Music

New Podcast: nox30: Synthss, from Música Experimental Brasileira


Click here to listen or subscribe.

This Sunday we have another great find from the Interet Music Archive (archive.org). “Synthss” by nox30 is part of the compilation Música Experimental Brasileira ( Brazilian Experimental Music ), with artists from all over the country. You can listen to more tracks by nox30 and the other featured artists here.

We are constantly looking for interesting music to feature on our podcast series, but we welcome submissions and requests. You can use our handy submission form, or contact us to get your music featured on the CatSynth Channel.

New Podcast: Mercury Grid live at Woodstockhausen 2002


Click here to subscribe.

With all the craziness from last month, we didn't have much opportunity to release podcasts for the CatSynth Channel. But we're going to start things up again with another live performance from the archives.

This was one of three short pieces I performed at the 2002 Woodstockhausen Festival at the University of California, Santa Cruz. It is entitled Mercury Grid and involved live control of sound using a Wacom graphics tablet (which I have used in most of my live performances up until this year). The sound was done using my Open Sound World software. There was also a video component, with live 3D graphics that reacted in real time to the music.

I have not listened to this piece for a while. It's better than I have given it credit for, and would like to revive it for future live performances. There is also a studio version, which you can find on my music website.

We welcome submissions and requests for our podcast series. You can use our handy submission form, or contact us to get your music featured on the CatSynth Channel.

Aquatic on Coast Community Radio in Astoria, Oregon

A nice follow-up to my recent visit to Astoria with Polly Moller and Company.

A track from my CD Aquatic may be played on Coast Community Radio in Astoria this morning (10am to noon, PDT). This a folk program, which should be interesting. It is hosted by Carol Newman, who was very supportive of our visit and also hosts the “Arts: Live and Local” program, where Polly and our host Paul Hoskin had a chance to discuss our music and our show.

Coast Community Radio streams live online, for those who may want to check out this program as well as their other locally produced programs.

UPDATE: My track Open and Shut Case appeared on the program, you can here a clip of it here. There was an interesting segue into Paul Hipp’s “I am the Decider”, a great parody of Bush, Cheney et al. based on the Beatles’ “I am the Walrus” (Koo-koo-ka-choo). I got a nice mention of the piece and the album, along with reminder of our Polly Moller and Company show and the AVA music series; and “Death and the Maiden” (PM&C) was played as well.

Seattle

The last performing stop on the tour last week was Saturday in Seattle:

Not exactly the Space Needle, but still some impressive communications towers, and not too far from our venue, the 1412 Gallery:


Photo by Polly Moller

I played a solo set, which I think was the best one of the tour, musically. I look forward to hearing the recordings soon. And of course, we did our Polly Moller and Company show:


(Click to enlarge)

Polly has written a bit about our performance in Seattle, including how it was somewhat sparsely attended. This was in part due to the “Much Bigger Show” that occured in direct conflict to ours, and counted much of the experimental/improvised music community as audience or participants. We did get a chance to hang out together with them at Murphy's Irish Pub afterwards, where much drink, conversation and merriment was had by all…

Portland

I am reporting on Portland after Astoria, even though we visted and played a day earlier. That’s just how things sometimes work.

We did have some time to spend in the Rose City before our show at Rotture:


Click to enlarge

We experienced Portland’s famously variable weather. Fortunately, many of the city’s attractions are indoors. This includes Powell’s Books. I could have spent the whole day in the Pearl Room, which contained the art and architecture offerings, as well as their extensive rare book collection.

Portland also has abundant public art. Across from Powell’s is this “brush,” a noted landmark:

And this “recursive elephant” was quite intriguing:

This sculpture includes other animals besides the elephants. I think I see a cat on the trunk:

It always comes back to cats, doesn’t it.

The show that evening was at Rotture, a club on the waterfront, conveniently located next to a construction zone. Although our audience was small, the show went well; and I did like the space, a converted early-20th century industrial brick building.


Click here to enlarge

They also had an interesting mural in the main audience area, and a nice large stage. We shared the bill with Emily Hay, who also does improvisation with flute and voice (although with a very contrasting sound and style from Polly); as well as Tim DuRoche and Resolution 51 (free jazz improvisation). So it was definitely worth sticking around after our performance to hear everyone else – although the entire evening was probably branded as “experimental night” or “improvisation night”, there was a great variety among the three groups, and I think the ordering worked well with us first, both musically and energy-wise.

