It’s one of those serendipitous moments that happen in New York. At the end of last week’s Ambient Chaos show, I received an invitation from Neb Ula the Velvet Queen to come to LadyJams is a monthly get-together where women get together and perform in randomly selected groups. I loved the idea, and especially the coincidence of this meeting; so on Friday I grabbed my trusty Arturia MicroFreak and headed out on the L train to Bushwick.
The festivities took place at Synesthesia, a gallery and art space in the apartment of Mio Nakai. Amidst objects and curios from the turn of the 20th century – and an old-fashioned bar to match – was an exhibition of sculptures that evoked both a delicate graceful quality and a confounding misplacement of human forms. It was in the midst of this milieu that Ladyjams unfolded.
I made some more new friends that evening, including Laura Feathers, Teena Mayzing, and Yana Davydova, who performed on electronics, voice, and guitar, respectively. I performed with them and others over the course of the evening in several miniature improvised sets. You can hear an example in this video.
This truly spur-of-the-moment music, as I had never performed with any of these artists before. The MicroFreak was definitely the right choice of instrument, given its versatility and immediacy (as well as being extremely light). I had some light melodic spacey touches, as well as deep bass pedal tones and various sound effects. I particularly enjoyed a call-and-response with Yana Davydova on guitar – we both were able to match one another’s melodic fragments and respond with variations that moved the performance forward. I also tried to choose sounds and notes to complement the words of Teena Mayzing and others during vocal sections.
Neb Ula and I also had a chance to perform together, as seen in the photo above and following video clip.
Although New York – and perhaps Brooklyn in particular – is an exceptionally fertile place for an event like this, I am left wondering why not try to do something similar in San Francisco? I certainly know enough women and non-binary performers to make it a possibility, so perhaps it will happen.
It is that time of year when I invariably return home to New York for a visit. And this time it began in dramatic fashion with a return to the Ambient Chaos music series at Spectrum. Perhaps not quite a return, as Spectrum as since moved to a new location on the waterfront in Brooklyn. But it was still the same concept, hosted by Robert L. Pepper of Pas Musique, with a variety of local and visiting musicians performing adventurous electronic music.
The evening opened with a duo featuring Public Speaking (aka Jason Anthony Harris) and pianist Gabriel Zucker.
The unfolded in with sparse but structured piano set against electronic sounds evoking metal machinery. Both elements started out slow and quiet with lots of empty space but increasingly got more dense and urgent. After a brief interlude, a new phase of the music began with vocals set against fast piano runs. The vocals began very expressive and plaintive but soon morphed into a complex electronic sound under vocal control. Underneath this, an incessant thudding drum emerged.
Next up was The Tony Curtis Experience, a trio led by Damien Olsen on keyboard and electronics, Jeremy Slater on guitar and electronics, and Neb Ula the Velvet Queen on theremin – specifically, a Moog Theremini with which we at CatSynth are quite familiar.
Their performance mixed long tones on theremin, slide guitar + electronics, and synthesizer pads with loud percussive moments. The early portion of the set evoked some fantastic futuristic nightclub with crystalline hits and pedal tones. But Olsen’s keyboard brought it back to the present and near past with melodic and harmonic playing reminiscent of mid-20th century cabaret as well as synth-pop of the 1980s. The theremin, acting as both sound source and controller, provided antiphonal counter-subjects to these familiar sounds; and the guitar drones glued everything together. It was a fun set, especially with Olsen’s playful performance and his use of familiar idioms.
Then it was my turn to take the stage. And I compacted the setup for travel, with the Arturia MicroFreak, laptop, Novation LaunchPad Pro, tiny modular with Qu-bit Prism and Strymon Magneto, a new handmade touch synthesizer, and Crank Sturgeon Pocket Gamelan.
I planned a slimmed-down version of my solo set from the Compton’s Cafeteria Series show in August, including White Wine and an evolving improvisation over an 11/8 groove.
Overall, the set went well – a highly dynamic performance with a lot of melodic elements, jazz riffs, and noise solos layered over rhythms. A few items misfired, but all recoverable. I particularly enjoyed the sections of melody and jazz improvisation where I floated back to the sounds of the 1970s; it seemed the audience appreciated that, too. Finally, it was also just fun to be playing in New York again after an extended break. Watching the video of the set (which will be shared soon as an episode of CatSynth TV), I particularly thought this noisier and more “electronic” version of the 2019 set worked well in Spectrum and especially with the every-changing “spectrum” of light from yellow to violet and everything in between.
