San Francisco

Psychic TV and Moira Scar, The Independent, San Francisco

By Jason Berry and Amanda Chaudhary

L’Shana Tova! To start the new year off in a sweet way, we headed down to The Independent on Divisadero in San Francisco to check out Moira Scar and Psychic TV. The Independent, as we soon learned, is housed on the site of the former Kennel Club. We were quite pleased to run into quite a few friends amongst the audience from various communities, including the local experimental and electronic music scenes, and Kearny Street Workshop.

First up was Moira Scar. We saw them about a year ago, and they have continued their musical growth into something most weird and wonderful. The always visually captivating group is headed by Roxy Monoxide (guitar, saxophone, vocals) and LuLu Gamma Ray (synth, vocals), together with Monica Ramos and Aimee Schott on bass and drums, respectively.

With a sound that hearkened back, to these reporters at least, to the great synth-punk bands of yesterday – Tubeway Army, leavened with a dash of 45 Grave – we enjoyed their energetic set. Some elements of spiky, Crimson-style prog seemed to be peeking into their new sound. We counted a 15-beat riff (subdivided 4, 3, 4, 4) and quite liked the way tenor saxophone worked in their sound. Did we mention that the band’s presentation and stagecraft were top-notch? We’ll be keeping an ear out for more of this group.

After a brief intermission, Psychic TV took to the stage.

We will admit a bit of uncertainty on our behalf on how this would turn out. The last time we saw PTV, in the late 90s shortly after the release of Trip Reset, they were, shall we say, less-than-inspired, and certainly unrehearsed. Genesis P-Orridge disbanded the group shortly thereafter for a time. This was the new, improved PTV we saw, or PTV3 as they are now billing themselves. Just as each edition of the band is driven along by the primary composer and musical director (Alex Ferguson, Fred Giannelli, Larry Thrasher), this edition is piloted by drummer and graphic designer Edly O’Dowd. His aesthetic is something new for PTV; gone are the rambling improvisations and sound collages of days past, replaced with a tight, solid band sound. The group focused on material from the recently-reissued albums A Pagan Day and Allegory and Self, starting with a guitar-and-voice rendition of the classic tune “Translucent Carriages”, originally by Pearls Before Swine, before moving onto “She Was Surprised / New Sexuality”, “Just Like Arcadia”, and others. Genesis stuck close to the script, reading the lyrics from a music stand.

The band delivered, and the crowd loved it! We headed back to CatSynth HQ satisfied and exhausted, still worn out from our recent return from NYC. But, more about that soon….

Sam Sam, The Sunset, and San Francisco

The geography of San Francisco is complicated, and the east and west sections of the city can sometimes seem quite divided. This is even more so when one is transporting a cat across the city, as I did on Thursday to bring Sam Sam from CatSynth HQ in the downtown area to our longtime vets at Especially Cats Veterinary Hospital in the western Sunset District. There are several tall hills in between, and the most efficient route is to hop on I-280 around the southern portion of the city and then up into the Sunset.

The Sunset is an interesting and intriguing place, almost a separate city. From 19th Avenue (CA 1), the alphabetically arranged streets and numerically arranged avenues slope gently down towards the Great Highway and the ocean. The Great Highway should be CA 35 all the way up to its northern end, rather than ending in the southern corner of the city along Sloat, but it does. Especially Cats is on Taraval Street, one of the main east-west strips in the neighborhood. It even boasts a streetcar line down to the sea.

This photo was from 2015 when I brought Luna in for her biopsy. It was a normal overcast gray summer day in the Sunset. Sam Sam’s visit was on a hazy sunny and warm day at the start of the current heatwave. The return to Especially Cats was a warm experience as well, albeit a bit emotional as it was our first reunion since Luna passed away. Fortunately, Sam Sam received a clean bill of health and charmed the staff with her cuteness. And she was remarkably well behaved on the trip over, just complaining a little bit. We decided to take the more geometrically direct but hilly and windy route back, taking Taraval to its eastern end a swanky neighborhood around Laguna Honda, and then over Portola and Market back to our corner of the city. The spot where Market and Portola meet is among my favorite in the city, with commanding views of downtown and beyond. And in between, there are dips and valley with unexplored roads and walks that I need to come back to when I don’t have an impatient cat in a carrier.

