic death by suicide while suffering from cancer. But there were also humorous at times.
A similar mixture could be found in Neuburg’s live performance, which followed the screenings. “Song Drapes” includes Hunt’s original electronic background recordings and instructions to the performer to perform text of his or her own choosing with a live percussion rhythmic layer. The elements of electronics, percussion and voice were a perfect match for an “Amy X Neuburg treatment.”

The result was unmistakably her sound and style, filled with rhythmic hits, dramatic vocals and delightfully sardonic texts. Some were quite dark in keeping with the original work, but some of the best moments were the most quirky and humorous, including a tribute to Nebraska as the place one often flies over between frequent trips between California and New York (something which is part of my life as well), and her dance to a catchy rhythmic tune entitled “Little Legs”.
The performance lasted exactly one hour, but was engaging throughout. I am glad to have attended it. I do also hope to see more exposure for Jerry Hunt and his work. You can read more about him here. You can also find out more about Amy X Neuburg’s interpretation

So much perfection in this performance. There is a certain quintessential sound in this minor blues that is a deep influence on my music, sometimes very near the surface, sometimes more obscure. R.I.P, B.B. King.

From thisispasserene on Instagram.
“Not posed. Found him like this. #synthcat 🎹🐱”
Next to a microKORG is a perfect place for a cat to pose.

From jackrudes on Instagram. Identity of the plush cat and keyboard left as exercises to the reader.

From bitreduction on Instagram.
“Slightly old picture of this cutie”
Cutie indeed! And quite a few familiar synth modules. We’ll leave naming those as an exercise to the reader 🙂
The acclaimed French band Magma recently toured the United States for the first time in quite a long time. And we at CatSynth were in attendance when the played at Slims in San Francisco about a month ago.

For those not familiar with Magma, it was founded in France in 1969 by drummer Christian Vander. Musically, the band combines some of the best aspects of jazz fusion and progressive rock from the early 1970s with a unique (and somewhat apocalyptic) vision. All the the lyrics are written in Kobaïan, a constructed language invented by Vander that reflects the story from the band’s first album in which settlers fleeing Earth settle on a planet Kobaïa. The vocal arrangements feature a mixture of complex solo vocals and rich choral sections, all the while backed by Vander’s drumming and intricate rhythm from the full band.

The overall energy level was intense to say the least, but the thing I noticed most was how tight they were at all times throughout the performance. This is especially key for the fusion aspects of their music, and something that I found quite inspiring. Take some of the more fast-paced and intricate examples from Herbie Hancock’s early 1970s bands, and layer the vocals on top with punctuated rock hits. Although these elements can be found in other bands of the era, there is something distinct about their sound that made it immediately recognizable upon entry to the venue (we were slightly late and they had already started the first song). It is also interesting to note that the music has a very optimistic quality (and a bit of exuberance) that belies the rather dark theme of the lyrics and concept for the band.

Magma played to a packed house that evening. Slims is not a large venue, but it’s not the smallest either. There were definitely a lot of long time fans who clearly recognized the songs, but I’m sure some new listeners discovered them and hopefully went away wanting to hear more of them. For the overall experience and the musical inspiration, I am quite happy to have been in attendance.