The final set of the evening featured 4 Airports, a duo of guitarist Craig Chin and synthesist Nathan Yeager. Chin performed with guitar and an array of pedals, while Yeager brought a large synthesizer setup complete with a modular system.
Perhaps more than the preceding sets, they lived up to the “ambient” in Ambient Chaos. Chin’s guitar gestures were subtle as he guided the sound into the electronic arena of the pedals, and Yeager’s synthesizer sounds were complex but still lending themselves to long ideas even when the tones and timbres moved between quick and slow. From the chaotic undertones and singular and dreamy landscape emerged, with occasional ebbs and flows and punctuations.
Overall, it was a wonderful night of music in this corner of the Brooklyn waterfront, with an intimate crowd in the cavernous but cozy space. I would also be remiss if I did not give a shout out to Sofy Yuditskaya for her video projections that reflected the music on stage. I certainly hope the gap until my next performance here is much shorter than the last.
[Photos by Banvir Chaudhary and Amanda Chaudhary]
[Full video coming soon. Please subscribe to CatSynth TV to be noticed when it is available.]
Yesterday afternoon I was practicing for tonight’s solo electronic concert at the Make-Out Room in San Francisco; Merp decided that two of the main instruments, the Arturia MicroFreak and Novation LaunchpadPro, would make a great napping spot. Adorable as it is, it certainly made it more challenging to use them.
Merp’s rear paws occasionally kicked off beats on Ableton Live! while I was trying to do some playing on the Nord Stage EX (off-screen). Fortunately, he did eventually get up and I was able to continue with my preparations.
If you are in San Francisco this evening, please stop by the Make-Out Room to hear me perform several pieces on solo electronics. No cover charge, and close to public transportation. Details can be found here.
This past Thursday, the Center for New Music launched Compton’s Cafeteria Series, a set of occasional concerts featuring transgender performers. And I was there both the cover the show and be a part of it!
For those who are not familiar with the story, Gene Compton’s Cafeteria was a small restaurant chain and its Tenderloin location at the corner of Taylor and Turk Streets was one of the few places where transgender individuals, and especially transgender women, could safely congregate. There was, however, some tension between transgender patrons and the staff, who often called the police, with arrests and harassment ensuing. In 1966, this pattern led to the Compton’s Cafeteria Riots.
In the 1960s the Compton’s Cafeteria staff began to call the police to crack down on transgender individuals, who would frequent the restaurant.Management felt that transgender customers were loitering and causing them to lose more desirable business. In response, they implemented a service fee directed at transgender individuals and blatantly harassed them in an attempt to get them to leave the restaurant. In response to police arrests, the transgender community launched a picket of Compton’s Cafeteria. Although the picket was unsuccessful, it was one of the first demonstrations against police violence directed towards transgender people in San Francisco. On the first night of the riot, the management of Compton’s called the police when some transgender customers became raucous. Police officers were known to mistreat transgender people.When one of these known officers attempted to arrest one of the trans women, she threw her coffee in his face. According to the director of Screaming Queens, Susan Stryker, the cafeteria “erupted.”
This was nearly three years before the Stonewall Inn Riots in New York but has not gotten nearly the visibility in the time since. There is a plaque on the sidewalk in front of the former site at 101 Turk Street, and there is now an honorary street renaming of the 100 block of Taylor Street as Gene Compton’s Cafeteria Way – we featured the sign in our most recent Wordless Wednesday post.
More importantly, the immediate vicinity has been recognized by the city as a “Transgender Cultural District.” As the Center for New Music is located in the heart of this new district, it seemed natural for them to host a series celebrating transgender visibility (and audibility), and I am grateful to the staff there and to my friend David Samas for proposing this and making it happen.
The show itself was a successful event featuring vary different performances, although they all made extensive use of hardware synthesizers. You can see some of the highlights in my latest video.
The evening started with a set by Rusty Sunsets (aka Cara Esten). Her performance was divided into two sections, the first featuring acoustic guitar and voice, and the second incorporating synthesizers and drum machines. Both parts were unified by Esten’s folk-song style, with a series of compositions about her upbringing in Oklahoma and loves lost and found. Perhaps the poignant was a love song inspired by the 1911 Triangle Factory fire in New York where 146 workers, the vast majority of whom were women, perished. My favorite was the final song which brought together a Moog Mother-32 and other synthesizers with plaintive but optimistic singing.