The whole of the city used to be mine, as I regularly moved from neighborhood to neighborhood for work, fun, or errands. Downtown San Francisco can be a bit of a gravity well when one both works and lives there. It’s a fine situation, in truth, but I can sometimes get a bit restless to move about rest of the city again. Especially some of the older sections, or the more industrial spaces that formed the backbone of my visual art (and “Wordless Wednesday”) but are rapidly disappearing. When will the last dilapidated warehouse give way to a banal medium-rise apartment building?

Finding this balance, doing all we want to do, and have to do, is perhaps this moment’s biggest challenge. But on this day I was happy to simply do right by a loved one while exercising a bit of the wanderlust.

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Feline NightLife at the California Academy of Sciences

Most Thursday evenings, the California Academy of Sciences in San Francisco hosts Classroom Safari. I have long been fascinated by the small wild cats, so it was interesting to see them up close. The delightfully cheeky staff, however, started out the program with a “cat” that wasn’t a cat at all.

This feline-esque creature is actually a genet. It has many cat traits, including its appearance, claws, purring, etc. But it is it’s own subfamily of carnivorous mammal, quite distinct from cats. They bear a resemblance to fishing cats with the sleekness, but their snouts are a bit longer, more like a mongoose. Although genet species are native to Africa, they were introduced into southern Europe as the “common genets”.

Next up was a more familiar small cat, the ocelot, a commonly found wild cat of the Americas.

Ocelots are adorable, but they are wild animals, and our hosts were quick to point out that this ocelot in particular is quite ornery. Their membership in the leopard family is unmistakable. And they are superbly adapted for life in the forests as well as more desert-like scrub of their range.

One of the themes during the presentation was that these wild cats do not make good pets. It is not good for the animals themselves who retain their wild instincts. They also pose a danger for humans and other domesticated animals. One particularly amusing anecdote involved a “club” on Long Island where wealthy women kept ocelots as a fad, only to learn that ocelots eat small dogs. The next cat was another that is often kept as an exotic pet, the serval.

Graceful and athletic, with a sweet face, it’s understandable that people are captivated by these cats. Indeed, the Savannah breed is a cross between a serval and a domestic cat. But their wild instincts are honed for large ranges on the African savannahs and wetlands, including the Sohel region as well as sub-Saharan Africa. Such cats do not adapt well to domestic life.

The next and final cat was one that even as a kitten made our serval friend quite nervous.

This adorable baby is a Siberian Lynx. At first thought it was a caracal with the ear tufts, but once one sees the undercoat and the exceptionally large paws, it is unmistakably a lynx. It also came across a bit of a mini-lion, and as such there is no ambiguity about whether it would make a good pet or not. We’re happy to get a chance to see these cats, and grateful to Classroom Safari for sharing them with us, as well as their work rescuing wild cats.

Many local institutions were on hand as well to talk about their work with cats, wild and domestic. The was the Felidae Conversation Fund, a group that we at CatSynth have long supported. They are involved in small-cat research projects around the world and in our own backyard. The main project they presented at Feline NightLife was the Bay Are Puma Project.

The results show that pumas are doing relatively well in some areas, but not others. In particular, pumas in the East Bay hills seem be quite fat and happy in their wild area amidst the urbanized surroundings. By contrast, Marin County is not sustaining a healthy population, most likely due to habit fragmentation and such. It’s a good reminder that wild cats are not just “exotic”, but animals in our neighborhoods.

On the domestic front, our friends at Cat Town were on hand as well. They are dedicated to helping the most vulnerable shelter cats of the East Bay through their fostering program as well as their cat cafe in Oakland, the first in the Bay Area. We wrote about our first visit to the cafe here. The San Francisco SPCA was also on hand, with several adoptable kittens including this adorable black baby.

It is clearly a great opportunity to advocate for shelter pets and even maybe initiate some adoptions. It was crowded around the SPCA booth, and I can only imagine it might have been stressful for the kittens. But we also hope some found new homes as a result.

