electronic music

Performance at Harvestworks with Rachel Mason and The Use

Today we look at the second of my two performances in New York this past November. This one took place at Harvestworks, a non-profit organization in lower Manhattan that supports musicians and helps them work with technology. It was also a bit of a homecoming for me, as I had interned at Harvestworks in the summer of 1993 – yes, 20 years ago!

The concert was actually part of artist-in-residence Rachel Mason’s ongoing work, and featured a collaborative performance with Michael Durek of The Use that exploited Harvestworks’ surround-sound system. The piece included a mixture of videos, both found online and created specifically by Mason, and live music that featured electronics from Durek and voice by Mason. You can see their full performance in this video.

Rachel Mason and Michael Durek, Harvestworks, November 30, 2013 from CatSynth; on Vimeo.

It opens with a found video of an odd fellow talking about using electro-magnetism to detect ghosts. He explains basic electronics to the video (at one point getting his units wrong), with Durek slowly entering with discrete tones on the theremin. Soon the texture becomes thicker and moves into more beat-based music that I have heard in The Use’s more recent work. Rachel Mason’s vocals were quite expressive and melodic. The videos changed to show Mason in interesting costumes walking around both Brooklyn and Joshua Tree, two particular favorite environments of mine.

Then it was time for me to take the stage. I also used video, a very simple live-processing patch in Jitter that combined generated images with live input. For this piece, I had a set of cat-themed playing cards, which I would draw, show via the video processing, and then interpret for the next section of music, either as a literal specification for a patch on the Dave Smith Evolver, or more abstractly with the analog modular synth and Garrahand drum. You can see the full performance in the following video.

Amar Chaudhary at Harvestworks, November 30, 2013 from CatSynth; on Vimeo.

Overall, it was a great show, and we managed to have a full house, which is always a nice experience as a performer. I certainly hope to be able to work with these artists and with Harvestworks again in the future.

Ambient Chaos at Spectrum: Schuyler Tsuda, Amar Chaudhary, John Dunlop, RMA Trio

Today we look back at the November 26 Ambient-Chaos night at Spectrum in New York. I was happy to once again perform there, and hear some of what the local experimental-music scene has to offer.

The performance itself, the New York debut of my feminine persona, went quite well as was very well received. It was anchored by rhythmic elements on the Dave Smith Evolver, overlaid with iPad synths, the garrahand drum, sketch box, and a miniature subset of my analog modular system.

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[Photo by Painter Jung Nam Lee at Spectrum Manhattan, New York Nov 26, 2013]

Performing at Spectrum is always a great experience, sonically as well as visually. Lighting and shading was part of the design of my set and worked perfectly with the ever changing light patterns in the space. I was also happy with the narrative structure within the music. You can see and hear the full set in the following video:


Performance at Spectrum, November 26, 2013 from CatSynth on Vimeo.

I was preceded on the program by Schuyler Tsuda, who performed a set featuring his sonic sculptures. In a space lit only by candles on stage, he struck, bowed and scraped a variety of sonic objects. There were long ambient metallic sounds punctuated by shorter percussive events. The overall effect was eerie and sometimes a bit anxious, but also immersive and inviting. It is difficult to capture in a still photograph, so here is a video clip:


Schuyler Tsuda from CatSynth on Vimeo.

The third set featured John Dunlap on guitar and vocals as part of a duo that also included saxophone and electronics.


John Dunlap from CatSynth on Vimeo.

Their playing was loud and frenetic, and quite a contrast to both my set and Tsuda’s. Dunlap also incorporated throat singing into his performance.

RMA Trio
[Photo by Painter Jung Nam Lee at Spectrum Manhattan, New York Nov 26, 2013]

The final set brought together the RMA Trio along with a guest vocalist/actor to read excerpts from an upcoming play.

The text was in German, and if I understood correctly (which is doubtful) it was based on Hamlet. There was a variety in the instrumental pieces, including both percussive and harmonic piano, drums and guitar effects.

Overall, it was a great show, and a decent turnout considering that it took place in the middle of a nasty rainstorm. Thanks as always to Robert L. Pepper (PAS) for hosting this series, and to Glenn Cornett for making Spectrum a destination for musicians and sound artists in New York.