Next up was Pitta of the Mind (Amanda Chaudhary and Maw Shein Win). We performed a short set with a featured color of blue – set against the fuschia background lighting and my automated multicolor blinking lights. Musically, it had a very punctuated quality with abstract sounds from the modular and Arturia MicroFreak against some of Maw’s poems that featured open space and short lines. We mixed it up for the final piece, which had lusher and more emotive quality with longer lines and acoustic piano – these pieces are a strength for us and we always include at least one.
Then it was time for the final set, featuring my solo electronic performance. I started with the solo version of White Wine (and a cup of white wine). The Casio SK-1 was sampled and remixed in Ableton Live, with the statement of the melody and cords, followed by a cacophony leading into two distinct rhythmic sections: first a funk/disco sound featuring MicroFreak bass and a jazz piano improvisation; and then a Stereolab inspired electric-organ solo leading into a final section of tape-delayed metallic sounds (Strymon Magneto and Pocket Gamelan from Crank Sturgeon).
After that, it was on to the cat-infused and disco-and-French-House inspired Donershtik. The piece is just a lot of fun, a classic 70s analog melody (in this case on the Arturia MiniBrute) in Phrygian mode followed by playful modular improvisation (anchored by the MOK Wavewazor) going into the electric piano disco/house section.
Overall, I think this was one of the best of my live solo sets, tightly choreographed with a relatively diverse and robust setup, and well-defined and well-rehearsed pieces. Once again, structure and hard work paid off.
But I also fed off the positive energy and enthusiasm of the crowd, which brought together regular friends and fans with members of the transgender community. It was a beautiful night overall, and I look forward to both being present and helping organize the next in this series.
Posing with my friend and collaborator Serena Toxicat at the Outsound benefit dinner a couple of weeks ago. Although about the same height, size, and silhouette, our color and texture were true contrasts. Black vs white, solid vs patterned. Yin and yang.
You can see our video from the performance at the benefit dinner below.
I have attended the Garden of Memory at the Chapel of the Chimes in Oakland many a summer solstice since moving to San Francisco – and written multiple reviews on these pages and even presented a CatSynth TV showcase last hear. But 2019 is the first time I have performed at this annual event as a named artist. It’s a very different experience from the inside looking out. This article describes the adventure.
My friend and sometime collaborator Serena Toxicat and I were excited to be accepted into this years program for our project Manul Override. We joined forces once again with Melne Murphy on guitar and also invited Thea Farhadian to sit in with us on violin.
I had a rather elaborate setup, anchored as usual by my trusty Nord Stage EX. The Sequential Prophet 12 has also become a mainstay of my smaller collaborations, providing rich ambient sounds. The Arturia MiniBrute 2, Moog Theremini, and a collection of Eurorack modules rounded out the rig.
Getting everything into place in the catacombs-like building – a renowned landmark designed by Julia Morgan – was a challenge in itself. Fortunately, I found parking nearby and was able to load everything onto carts or wheeled cases, and had plenty of help getting things downstairs where we were playing.
The acoustics of the space are also quite challenging. It is a set of oddly shaped stone chambers, some large, some small, so echoes abound from both the crowds and other performers. Figuring out how to balance our sound is not easy, and I don’t pretend to have gotten it right on the first try, but it’s a learning experience. But we did get ourselves sorted out and ready to play.
The set unfolded with an invocation, a drone in D mixolydian mode set to Serena’s text Mau Bast, read first in French and then in English. It seemed a perfect piece for the occasion. We then switched things up with a more humorous piece (Let’s Hear it for)Kitties, which was a crowd favorite. You can hear a bit of it in this video from the event.
I have learned how to best follow Serena’s style of speaking and singing, with a more open quality; and Melne and I know how to work together well both in terms of timing and timbre. Thea’s violin added an interesting counterpoint to the voice and electronics. Her sound was sometimes masked by the other instruments and the acoustics but when it came through it added a distinct character and texture. The remaining two pieces were more improvised. One was a free improvisation against one of Serena’s books Consciousness is a Catfish, and another was based on a graphical score with 16 symbols that I first created in 2010 but have revised and reused over the use. The newest version included a cartoon pigeon in honor of my bird-loving co-conspirator Melne.
The performance was well received. Crowds came and went throughout the evening, but many people stayed for extended periods of time to watch us, and others came back a few times. We played two hour-long sets, and in between I had a small amount of time to check out some of the other performs. In particular, I enjoyed hearing Kevin Robinson’s trio, with whom we shared our section of the space.