The Cat Man of West Oakland (aka Adam Myatt) is a one-man local institution advocating for domestic cats in our communities. He was worked extensively with Cat Town and co-founded their cat cafe. But he also continues his own work with Hoodcats, documenting the beautiful outdoor cats of Oakland neighborhoods. He had several of his photos, including some cute black cats. We managed to acquire one of those black-cat pictures, along with a classic print, from a vending machine he had a fund-raiser.

We had a lot of fun at Feline Nightlife, with all the cats as well as the cocktails, people watching and general exhibits of NightLife at the California Academy of Sciences. It was a bit different, but we hope to be back for another themed night some time, perhaps something musical?

SF Symphony Music for a Modern Age: Ives, Thomas, Harrison, Antheil

Today we look back at the San Francisco Symphony’s “Music for a Modern Age” concert that took place in late June. This wasn’t simply a concert or even a concert focused on American music of the last 100 years. It was a theatrical event, with video projection, staging, and more.

The evening began with two pieces by Charles Ives. First, there was the incantation-like From the Steeples and the Mountains with its interconnecting tones on chimes, followed The Unanswered Question. This was a more complex piece both musically and logistically, as it featured a small wind-and-string ensemble on stage and an offstage antiphonal string ensemble (conducted by Christian Rief). The two groups alternated in a call-and-response form. It isn’t necessarily one ensemble asking the questions and another answering, as the wind instruments are involved in both, but it added another dimension to nature of the piece, which was deliberately unsettling but also hauntingly beautiful. Both Ives pieces featured video by Adam Larsen and lighting design by Luke Kritzeck.

Michael Tilson Thomas. Photo by Spencer Lowell. Courtesy of San Francisco Symphony.

The segment featured a piece by conductor and music director Michael Wilson Thomas, Four Preludes on Playthings of the Wind. It was an interesting format, with the orchestra alongside a standard jazz/rock bar band with horns, bass, guitar, keyboard, and drums, complex video and lighting (again by Larsen and Kritzeck, respectively) and singers in elegant dress. The music freely mixed modernist orchestral sounds with jazz and rock idioms as the moved through the text by Carl Sandburg. The subject matter was quite dark – with images of death and decay and ruins of a once-great city that overflowed with pride – ”We are the greatest city. Nothing like us ever was” – that is now left to rats and other wildlife. But it was also a very playful and fun piece, especially in the sections with singing and dancing by the three lead vocalists (Measha Brueggergosman, Mikaela Bennett and Kara Dugan) around the stage in a cabaret style to the rhythms of the jazz band. MTT stated that his influences for the vocal sections included Sarah Vaughan and James Brown, as well as classical influences Leontyne Price and Igor Stravinsky. It is safe to say that we really liked this piece and the performance. Even at a length 32 minutes, it kept our attention and enjoyment throughout.

Lou Harrison was a major force in American music, but is also considered one of California’s own, blending influences from the landscape and culture of the state and bridging them with his interests Asian music. This simultaneously local and world character was well represented in the selections from Suite for Violin and American Gamelan. The American Gamelan is a collection of instruments inspired by the materials, timbres and tunings of traditional Indonesian gamelan but new and different. Harrison often combined his Asian and invented instruments with more conventional western orchestral instruments, in this solo violin played by Nadya Tichman. The piece unfolded as a series of movements. The first, “Threnody” was a lamentation as the title would suggest, showcasing the violin, but all four movements had a distinctly Asian or abstract sound from the preponderance of sounds from the American gamelan.

The final piece of the evening was George Antheil’s Jazz Symphony. It is musically and sonically quite different from Antheil’s most famous piece Ballet méchanique in that it is less noisy, more tonal, and focuses on traditional orchestral and popular instruments. Think of it as a predecessor of Gershwin’s Rhapsody in Blue, which was in fact influenced by Jazz Symphony. Once again, however, this was not simply an orchestral performance. The lighting and video (this time by Clyde Scott created an enveloping environment reminiscent of a jazz-age cabaret or club. This was further enhanced by the dancers (directed by Patricia Birch) who wore 1920s-style costumes. The overall result of music, visuals, costuming and choreography was energetic, but also rather sexy – as our romanticized view of that era tends to be. There were a lot of fun and even comedic moments a the dancers attempted to distract and even “lead on” members of the orchestra (some of whom turned out to actually be dancers themselves who were soon replaced by the actual musicians).