A Tale of Two Duos

Today we look back at duo performances from the middle of September: an electro-acoustic spoetry performance with Polly Moller, and a punk-themed Pitta of the Mind performance at Bay Area Ladyfest. Musically, conceptually, and socially, these were contrasting experiences, but both very rewarding. Both duos combined voice with live electronics, and both involved my feminine persona . They also provided opportunities for different styles of playing and collaboration.

Ode to Steengo is a piece based on spoetry (spam poetry) derived from Harry Harrison’s “Stainless Steel Rat” series. Polly Moller and I performed it several times as an electro-acoustic duo in 2008 and 2009, and then later in our band Reconnaissance Fly. We reprised the piece for our duo performance at The Nunnery in San Francisco on September 15. It was a more expansive interpretation, with more instrumental breaks and live processing of voices. It was also different in that I used the analog modular for the electronic parts. The Make Noise Echophon was great for processing Polly’s vocals and wind instruments. And overall, I thought this was our best performance of this piece to date. The technology, timing and overall musicianship were strong, and we both had a good time while playing. You can enjoy it in its entirety via the video below:

Amar Chaudhary / Polly Moller Duo: Ode to Steengo, The Nunnery 9-15-2013 from CatSynth on Vimeo.

The performance by Pitta of the Mind at Bay Area Ladyfest in Oakland was something altogether different. Maw Shein Win and I interpreted several classic punk-rock songs as “art-damaged” music and spoken word performances. Musically, this involved a mixture of idiomatic and freeform improvisation on electric piano, mixed with some odd synth sounds. As with Steengo, the performance itself was a lot of fun, and in this case we made that a deliberate and overt part of the show. This was especially apparent in our final piece, an interpretation of The Ramones’ “Sheena is a Punk Rocker” where we invited the audience to sing along with us.

Pitta of the Mind at Bay Area Ladyfest: The Ramones “Sheena is a Punk Rocker” from CatSynth on Vimeo.

Both performances were well received by the audiences, which filled their respective venues, and of course I hope to do both again. Pitta of the Mind already has two more performances scheduled this year, and of course Polly and I perform together quite often. It is a good reminder to make time for duos as a specific performance format even while spending much time on solo work and on full-size bands.

Report from BPOW!!! Part 2: The Concerts

Today we conclude our reports from the Battery Powered Orchestra Workshop (BPOW!!!) in Portland, focusing on the evening concerts. Like the workshops, which we covered in Part 1, the concerts focused on DIY technologies, as well as analog synthesis.

The Saturday-evening program opened with Stephanie Simek performing on her custom multi-armed turntable.

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The arms on the turntable were outfitted with contact microphones which picked up vibrations from the grooves of hand-cut records. Each arm fed a separate audio channel, creating a multi-track, spatialized performance from a single record. Musically, the repeated sounds of jungles, space, human activity and instrumental sources formed complex rhythms with changing syncopations and graduation motion over time. The effect was quite hypnotic. Even with the enveloping sound system, there was something intimate about the performance, probably related to the visuals and distinct sound of the record player.

Simek was followed by F-DT (Future Death Toll). F-DT is an artist collective and performances feature a rotating lineup, but on this occasion it included Edward Sharp and Nathanael Thayer Moss. F-DT describe themselves as “a throbbing mess of noise that eats technology and shits performance art.” And it was certainly a performance filled with loud noise in a variety of aural ranges – high electrical noises and pounding low-frequency patterns – set against a relentless stream of glitchy visuals and text.

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Although it is hard to tell from this photo, much of their gear was colored orange, which seems to be an important part of the group’s identity. The music and presents is undeniably challenging, but well worth for those who make the effort.

Then it was my turn to take the stage. My setup focused on the analog modular synthesizer, along with another analog synth, iPad, the dotara (Indian string instrument), and Skatch Box. I also used the Synthrotek 4093 NAND synthesizer that I built during one of the workshops earlier in the day.

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The 4093 worked flawlessly, as did the modular and the Luna NT analog synth. The acoustic instruments (dotara and skatch box) also worked well. As with any experimental electronic improvisation performance, there were a few technical glitches and a few things I would have done differently in hindsight. But overall, I thought it was a good performance, and it was very well received by the attendees. You can see and hear it in its entirety in the video below:

CatSynth (Amar Chaudhary) at BPOW, August 10, 2013 from CatSynth on Vimeo.