His spare group and arrangements with saxophone, upright bass, and drum, provided a distinct contrast to our thick sound. The moved between long drawn-out tones and fast runs with short notes that reverberated around the space in between. Robinson’s music often has a meditative quality, even when it is more energetic, so it fit well.
Around the corner from us was the Stanford Laptop Orchestra (SLOrk). They had a quiet set featuring performs seated on meditation cushions with laptops as well as various percussive objects as sound sources.
I was particularly inspired by Anne Hege and her Tape Machine, an instrument with a free-moving magnetic tape and several heads, pickups and tiny speakers. She sang into it at various points and moved the tape, created an instrumental piece that was part DIY-punk, part futuristic, and somehow quite traditional at the same time.
Her performance gave me ideas of a future installation, perhaps even to bring to the Garden of Memory in years to come…
Thea pulled double duty during the evening, also performing as part of a duo with Dean Santomieri, sharing a space with Pamela Z. Our friends Gino Robair and Tom Djll brought the duo Unpopular Electronics to one of the darker columbariums, and IMA (Nava Dunkelman and Amma Arteria) performed on the lower level. In retrospect, our group might have been better placed sharing a space with them, as we are both electronic groups (all women) with large dynamic range.
Overall, it was a wonderful experience, and with the opportunity to play as well as listen it’s my favorite to date. Thank you Sarah Cahill, Lucy Mattingly, and the rest of the crew at New Music Bay Area as well as the Chapel of the Chimes staff for letting us be a part of this event!
After a couple of months away from live performance, I found myself playing two shows in one weekend, both in the Mission District of San Francisco. They were an exercise in contrasts artistically, but both were delightful in different ways.
Word Performances is a “variety show” of poets, musicians, and dancers produced by Cybele Zufolo Siegel and Todd Siegel. The latest incarnation took place at the Lost Church, a favorite venue of mine for its cozy theater and visual vibe reminiscent of David Lynch.
Like any good variety show, it features a staple of regular players that includes both Cybele and Todd, but also Pitta of the Mind as a recurring act. There were of course new participants as well, especially among the poets. You can see a bit of everyone in our video from the evening.
As is clear from the short excerpts, there was a diversity of styles and subject-matter. There were the spartan settings of the readings by Rose Heredia, Jon Sindell, Crystal Jo Reiss, and William Taylor, Jr. Todd and Cybele also gave readings, but with violin accompaniment provided by Hannah Glass. And flamenco Dancer Damian Alvarez stole the show with his tightly choreographed dance to the music of James Brown.
For Pitta of the Mind – myself and poet Maw Shein Win – we performed a brand new set with new poems, and a new color theme of green. The instruments were the same as for our previous performances, combining the Nord Stage, Prophet 12, and modular synthesizers. The consistency in structure and instrumentation helps in our ability to quickly come up with a new set.
Other than my psychedelic lights not working as expected, it was a solid set overall, and we are always happy to be part of the Word Performances shows.
If Word Performances provided a diversity of styles and media, the show later that weekend was very focused on invented instruments, unusual sounds, and the birthday of our friend David Michalak. You can see a bit of everyone in our CatSynth TV video (with David giving the valedictory tag).
This was the first time I performed as a duo with Scott Looney, but I was quite happy with the results. We are both skilled improvisers and were able to blend our sounds and ideas together seamlessly, with my performing on an Arturia MiniBrute 2 and Scott on a custom string instrument with various preparations.
Our set as well as the one that followed us featuring Tom Nunn, David Michalak, and Aurora Josephson had a similar texture: a lot of wisps, scrapes, and staccato elements. It was interesting to see how much musically David could get out of a flat piece of cardboard! The opening set with Tom Nunn on skatchbox and Ron Heglin on voice also had a very pointed and sparse texture.
The final set featuring Ghost in the House had a softer, longer, and more liquidy quality. This time David Michalak was performing with a processed harmonica and lap steel guitar, with long tones matched by Polly Moller Springhorn on bass flute and Cindy Webster on musical saw – and this was no ordinary musical saw, it seemed built specifically for music.
Overall, it was a fun show, and of high quality musically. It’s a shame more people weren’t able to hear it live – it was a private event – but the video captures much of the experience in a compact form.
Today we look back at the show featuring Vacuum Tree Head and the Moe Staiano Ensemble at The UPTOWN in Oakland. It was also the subject of our most recent episode of CatSynth TV.