Overall this was a very strong concert, and perhaps one of my favorites I have seen with the SF Symphony – and we have been going to quite a few in the past year or so. As the symphony often has intriguing programming outside the traditional catalog of 19th century classical works, we certainly expect to be back again soon. I do leave the experience pondering what it means to be “modern” or be in a “modern age”, however. Perhaps the span of time marked by these compositions is in some ways more “modern” than the period that is unfolding now, but that is a discussion for another time.

Outsound New Music Summit: Karen Borca and Positive Knowledge

The final night of the Outsound New Music Summit featured a performance by Karen Borca, returning to the Bay Area for the first time in two decades. For those not familiar with Borca, she is one of the few bassoonists in avant-garde jazz and free jazz; and she had a long and illustrious career playing with many of the greats in the field, including Cecil Taylor and Jimmy Lyons. On this night, she was joined by two figures in the local jazz and experimental-music scene, Lisa Mezzacappa on bass and Donald Robinson on drums.

[ Karen Borca Trio (Karen Borca, Lisa Mezzacappa, Donald Robinson). Photo: peterbkaars.com]

Bassoon is a hard instrument to play in any genre, let alone jazz. But Borca made it sound effortless. There were sections that featured the instrument’s well-known lower registers, but also higher melodic lines and runs more often associated with saxophones. Interestingly, Borca discussed how she started on saxophone in school and was shredding the instrument until she was advised to try the bassoon, as it was both more challenging and more likely to make her stand out for scholarships and such. And this turned out to be the right decision. Musically, things unfolded with sparse lines and harmonies and the three performers bounced off one another. The best moments were when the notes from bassoon, bass and drum all seemed to form a single line.

[ Karen Borca. Photo: peterbkaars.com]

It was a shorter set, but very well received with audience clamoring for more afterwards. But I can understand that the music took a lot of energy. But it was a great experience, and Karen Borca has now taken her place alongside Wendy Carlos, Pauline Oliveros, and all the other women in music that I want to be when I finally grow up.

The Karen Borca trio was preceded by Positive Knowledge, a project of Oluyemi Thomas (bass clarinet and other instruments) and Ijeoma Thomas (voice). They were joined by Hamir Atwal on drums.

[Positive Knowledge. Clockwise from left: Oluyemi Thomas, Hamir Atwal, Ijeoma Thomas.]

I have heard Positive Knowledge before, and know how their music unfolds. There are sparse, scratchy lines from Oluyemi’s bass clarinet and other wind instruments, including a shawm (or similar instrument), interspersed with Ijeoma’s vocals, which include passages of spoken word as well as more extended sounds. The music is at times quite percussive, but also melodic and energetic. There was an exuberance and joy in the sound, even in the moments that seemed to be melancholy. And Atwal’s drums added a foundational underpinning the sustained the set.

So this concludes our coverage of the 2017 Outsound Music Summit. It was the longest we have covered, with five concerts plus Touch the Gear. It can be a bit of overload, so much music and fellowship in a week, but worth the effort. We look forward to next year, and the inspiration for all the musical adventures between now and then.

Outsound New Music Summit: VOCO and Surplus 1980

Each night of the Outsound New Music Summit is different, but some more different than others. Such was the case with the fourth night of this year’s festival which featured two loud rock-oriented bands.

The tone of the evening was set with the opening sounds from VOCO.

The group features Alex Yeung (of Say Bok Gwai) on guitar, Tim Sullivan on drums, and Josh Martin on bass, with guest Joshua Marshall on saxophone. Think rock power trio meets experimental jazz. The band is at times punk, at times metal, at times experimental, but with serious chops. There were the periods that were Zappa-esque, mixing rock and experimental guitar with saxophone and bass runs. There was the dub-metal onslaught at times, reminiscent of the bands Last Exit, or Blind Idiot God. And there was also softer complex drones and percussive sounds from Yeung on guitar, with an array of interconnected effects pedals.

