
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

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 🙂

Alpine the cat demonstrates that a module-less Tiptop Audio Happy Ending Kit is as good a box as any. From Paul Burns via our Facebook page.

From cskonopka on Instagram.
“Bluto is upset he can’t fit in the box #catsynth #cats #catsynthesis #monorocket #LZX #lzxindustries”

As Pitta of the Mind prepares for our upcoming show next week, we look back at our last show in February at Outsound’s periodic Soundspeak series featuring experimental music and poetry groups.
For our set we performed several new pieces on the theme of film, with several poems evoking treatments and plots for possible (or impossible) films. The music featured a mixture of piano, Moog Theremini, modular synth and DSI Prophet 12, which made for quite an impressive setup.

As with most Pitta of the Mind shows, we had a color/pattern theme. On this evening the theme was white.


[Photos by Annabelle Port. Click to enlarge.]
The performance overall went quite well. You can here some audio excerpts below.
We were proceeded that evening by a trio featuring Nick Obando with Rob Pumpelly and Eli Wallace. The group performed several extended-length jazz pieces layered with Obando’s hip-hop-infused poetry.

I have to admit I do not recall much of the words/poetry, but the instrumental performance was quite memorable. I am a fan of Eli Wallace’s keyboard performance style, and Pumpelly and Obando brought their own strong technical skills to the mix. I particularly liked one piece that featured a funk rhythm with complex solos and patterns on top. The rhythm cut out in a few spots for freeform improvisation that was just long enough before returning to the funk pattern.
Overall, it was a good show, though a quiet night – possibly a combination of other performances happening that evening and the fact that the Luggage Store Gallery is at a temporary location while the main building is being renovated. But we certainly look forward to performing again, and hearing more music in the meantime.