CATSYNTH

cats synthesizers music art opinion

Category: Music

Reconnaissance Fly with Hay Fever and The Sibleys at The Palms

Today we look at the first of Reconnaissance Fly’s recent shows in the high desert of southern California near Joshua Tree. This show took place at The Palms in Wonder Valley, California. Wonder Valley is an odd place east of the town of Twentynine Palms. Wonder Valley is a community of sorts, but not really a town in its own right (indeed, I’m still trying to figure out what exactly Wonder Valley is). But the Palms is a destination for locals and others and often features live music.

The evening opened with The Sibleys, which featured Laura Sibley on guitar/vocals and James Sibley on drums. They also happen to be the owners and operators of The Palms.

Their original songs could be described as energetic rock-and-roll, with fun lyrics – I think many of us went away remembering “Black Kawasaki, I feel lucky…” And Laura Sibleys strumming and solos pushed the music forward. They were definitely a favorite among the local crowd, some of whom could be seen dancing.

Next up was Hay Fever, featuring Emily Hay on flute and vocals with Wayne Peet on various keyboards, and Steuart Liebig on bass and effects.

Hay Fever is an improvising group, with a continuous ever-changing stream of music that spans the entire set. There were many moments that would fit into a “space music” show, with drones and arpeggios, but also more intense sections with vocals and playing, and very sparse moments leading back into a thick fog of sound. Liebig’s bass playing added some particularly interesting textures to the rest of the group’s sound.

Then it was time for us, Reconnaissance Fly, to take the stage.

We did a set that featured several of our tracks from the album, as well as some of the newer songs. Particularly when we got to the funkier tunes like Itzirktna or the harder rock sounds heads and ears from the bar turned in our direction. It may not have been our tightest performance, but we had a lot of fun and presented with energy.

Overall, it was quite an experience to play at The Palms, perhaps a bit surreal given the desert surroundings and activity around us. We certainly hope to come back again some time.

October 28, 2014
A Personal Remembrance of David Wessel

I was very shocked and saddened to hear that David Wessel, Director of the Center for New Music and Audio Technologies (CNMAT), passed away suddenly on October 13. There have been quite a few thoughtful and strong tributes written in the past few days. Mine is more focused on our personal connection and his influences on my work and interests.

When I came to CNMAT in the mid 1990s, David Wessel was already well established in our small but growing community of academic music with computers. He had already made major influences in the field including timbre spaces and software for real-time musical performance. His focus, both in his own work, and those whom he guided, was on expressive musical performance. Through his introduction, I began working on research that included both of these influences. Along with Adrian Freed, Matt Wright, and others, we embarked are a run of successful research projects and publications, several of which remain influential.

As part of my thesis work, he and I did a version of his groundbreaking piece Antony, which features hundreds of moving partials in frequency space using my OSW software. I am hoping to resurrect the software for that in the coming weeks, but until now this video gives a sense of what this piece is about.

I did also have a chance to work on musical composition and performance at CNMAT. I was quite influenced and inspired by Wessel’s work with controllers and real-time synthesis, especially in ways that preserved the physical embodiment of performance – physical gestures mapped intuitively to musical sounds and ideas, rather than sitting behind a laptop. Although my music and performance style has evolved in very different directions since then, the principle of physical gestures guiding technology for music that he championed has remained a core part of my electronic music.

We got to attend many conferences together, including several years of the International Computer Music Conference (ICMC), where he was always ready to include me and others in social gatherings with colleagues from all over the world – he seemed to know everyone in the field. The beer, wine, and spirits often flowed freely, as did the conversation, veering from personal to deeply intellectual ideas in mathematics or psychology. This picture below was taken in Barcelona in 2005, and also includes Roberto Morales and Clarence Barlow.

In addition to attending these conferences, he continued to support my participation in musical and research activities and remain a part of the community, most notably sponsoring me for a prestigious Regents’ Lecturer spot in 2011. He had joined the faculty and advisory board of Berkeley’s ParLab for research in advanced parallel computing, and part of the appointment was to give talks and work with students there, but he also made sure that it included the chance to give a solo concert at CNMAT. I still recall the glowing and generous introduction he made for me at the start of the evening. Indeed I was deeply touched by it. I had the chance to return the favor early this year when I introduced him for a panel at the Bone Flute to Auto Tune conference at Berkeley. It was the last time I saw and spoke with him in person.