[Alex Yeung. Photo peterbkaars.com]

These more experimental moments, enhanced with electronics, brought to mind the story about the band’s name coming from Neal Stephenson’s science-fiction writing (discussed during the pre-show Q&A). In contrast, there was a particularly fun moment when drummer Andre Custodio walked up on stage from the audience and sat down at a second drum set. What ensued was an epic double-drum performance that was much funkier than the set as a whole, and also reminiscent of the multiple drum sets we saw a few weeks earlier with King Crimson. This was followed by a final segment that brought the set to a sonically intense close.

It was then time for Surplus 1980 to take the stage.

[Surplus 1980. Photo peterbkaars.com]

I did play with Surplus 1980 as part of the regular lineup from 2012 through 2015. I have seen them several times since then, but I have to say the current lineup and set has taken the band to a new level. The performance is tighter and there is increased variety among the tunes. The set began with two new tunes: “Pigeon Obstacle Course” and “Temporarily Present”. “Pigeon” was a short instrumental with Moe! Staiano and Melne wearing pigeon heads.

“Temporarily Present” was a longer song, about 10 minutes, and quite reminiscent of early New Wave from late 1970s and early 1980s. Indeed, the call-and-response vocals between Moe! and Melne and new bassist HR Nelly reminded me a bit of early B-52s performances. The remaining “newish” song was “Question After Ended Question”, which features members of the band playing tuned bundt pans.

After this, the band continued with some familiar songs. I have to admit, I did feel pretty nostalgic hopping up and down during “Failure of Commitment” as I did when I played with them. The new feature on that tune was Moe! on saz. And Melne has come into her own on staging, providing energy and character enough of the whole band. One often just sees her as a bright pink blur as she dances about the stage.

Guitarist Bill Wolter was solid as always; and Mark Pino was a force of nature on drums, even overcoming a somewhat rebellious kick drum (you can read more about it on his blog.

Outsound New Music Summit: neem and Sheldon Brown’s Blood of the Air

The third concert of this year’s Outsound New Music Summit was truly a study in contrasts between minimalism and large-ensemble exuberance.

First up was neem, the duo project of Gabby Fluke-Mogul (violin) and Kelley Kipperman (double bass).

[neem (Kelley Kipperman and Gabby Fluke-Mogul). Photo: peterbkaars.com.]

This was minimalism in its truest form, starting with the deliberate silence led by Fluke-Mogul before the first note was intoned. The music unfolded in a similarly sparse manner, with plenty of room to observe the details the sounds from both artists’ extended techniques. Although open and spacious, there was also an intimacy in some sections where the two closely followed one another musically, bouncing sounds from one instrument to the other. Whether intentional or not, one could envision the music unfolding in a natural landscape.

By contrast, Sheldon Brown’s Blood of the Air, was large and exuberant, and featured a ten-piece ensemble. In addition to Brown, the group featured Darren Johnston on trumpet, Lorin Benedict on voice, Andrew Joron on theremin, Dave MacNab and John Finkbeiner on guitars, Dan Zemelman on piano, and Vijay Anderson and Alan Hall on drums.

Sheldon Brown's Blood of the Air
[Sheldon Brown’s Blood of the Air. Photo: peterbkaars.com.]

The work centered around “speech melodies” created from readings by the Beat-era poet Philip Lamantia. Each piece began with a recording of Lamantia reading his poetry, and one of the musicians (often Brown himself) responding in a melody that matched the prosody of Lamentia’s speech. The melodies served as points of departure with the ensemble responding with rhythmic vamps, countermelodies, and solos. When I wasn’t watching Brown’s solos or drawn into Lorin Benedict’s frenetic scatting, I found myself captivated by Zemelman’s virtuosic piano playing, both comping and solo. It was both musically and technically impressive. But the group functioned together as a unit, even in a setting that featured a lot of improvisation, and remained tight.