The final act of the first night was Mechlo. His performance combined lo-fi glitch audio and video from an NES console.

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Clearly, there were modifications made to allow the system to be performed in a way that a traditional NES could not. Nonetheless, the graphics and audio were reminiscent of what one would expect from the classic 8-bit games. There were repeated modulating patterns, some of them more melodic, some noisier, with occasional glitches and pauses.

The Sunday evening concert opened with a performance by analog modular virtuoso Jeph Nor with Dan Green on analog video. Green brought an LZX modular video system, while Nor had a large collection of audio modules from different manufacturers.

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Nor built complex patterns of sound that went from sparse and resonant to thicker and more pad-like. There were moments of eerie ambience and others that had a machine-like precision. Overall, he was able to give his improvisation with this instrument a musical and even narrative quality. The visuals focused on patterns of colors, curves and lines that were constantly changing, but occasionally slowing to a standstill before shifting rapidly and switching to a completely separate collection of shapes.

Next was Mike Todd performing custom visuals and sounds. Unlike the sharper edges from Nor and Green earlier, or the noisy intensity from F-DT the day earlier, Todd’s performance was software and more organic. The visuals, based on his own software, were composed of curving liquidy shapes that seemed alive. Similarly, his music had an equally liquid quality, with more open space between fast elements, as if a swarm of moving organisms.

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Todd was followed by JMEJ, who assembled sonic circuits live on stage. One can think of this as “analog live coding”.

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The process was fun to watch. As one might expect, the sounds were a bit on the noisier and unpredictable side, but with a lot of good crunchy lo-fi texture. As the performance continued, the circuits grew more complex and culminated in this tangled product:

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The final performance featured Claus Muzak performing some of his electronic-music compositions.

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This was a more structured performance, divided into songs. His music had a strong rhythmic and harmonic foundation, realized with a diverse collection of synthesizer and drum-machine sounds. It was dark and richly textured, and at times danceable, especially when he employed rhythmic lines with high-Q filters. It was probably the most “traditional” of any of the performances on either night, well crafted electronic music that would be at home in a club setting. But it was a fitting conclusion for evening’s performances and for the festival as a whole.

You can see and hear brief excerpts from all the performances in this video:

BPOW!!! Battery Powered Orchestra Workshop – Aug 10-11, 2013 from Molecule Synth on Vimeo.

Overall, both the concerts and workshops from BPOW were a rewarding experience. It would be great to visit again to participate in future events, and in the meantime I look forward to hearing more from the artists involved. Thanks to Travis Feldman of moleculesynth for organizing BPOW and Myles de Bastion of Cymaspace for hosting.

Report from BPOW!!! Part 1: The Workshops

It’s been a little over a week since the Battery Powered Orchestra Workshop (BPOW!!!) occurred in Portland. Today we look back at the workshops, which were in many ways the central components of weekend.

During the Saturday morning session, I attended a workshop on electronic textiles hosted by Cat Poole of Cacophonous Creations. The skill was to learn how to use conductive thread to embed both light and controls into clothing for future performances. But for the workshop, the task was to simply sew an LED and its associated circuit onto a dinosaur patch:

BPOW electronic textiles

Of course, we at CatSynth approve of Cacophonous Creations’ chat noir logo! As for the task itself, the biggest challenges related to general sewing and laying out elements to properly fit (at least for someone with little sewing experience beyond repairing buttons). But I got through the threading of the circuit. It would be great to incorporate something like this into costuming for future performances.

In the afternoon, I attended a session presented by Steve Harmon of Synthrotek. It centered around DIY electronics and the ubiquitous 555 integrated circuit. But that then merely building an Atari Punk Console with a 555, we stepped it up with Synthrotek’s 4093 NAND Synthesizer.

4093 NAND Synth kit

The 4093 includes three square waves, based on a dual 556 integrated circuit. I was quite intent to complete it and be able to use it for my performance that evening. The soldering of the components went quite smoothly – it helps to both see other people soldering and to have access to a good iron. It was a quite a rewarding moment when the synth was complete and making sound.