The entire community around CNMAT and the greater community he touched have been mourning the passing of David Wessel, as well as celebrating is personal, artistic and technological influences. There will be events to remember and celebrate his life over the next month, and I hope to be there for some of them.

October 16, 2014
CatSynth video: Singer and attentive cat

`

Yes, this is not a cat-and-synth pic, but it is definitely cat-and-music, and too adorable not to post. Via Facebook.

September 29, 2014
CatSynth pic: Jam Session Cat

Not strictly a cat-and-synth picture, but definitely a cat and musical instruments :). Submitted by ⓉⒺⒸⒽℕ⌽▃ⒾⒹ●⒞⒪⒨ via Twitter @catsynth.

“Ready to go for the jam session …”

September 1, 2014
Cat-and-music pic: Oliver and his albums

Submitted by Damien Olsen via our Facebook page.

“I am Oliver, I appreciate any form of Art but my favorite one is probably music..”

We think Oliver has excellent taste in music!

August 25, 2014
Outsound New Music Summit: Jill Burton Trio, Obstreperous Doves, Emergency String (X)tet

The 2014 Outsound New Music Summit concluded with a night of improvising ensembles, including a couple of very memorable performances.

The evening being with the Obstreperous Doves, a project by Bill Noertker that brought together Nava Dunkelman, Christina Stanley, Karl Evangelista, and Dave Mihaly in an exploration of assertive and complex improvisation.

[Photo: PeterBKaars.com.]

[Photos by Michael Zelner]

Besides giving us a chance to use the word “obstreperous” – and it is indeed a fine word – the ensemble allowed the talents of all five artists to blend while still letting them each have a voice. Christina Stanley provided noisy and harmonic violin sounds as well as her voice, including a strange but amusing story layered on top of pieces. Nava Dunkelman offered up a wealth of percussive sounds that also sang at times. Karl Evangelista was in usual form with his intense and intricate guitar playing. The group lived up to its name with lots of noisy percussive sections, but also moments of more harmonic jazz phrases, and quiet instances as well.

The Obstreperous Doves were followed by the Bob Marsh’s ensemble the Emergency String (X)tet. They premiered a Terrascore by Marsh composed for his 70th birthday.

[Photo: PeterBKaars.com.]

A terrascore is “a musical geobiographic representation of an individual.” In this case it focused on locations significant to Marsh’s artistic life: his home town of Detroit, Chicago, Berkeley and San Francisco. The ensemble improvised with Marsh conducting from a score based on geographical information from these places, along with field recordings that he made. I’m pretty sure I recognized the one that represented the area around the Luggage Store Gallery in San Francisco. The other members of the ensemble included Mia Bella D’Augelli, Jeff Hobbs,
Christina Stanley (pulling double-duty on this night), David Michalak, Doug Carroll, and Kanoko Nishi-Smith.

The final performance was a trio that brought together vocalist Jill Burton with Tim Perkis on electronics and Doug Carroll (also pulling double-duty) on cello. This was a first-time collaboration by the three of them. The result very captivating performance. It started with a very mysterious and haunting solo by Jill Burton, who then demonstrated the range of her extended vocal techniques blending with Perkis’ liquidy electronic sounds and Carroll’s scratchy percussive cello. It was also a theatrical performance, with expressive gestures and movement by Burton coupled with Carroll’s cello antics, sometimes turning the instrument backwards or upside down. But all along with a sonically beautiful and varied experience, that contained the right amount of silence amidst the energy of the sounds.

[Photo by Michael Zelnzer]

[Photo: PeterBKaars.com.]

It was a very strong finale to this year’s summit, and it was interesting to compare and contrast the book ends of the Jill Burton trio with Pitta of the Mind from the opening. It was probably among the best years overall since I started attending this event in 2008; and I look forward to what comes next year.