It is interesting to note that despite the musical contrast, both groups were very much focused on listening as a central element. For Blood of the Air, it was listening to the melody of the rhythm and poetry, and then to one other to form the tightness and musical phrasing of the ensemble. In neem, it was also listening and responding to one another, but was also “deep listening” to the individual sounds of the instruments, and especially to the spaces between the sounds. Yes, all good music requires disciplined listening, but sometimes it’s good to step back and take note of it.

Outsound New Music Summit: McCaslin/Reed/Pino Trio, and Animals & Giraffes

The second concert of the Outsound New Music Summit brought together two ensembles focused on more abstract improvisation.

The first set was a trio featuring Collette McCaslin, Amy Reed, and Mark Pino. McCaslin has collaborated with both Reed and Pino in other projects, but I think this is the first time the three of them have performed together as a unit. McCaslin sat stage right in a sitting meditative pose, surrounded by various percussion instruments as well as her cornet and soprano saxophone. Reed was in the center with her guitar, and Pino on stage left with an array of percussion.

The music was very sparse, with the space in between the sounds holding as much importance as the sounds from the instruments. And it worked. Each note seemed deliberately placed and balanced, and the space gave the audience time to mentally sit with the sounds. McCaslin’s opening gong tones were followed by a gentle flurry of punctuated hits and scratches from Reed and Pino on guitar and percussion, respectively. At other times her horns weaved in and out of percussive elements from the others. The trio clearly has learned to listen to one another as they have played together. In a sense, they were a percussion ensemble, as Reed mostly played her guitar with extended techniques that made it into another percussion instrument and there were few runs of pitched sounds outside of McCaslin’s saxophone and cornet sections. However, there was also a memorable moment were she paused and Reed and Pino started to groove on a jazzier guitar-and-drum riff. This was in contrast to the minimalism of the rest of the set and stood out, but I quite liked it musically and it showed the musicians’ versatility. I hope they continue to develop this trio project.

Animals and Giraffes also brought back some familiar artists in a new setting. Saxophonist and composer Phillip Greenlief teamed up with writer and performer Claudia La Rocco to explore text and sound in a musical setting. They were joined for this performance by Evelyn Davis on prepared piano, Aurora Josephson on voice, and John Shiurba on guitar.

La Rocco’s reading provided the overall structure for the music. The words seemed to be drawn from a variety of sources that included the pre-concert Q&A session, with references to the salsa band practicing in another part of the Community Music Center and one of the questions that explored the artists’ popular-music interests. In that sense, the text was as much an improvised element as the instrumental music – Aurora Josephson’s voice being a co-equal instrument with guitar, reeds, and piano in this ensemble. Greenlief’s saxophone and clarinet provided a steady counterpoint to the text; and Shiurba and Josephson added much color and texture to the mix. Evelyn Davis’ prepared-piano performance stood out as the most energetic and embodied performance, with quick changes and motions both on the traditional keyboard and inside the instrument with her wide variety of preparations.

There was a large and appreciative audience, which is always great to see both for the artists and for Outsound. it’s a reminder that quieter music can still get a strong response. We look forward to the next nights of the Summit and will report on them as they unfold.

Outsound New Music Summit: Usufruct and Evil Genius

The concert portion of the Outsound New Music Summit opened on Tuesday with performances by Usufruct and Evil Genius. The groups both have unique and fun names, but offered up quite different performances and aesthetics. But they both included instruments that I feel are under-utilized in contemporary music: bass flute and tuba.

Usufruct is the duo project of Polly Moller on voice, flute and bass flute; and Tim Walters on electronics (specifically, software processing using custom SuperCollider programs). The word usufruct means “the right of the people to harvest the fruits of common property”, a concept which is reflected in the duo’s use of found texts and musical materials from the public domain, modified and reassembled in new and surprising ways.

The music unfolded with a sparse texture that featured single broken lines on flutes and voice interspersed with electronics. Some of the electronic sounds could be readily traced to their sources from Moller’s performance, but others were more obscure. There was often a rather deep and ominous quality to many of the electronic sounds. The texts were interpreted in short bursts that often hid the original sources, although an early section was clearly from some legal document – it almost seemed like it was defining and proscribing punishments for treason. The sections of text from the Star Spangled Banner in the later portion of the set was much clearer, even when broken up. It’s hard to imagine that these texts were not chosen with our current political milieu in mind.