More on Portland, our show at Rotture, and the trip up from the Bay Area can be found here.

Astoria

Just a quick note this afternoon, from Astoria, Oregon. Our second show of the tour (third, if you count 1510 in Oakland) will be here in Astoria tonight, at the Astoria Visual Arts center. And I will also be performing a solo set to open, again with electronics and my folk and toy instruments.

We have posters all over town, and a great write-up in the Coast Weekend, a local paper.

Astoria itself is an interesting little town, at the mouth of Columbia River on the Oregon coast:

The coast highway runs through and north across the river into Washington state.

Here are a few photos from town:

And here is the band at the “Astoria Column”:


Click to enlarge

More on the performance itself after it actually happens. Also, I might go backwards in time to our show and day yesterday in Portland…but in the meantime, Polly has already journaled the first two days of our tour…

Tour Kick-off show in Oakland

The tour for Polly Moller and Company began last night with out kick-off show at 1510 8th Street in Oakland:

We were a trio last night, rather than a quartet. Guitarist Bill Wolter joins us tomorrow for the trip north.

I also performed a solo set to open the evening:


(Photo by Polly Moller)

Once again, I am playing the ektar (single-string instrument).

This is the first performance in which I used two laptops (both PC and Mac), mainly because not everything I wanted to use last night ran on a single system. I also took advantage of the excellent piano present at 1510. I improvised against the electronics, trying to match the timbre and “vague pitches” – the piano was also picked up by the mic for processing. And I opened the set with a brief rendition of “Alley Cat” (which has been stuck in my head after the bad kitty chaos festival from a couple of weekends back).

I will be doing another solo set for our show in Astoria, Oregon.

Intermezzo: Headphone Festival

Well the :plug3: headphone festival is done. Thanks to the deletist for putting this together once again.

I'm going to have to keep my report short, given that I have to focus soon on tonight's performance and the tour. So here are a few photos:

The above photo, which features Cypod performing, also gives a sense of the venue and how the audience works. The venue, “The Lab”, is an art gallery and performance space. The audience were clustered around stations where they could see the performers, but listen by plugging headphones into provided jacks.

Attendance was somewhat sparse, but people seemed interested. And the calm, sparser audience also worked with the venue, which had relatively minimalist media art on display, and plenty of empty space. All of which puts me very much at ease, it's part of why I like playing galleries.

Below, we see Bruce Bennet and Michael Zbyszynski performing:

And in the background is another friend no.e from Santa Cruz, who performed after me this year.

So here we are, all set up and ready, including the obligatory animals (cat and fish):

Unfortunately, someone seems to have gone wrong with the audio interface (E-MU 1616m) just as performance time approached – everything was still on, but not functioning, which I have seen happen occasionally with the E-MU interfaces and sadly means an embarrassing silence and reboot – fortunately I was able to recover by playing the evolver while rebooting, and I think the set came out OK in the end.

Unfrotunately, one of the casualties was being able to make a recording, so no podcast from yesterday :(.

But it was still and overall good experience, venue and people-wise, and thus worth the effort.

It might also be worth noting this was the first performance where I listed myself as “CatSynth” on the bill…

Preparing for the :plug3: headphone festival

This evening I set aside some time to prepare for the headphone festival, which is happening the Sunday in the middle of all the other craziness.

As usual, I am using a small rig, consisting of the PC laptop (with the E-MU 1616m and Emulator X), the Evolver, a MIDI keyboard, mixer, and of course headphones.

So this performance will use the PC laptop, while the others will be using the Mac. This means I have to schlep both laptops around this weekend, but what can you do?

I'm using the same collection of patches as last year on Emulator X, which on surface seems lame, but I think there is a lot I can do with them that I didn't do last year (think of it like a piano or string quartet). Additionally, I am using one of the Microkitty patches from the RPM album. And this time, I am going to be using the Evolver – I was little wary of doing so last year, but I have selected a small set of stable patches. And the sequencer gives me some beats to play with – I intend to use rhythm more as a humorous element in this performance (as in, “hey, he's using beats“).

I have a “script” that outlines the overall performance, with the details left to improvisation – which is of course what I generally do in my live performances.

Although this will be a fun set, like last year's performance, and not to technically difficult, somehow I feel like I'm not really putting the effort I should. And maybe that's true, with effort going towards the tour and finding employment. But we'll see what happens, after all it will likely be newer for the audience than for me…