August 14, 2014
Outsound New Music Summit: Deconstruction Orchestra and Rakin-Parker/Pearce Duo

We continue our reports from the Outsound New Music Summit with the concert on Friday, August 1. This evening featured two very contrasting sets, both in composition and volume.

The first set featured the duo of Teddy Rakin-Parker and Daniel Pearce. They performed new works by composer Renee Baker that were commissioned for the Outsound Summit.

Baker’s compositions “use a wide range of graphics and cued micro-improvisations as a means to denote the various developmental stages of our planet’s evolution.” Musically, the result was a mixture of subtle sounds, often low in volume, with occasional bursts of energy and percussive elements. The latter worked particularly well for this duo, with the cello becoming a percussion instrument alongside the drums.

If the initial set was subtle and focused on details, the second set was the complete opposite. Joshua Allen’s Deconstruction Orchestra was a loud event with no fewer than 22 instrumentalists on stage.

The ensemble performed The Structure of Sound and Space, an original deconstructivist-inspired suite of cell structure game compositions. Allen conducted the group through gestures and a series of instructions on sheets of paper. The piece and the ensemble were described in advance as being “cathartic”. That characteristic was hard to discern, but they certainly were loud. It seemed that most of the ensemble was playing at the same time, creating a very thick, intense and sometimes chaotic texture; though there were points where subgroups performed and there were several solos by ensemble members. It was certainly a spectacle that had to be experienced live.

The full ensemble featured Aaron Bennett, Sam Flores, Vinny Golia, John Ingle, Matt Ingalls, Josh Marshall, Dave Slusser, Rent Romus, Cory Wright, Peter Bonos, CJ Borosque, Matt Gaspari, Ron Heglin, Jeff Hobbs, George Moore, Matt Streich, John Finkbeiner, Henry Kaiser, Lisa Mezzacappa, Timothy Orr, and William Winant.

Overall, this was a somewhat shorter program than the other nights, but it packed quite a punch.

August 11, 2014
Outsound New Music Summit: Guitar Night!

The 2014 Outsound New Music Summit continued last Thursday with night featuring guitars, and only guitars. This was an unusual curation for a concert of new music, and generated some lively and amusing discussion during the pre-concert Q&A.

The concert itself opened with a solo set by Henry Kaiser. He performed on an instrument that he had never used before, or even plugged into an amplifier before the set began.

[Photo: PeterBKaars.com.]

He opened with a simple piece directly into the amp that was quite pretty, with lots of harmonic and melodic sounds punctuated by percussive moments. But it was when he added his effects that things because more interesting, with very lush sounds and intricate patterns of delays and loops – not the simple looping harmonies one often hears but complex textures reminiscent of improvising ensembles.

Next up was a duo featuring Sacramento-based guitarists Ross Hammond and Amy Reed.

[Photo: PeterBKaars.com.]

Their set featured a wide range of sounds and styles, some quite idiomatic drawing on the artists’ blues and folk roots, some much more experimental with extended sounds techniques, and some quite noisy. Particularly memorable moments includes drones that were interrupted by higher scratchier sounds, and the final acoustic traditional song sung by Reed.

Hammond and Reed were followed by another duo, John Finkbeiner and Noah Phillips. At once one could tell theirs would be a different sound, heavier and a bit more aggressive.

[Photo: PeterBKaars.com.]

There was a lot of fast playing and use of percussive and prepared techniques. The music never really settled down, which I suspect was the intention. I liked a lot of the electrical and “beyond guitar” sounds they were able to achieve.

The final set was also a duo, this time bringing Houston-based Sandy Ewen together with Jakob Pek. From the start, this was the most avant-garde of the sets, with both performers placing the guitars in their laps, and bowing or striking the instruments.

[Photos: PeterBKaars.com.]

This was a beautiful and captivating set, with dramatic changes in texture and technique. There mere many long tones but also moments that were very sparse and quiet. They kept the listeners on edge with strange and eerie sounds combining guitar strings with rubber balls, steel wool and other elements, but their gentle intensity also kept us drawn into the performance for the entire duration.