[Polly Moller on bass flute. Photo peterbkaars.com]

The bass flute is an instrument ripe for electronic processing, and the segments in which it was featured included both harmonized and delayed accompaniment as well as hits and noisier elements derived from extended techniques. Overall, Usufruct’s performance was dark, a bit foreboding, but simultaneously quite clever and playful, as fitting the personalities and aesthetics of the artists.

Calling your band “Evil Genius” sets very high expectations. There were no diabolical death rays, but the Los-Angeles-based trio features Stefan Kac on tuba, Max Kutner on guitar, and Michael “Bonepocket” Lockwood on drums; and performed an energetic an imaginative experimental jazz set.

[Evil Genius. Photo peterbkaars.com]

Kac’s tuba anchored the group musically. At times he was a bassist, providing solid rhythmic foundation alongside Lockwood’s whimsical and frenetic drumming. But he also made the tuba a melodic instrument at times. Kutner’s sometimes harmonic and sometimes percussive guitar hovered above the other elements. I appreciated the rhythmic grounding of the trio, even as they punctuated it with dry noisier sections. The music freely mixed experimental sounds and rock idioms with their jazz foundation. It has brash, it was hard, but it was also meticulous and filled with softer moments. And they left room for empty space and sparse elements before returning to a driving funky vibe. Quite a variety from what is structurally a “power trio.” The set was divided into several discreet compositions, with all members of the band contributing. So, are they “evil”? Not at all. Indeed, I was quite impressed with the group musically, and I did pick up a copy of their debut CD at the show and look forward to listening to it.

Overall it was a strong start to this year’s Summit concerts. We will bring you the remaining three nights as they unfold.

Outsound New Music Summit: Touch the Gear

The 2017 Outsound New Music Summit kicked off this Sunday with the annual Touch the Gear event. As always, there were several musicians and instrument-makers were on hand to demonstrate their setups or inventions.

Above we see Alphastare demonstrating his setup for processing of synthesized and recorded sounds that he uses in his live shows. Below, CDP bandmate Tom Djll shows his analog modular synthesizer setup with sundry external boxes for expressive control of sound.

I opted to show my modular synth as well this year, along with the Moog Theremini.

The theremin is always a popular item at this event.

Kim Nucci demonstrated some custom modules alongside a Korg MS-20 mini and a DIY metal instrument with sensors.

I have always found metal plus electronics a musically interesting combination.

Among the more unusual and surprising instruments this year was Dania Luck’s musical chessboard. It contained sensors for the magnetic chess pieces, with each square of the board triggering a different synthesizer in a SuperCollider patch.

This wasn’t the only SuperCollider program being shown, as our friend Tim Walters demonstrated his patch and controller setup. It is the setup he will use as part of Usufruct in the opening concert for the Summit.

Tim Thompson was on hand with the latest incarnation of his electronic-music instrument, the Space Palette Pro.

[Tim Thompson demonstrates the Space Palette Pro to Outsound director Rent Romus.]

It uses the same software as previous versions of the Space Palette, but with a new more compact interface based on new touch-sensitive pads from Sensel Morph. These pads are quite impressive in both response and feel, and we at CatSynth will definitely be looking into them.

Not all the demos included electronics. There were several acoustic instruments demonstrated by the Pet the Tiger collective (David Samas, Ian Saxton, Tom Nunn, Derek Drudge), including this beautiful kalimba tuned to 31edo.

I would love to write a piece for it one of these days. There was also a large metalophone with a deep resonant tone, interesting tuning, and some satellite “bass” notes.

Back inside the hall, Motoko Honda demonstrated a network of electronic devices processing voice, along with a fun circuit-bent instrument.

Matt Davignon brought his setup for expressive manipulation and processing of samples and other pre-recorded sound materials.

We would also like to thank Matt for his efforts organizing this event every year! We would also like to thank the folks at VAMP for co-presenting and bringing a pop-up shop of records and sundry vintage and musical items.

It was a fun afternoon as always, and it was great to see families in attendance. And there were multiple things to inspire me musically and technologically. We will see where that goes. Next up, the concerts…