Completed 4093 NAND Synth

My only disappointment was the pots not quite fitting and ending up a bit lopsided. But it worked great in the performance and will certainly be used again in the future. The additional confidence on soldering will also be valuable for future projects.

Additional workshops in the afternoon included an introduction and demonstration of modular synthesizers by Jeph Nor. He demystified modular for a general audience by presenting the fundaments (oscillators, filters, amplifiers) and adding additional elements.

Jeph Nor analog modular demo
[Image from the BPOW Facebook page.]

Attending all the workshops on Saturday would have been impossible, especially if one wanted to complete the associated tasks. In particular, I was also interested in the Raspberry Pi which was presented by Edward Sharp.

Sunday’s workshop sessions opened with a demonstration of “squishy circuits”. It turns out that homemade play-doh is quite a good conductor of electricity, and can be used to quickly prototype circuit ideas. It also serves as a very accessible medium for introducing principles of electronics to children.

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We also got to see other non-traditional conductive media including ink and paint that can be used to integrate electronics into artwork without the use of wires.

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Then everyone scattered for an electronics scavenger hunt to find electronic toys and various media to use in projects during the afternoon. The participants reconvened later in the day and got to work.

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Our host Travis Feldman of Molecule Synth hacked the interior of an Atari console with both audio and video modifications, attaching it to a Moog pedal.

Hacked Atari console

Other creations included a circuit-bent toy keytar and a tactile surface used to control audio and video on a laptop.

Overall, the workshops at BPOW were a rewarding experience. In addition to new inspiration and a few new skills, I liked seeing the wide variety of interests and disciplines that others brought to creative DIY electronics for music, video and performance art. If the event does recur next year, it will be interesting to see how technologies and the skills of participants have further evolved.

In addition to the workshops, BPOW also featured performances in the evening. We will look at those in a subsequent article.

Outsound Music Summit: Fuzzybunny, Transient, PMOCATAT Ensemble

The Outsound Music Summit continued on Friday with a concert entitled “Emanations and Artifacts”. All three sets featured manipulation of found sounds (as well as found visuals) but to very different effect.

The program began with Transient, David Molina’s electro-acoustic, ambient, experimental project. He was joined for this performance by Anna Geyer who provided visuals from a large collection of 16-millimeter film loops, some found, some hand-painted. The projectors and film segments hanging were themselves works of art.

16mm film clips

The performance itself was a fully improvised collaboration of sound and visuals. But the music had a very well crafted and even narrative quality to it. It was anchored by a series of stories told by undocumented workers in the U.S. about their experiences. Over this, Molina layered elements based on a wide variety of live acoustic artifacts from small bells and shakers to cello and banjo. These sources were composed using Ableton Live! into loops, rhythms and drones to create a complex ever changing soundscape.

David Molina - Transient
[Photo: PeterBKaars.com.]

The entire 40-minute performance was captivating and full of interesting details, stretched metallic sounds, scraped strings turned into rhythms. Perhaps my favorite part was Molina’s first bowing the banjo and then strumming the instrument over the looped recording. This was combined with deeper electronic sounds and set against a set of film clips that featured cats (yes, there was some cat spotting on this evening).

Cats in Transient performance
Cats in Transient performance

The next performance featured the PMOCATAT Ensemble, Matt Davignon’s projected based on cassette players and other sources restricted to cassette-like fixed-media manipulation. I was part of this ensemble, and managed to find a cassette-player iPad app for the occasion.

iPad cassette app for PMOCATAT Ensemble

The ensemble performed four pieces by Davignon as well as two by guest composers Daniel Steffey and Benjamin Ethan Tinker. Davignon’s pieces had a playful quality to them, and integrated the participants’ regular instruments into the media and the concepts of each piece. Perhaps my favorite was the “Avant-Jazz Trio”, which was billed as neither a trio nor really jazz. However, the end result, which featured manipulated recordings of bass, piano, drums and horns did have a jazz-like quality to it, and an ensemble-like texture. The effect was helped by the performers listening to one another as the would in a true jazz-improvisation ensemble as well as Davignon’s conducting.

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[Photo: PeterBKaars.com.]