Overall, it was an interesting night, with quite a range of music from a single instrument. All of the artists took us far beyond the typical stereotypes and expectations of the guitar and showed us a lot more of what it can do in the right hands.

August 4, 2014
Outsound New Music Summit: PoetryFreqs

The concert series of the Pitta of the Mind, my duo with Maw Shein Win got things going with a set of poetry and electronic music on the themes of abstract art and cinematic distance. Our color theme for the evening was red and black.

[Photo by Annabelle Port.]

It was our longest set to date, but also our best so far, with a variety of sounds to match the words and tight transitions between poems. It was also the most complex technically, with the Prophet 12, analog modular, Moog Theremini, iPad, and Nord Stage EX all running at once.

[Photo: PeterBKaars.com.]

[Photo by Annabelle Port.]

We performed confidently and playfully and we got a great audience response. And the color theme went well with the blue set and lighting courtesy Travin McKain.

We were followed by first-ever performance by Ruth Weiss, one of the original Beat poets, with master analog synthesizer artist Doug Lynner as well as Hal Davis on log.

[Photo: PeterBKaars.com.]

Log may seem like an odd instrumentation, but Davis made it work well with Ruth Weiss’ recitations, and Lynner managed to create sounds on the Mystery Serge modular that sometimes mimicked the percussive resonance of the log and at other times complimented it with more lush tones. He was also able to hit loud or noisy moments in between the words. Ruth Weiss was sharp and witty in her readings, moving from her work in the 1950s and 1960s to more recent compositions. Although the trio had only met once before, they seemed very comfortable performing together and it made for a fun and exciting set. This was something that will likely never be repeated, so we were privileged to have witnessed it.

The final set brought together Zachary James Watkins on electronics and Marshall Trammell on percussion with poet and voice artist Amber McZeal.

[Photos: PeterBKaars.com.]

The music began slowly, with calm but textured percussion and electronic sounds combined with McZeal on didgeridoo. The drone built up to more intense textures, with noise and thick electronics, Trammell’s intense drumming, and McZeal’s voice, which was at times beautiful and melodic singing, and other times dramatic and confident speech. The text for this set was very sparse compared to the previous sets, more like a third instrument than poetry set to music.

Overall, this was a great start to the Summit concerts with three strong performances (I admit I am biased about the first one). We had a great turnout as well, filling all the seats in the concert hall at the Community Music Center. It set a high bar for the next nights.

August 2, 2014
Outsound Music Summit: Touch the Gear

The 2014 Outsound Music Summit in underway. And as usual, we began with our popular community event Touch the Gear. We had a large crowd of all ages, and delightful cacophony of unusual musical sounds.

This year, I brought the analog modular (specifically, about two-thirds of the current module collection) and the new Moog Theremini:

[Photo by Frank Lin]

There were several first-time participants this year, including Elise Gargalikis and Dmitri SFC of coa-modular.comwith their “wall of Serge”. It was fun to get to try this out myself.

[Photo by Elise Gargalikis‎]

There was more Serge modular to be found, courtesy of Lx Rudis.

Aaron Oppenheim brought classic circuit-bent toys, including a Speak&Math and the Talking Computron.

It was a bit of inspiration to get of my tuchus and circuit-bend the Speak&Spell sitting in my studio!

There was a Minimoog sighting, of course.

Long-time participants Matt Davignon and CJ Borosque demonstrated their recent work with effects pedals. Davignon processed drum machines and samplers while Borosque’s pedals were in a closed loop circuit generating their own sound.

There were acoustic instruments as well. David Samas brought his very impressive contrabass ehru. This beast was huge. And it had bells in addition to the strings and resonant chamber (made out of a trunk).

Bryan Day presented his mechanical/electrical/acoustic inventions.

Jaroba shared a variety of wind and percussion instruments with a bit of electronics.

[Photo by Frank Lin]

There were several more presenters, and as usual I don’t have room for everyone in this post. But it was a great event as always, and we at Outsound appreciated everyone’s contributions. Now it is on to the concerts including tomorrow night’s Poetry Freqs show. Please click here for the full schedule!

July 29, 2014