This was the most ambitious Vacuum Tree Head show to date, at least during the time I have been involved in the band. There were ten musicians involved: Jason Berry conducting, Steve Adams (of ROVA fame) on baritone saxophone, Jason Bellenkes on various woodwinds, Amanda Chaudhary on keyboard, Richard Corny on guitar, Michael de la Cuesta on guitar and synth, Justin Markovits on drums, Joshua Marshall on saxophones, Amy X Neuburg on voice and blippo box, and John Shiurba on bass.
The band delivered an impressive and truly dynamic performance, going through a diverse mix of styles from our current repertoire. And that fact that the core of the lineup has stabilized means that the tunes are always getting tighter and more idiomatic, especially our “big” numbers Nubdug and EMS Deluxe – I always have a lot of fun in the latter with a big 1970s style electric-piano solo. But this set was more than just music – it continued the band’s pattern of adding new spectacle at each show. This time, we had a juggler, ColinHogan, and my friend and frequent collaborator Serena Toxicat held up signs for audience participation. The juggling was a unique moment, with Hogan tossing lighted beanbags and other objects as we played a new version of the tune Marlon Brando
Overall, I had a wonderful time playing, as I’m pretty sure the entire band did. And we got a great response from the audience at The UPTOWN. Next, it was time for the Moe Staiano Ensemble to take the stage.
This was also an ambitious set, building on Moe’s previous ideas but with an even larger ensemble of guitars: Jay Korber, William Bohrer, Melne Murphy, Damon Wood, Robin Walsh, Drew Wheeler, Bill Wolter, John Shiurba, Josh Pollock, David James, Marc Zollinger, and Karl Evangelista. That, my friends, is a lot of guitars! But they were also joined by Steve Lew on bass and Jeff Lievers on drums.
Moe’s large scale composition followed a classical form of three movements: a loud opening fanfare, a calm and moody second movement, and amore dynamic finale. It featured many of the idiomatic elements I have come to know and appreciate in his compositions from my time playing in Surplus 1980, including the repetitions coming in and out of phase. During the first movement, there was a driving eight-note patterns with phasing that created an intense but pointillated wall of sound. The second movement, which contained slower notes and lots of open space, was exceptionally beautiful, and my favorite part of the performance. You can hear some of it in our video.
It was a wonderful night of music in Oakland, and I was happy to be a part of it both as a performance and an audience member. There was a fairly decent turnout, especially for a Tuesday. It’s not every day you can get this cast of musicians on a stage at once, as both groups did, but I look forward to the next time they do.
As we busily prepare for the next Vacuum Tree Head show this coming Tuesday, I find myself looking back at my last show with a very different band, Manul Override earlier this month at the Make-Out Room in San Francisco. It was the subject of a recent CatSynth TV episode.
The evening began with an improvised set featuring saxophonist David Pate with keyboardist Steve Cohn.
Then it was time for Manul Override’s debut show. This was a new group I put together with my friend and collaborator Serena Toxicat on voice and former Surplus-1980 bandmate Melne on guitar.
We had a lot of fun on stage, and the energy spread to the audience, with dancing and meowing all around (all of our tunes had at least some connection to cats). I was particularly happy with the opening incantation, which featured a French rendition of Serena’s ode to the goddess Bast, and our 1980s-pop-style tune “Goodnigobbles”, which also featured Serena seductively delivering lyrics and spoken words in French. Melne had a chance to show her versatility throughout the set, including our extended funky jam in the middle of the set. As with all new musical projects, this is a work in progress, figuring out what works for us and what doesn’t, and how to make each show better than the previous one. But it was also fun visually, with our fashion statements, cat ears, and Melne’s lighting.
The final set featured Ornettology, a project led by guitarist and composer Myles Boisen. As the name suggests, the group is inspired by the music of Ornette Coleman, and reimagines many of his compositions. He was joined by a stellar cast of local musicians including Steve Adams and Phillip Greenlief on saxophones, John Haines on drums, Safa Shokrai on bass, and JohnFinkbeiner.
The band delivered a truly dynamic performance that featured some of Ornette Coleman’s more familiar tunes, including “Ramblin'” and “Mob Job” There were some great solos from each of the members of the group as well. You can hear some of Philip Greenlief and Myles Boisen soloing in our video.
The last few shows I have played at the Make-Out room always have a great audience – full houses that seem to appreciate having live music, whether they came to hear the specific artists or just happened to drop by. A few in the latter category seemed to quite enjoy our Manul-Override set, signing Serena’s leg cast (she had an unfortunate accident a couple of weeks before the show) and taking selfies with us. It was a fun night of music all aroundl.
Today we look back at this year’s μHausen, a “micro-festival” of experimental electronics that takes place every summer deep at a secure undisclosed location in the Santa Cruz Mountains. It was the subject of our most recent CatSynth TV episode.
As suggested in the video, I was thinking a lot about our natural surroundings as we made music with our thoroughly artificial electronic instruments. The trees, the air, the light, all seemed to be of a piece with the music at times. I also thought about the fact that I had not been able to attend the last three installments. In 2015 and 2016 I had to cancel or decline because of medical issues, and I’m not sure what happened in 2017. But I was back now and was great to see and hear everyone.
First up was Peter Elsea, recently retired from his longtime position as a professor of electronic music at UC Santa Cruz. On this occasion, he performed with a small rig that included a modular synthesizer and an electronic wind instrument.
His set featured tones that were timbrally rich and often noisy, but still pitched. This worked well with the wind controller which allowed the noisy tones to swell and fade musically. But there were also some beautiful moments of quiet pure tones that evoked the natural surroundings.
Next up was Later Days, a project featuring Wayne Jackson with his iOS-based evolutionary synth MendelTone, which allows patches to “breed” and evolve.
There was an urgent “machine-like” quality to the music, with low drones oms mixing with high swirls of sound and various percussive hits. Wayne is also the founder of this event and often its leader, but this year he ceded organizing duties to R Duck (of the R Duck Show), who performed next.
[Photo by Later Days (Wayne Jackson)]
The first segment of his set featured beautiful drones of processed guitar. There were quick runs, but they were absorbed into the overall sound. Over time, the tone and structure darkened, with more complex timbres and harmonies set against slow but anxious guitar riffs. He also teamed up with Later Days to deliver his perennial incantation featuring chocolate. (Did I mention that we at CatSynth love chocolate?)
Next up was synthesizer virtuoso Doug Lynner, who performed on a Eurorack-based Serge modular synthesizer.
[Photo by Later Days (Wayne Jackson)]
I have long come to expect very complex and intricate sounds from Doug, often set in a very sparse texture where one can clearly hear the details. That was certainly the case in this performance, which opened with light sounds reminiscent of birds and whale songs. It could have come from the surrounding woods rather than the synthesizer on stage (OK, the bird sounds could have, probably not the whale sounds). After a period of rapid modulation, the music settled into a different pattern, with a contrapuntal texture of long ascending tones reminiscent of sirens.
Lynner was followed by Paul Nicholson who had a large Korg-centric rig that included both a Minilogue, an MS-20 and an SQ-1 sequencer among other instruments.
His opening piece was more traditionally harmonic compared to the preceding sets, with slowly changing harmonic patterns that evoked late-20th-century minimalism (think Steve Reich and John Adams). The second portion of the set featured some harsher sounds and noise centered around Nicholson’s modular synth.
Then it was time for me to take the stage. I brought a rig that included the large 9U modular, a Casio SK-1 and my trusty Moog Theremini.
[Photo by R Duck]
As with most of my recent solo work, I select one of my more formal compositions as a point of departure. In this case, it was “White Wine”, with the melody set against one of the SK-1’s drum beats. This them morphed into a broken and complex break of sound and eventually to a pure improvisation with the modular and theremin, though the beats never really disappeared. As I was when listening to the other sets, I was thinking about the natural surroundings – in my case being the “city girl” mastering my place in space and sound, even if just for a few brief minutes.
The final set featured Lemon DeGeorge on harmonica and electronics.
The harmonicas (like a true player of the instrument, he had more than one) added a unique dimension to the music, and the electronics followed with long breathy tones. The sounds appeared to build up layers upon layers into something heavy and enveloping, but never overwhelming. Compared to Nicholson’s sounds, DeGeorge’s lone tones and patterns were thoroughly inharmonic but no less beautiful or musical.
Overall it was a fine afternoon of weird electronic music in the woods, and not just for the music itself but for the fellowship with friends who I don’t get to see that often. I remained in the mind space of the show, the environment, and the sounds for a while on the drive back, at least until reaching I-880 and heading first into Oakland and later home to San Francisco, where I snapped back into my everyday urban life.