The pieces by Steffey and Tinker had very different tones. The source materials were more abstract, often deliberately noisy. The unfolding of Steffey’s piece reminded me of many of John Cage’s experimentations with media-based pieces, although in this case it was overlaid with recordings of speeches collected as a personal response to the George Zimmerman / Trayvon Martin case. Tinker’s piece used pre-composed cassettes that the performers manipulated based on a beautifully designed graphical score. The sounds were then passed through a looper and other effects and mixed into a single source.

The final set was the much anticipated reunion of Fuzzybunny, an electronic-improvisation trio consisting of Chris Brown, Scot Gresham-Lancaster and Tim Perkis. Their music is described as “All-out ‘carnallectual’ electronic improv, rocky-roaded with pop-music fragments and sonic gags define some kind of new style, difficult to describe.” And this was their first time playing together as group in a decade.

Fuzzybunny
[Photo: PeterBKaars.com.]

The performance started right way into their high-intensity onslaught of electronic sounds, pop-music clips, and loud hits. Perkis anchored the music with his steady laptop emanations while Chris Brown deftly moved through a variety of rhythms and familiar samples from popular music – I have a particular soft spot for the R&B clips – and Scot Gresham-Lancaster explored timbral possibilities of guitar and looping. The prevailing texture was loud and driving, but there were more subtle moments as well, with wobbly synthetic sounds, quieter percussive hits and scratchier recorders of older pop music. But then they would hit us with something surprising and louder. For a band that hasn’t played together in over ten years, they were very tight. And one could tell they were having fun (something that Brown mentioned during the pre-show Q&A as well). It was certainly a fun performance for those of us in the audience as well, and there was no question that we were going let them play a little longer, especially if it turns out to be another ten years before we can hear them together again.

Overall, it was another strong performance for this year’s summit, and one I was proud to be personally involved with as both a performer and curator.

Outsound Music Summit: Vibration Hackers

The second concert of this year’s Outsound Music Summit, entitled “Vibration Hackers”, featured electronic musical experimentations from Stanford’s CCRMA and beyond. It was a sharp contrast to the previous night in both tone and medium, but had quite a bit to offer.

The concert opened with #MAX, a collaboration by Caitlin Denny on visuals, Nicole Ginelli on audio, and Dmitri Svistula on software development. It was based on the ubiquitous concept of the hashtag as popularized by Twitter. Audience members typed in suggested terms on a terminal set up in the hall. The terms we then projected on the screen and used to search online for videos, audio and textual materials to inform the unfolding performance. Denny used found videos as part of her projection, while Ginelli interpreted results with processed vocals.

#MAX

The idea was intriguing. I would have liked to see more explicit connection between the source terms and audio/video output – perhaps it was a result of the projection onto the distorting curtain instead of a flat surface, but the connection wasn’t always clear. It would have also been fun to allow audience members to input terms from their mobile phones via Twitter. But I applaud the effort to experiment artistically with social networking infrastructure and look forward to seeing future versions of the piece.

Next was a set of fixed-media pieces by Fernando Lopez-Lezcano, collectively called Knock Knock…anybody there? Lopez-Lezcano is a master of composition that uses advanced sound spatialization as an integral element, and these pieces presented a “journey through a 3D soundscape”.

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[Photo: PeterBKaars.com.]

The result was a captivating immersive and otherworldly experience with moving sounds based on voices, sometimes quite intelligible, sometimes manipulated into abstract wiggling sounds that spun around the space. There was also a section of pop piano that was appropriately jarring in the context which gave way to a thicker enveloping sound and then fades to a series of whispers scattered in the far corners of the space. The team from CCRMA brought an advanced multichannel system to realize this and other pieces, and the technology plus the expert calibration made a big different in the experience. Even from the side of the hall, I was able to get much of the surround effect.

The next performance featured Ritwik Banerji and Joe Lasquo with “Improvising Agents”, artificial-intellgience software entities that listen to, interpret, and the produce their own music in response. Banerji and Lasquo each brought their own backgrounds to the development of their unique agents, with Banerji “attempting to decolonize musician-computer interaction based not he possibilities that a computer is already intelligent” and Lasquo applying his expertise in AI and natural language processing to musical improvisation. They were joined by Warren Stringer who provided a visual background to the performance.

Joe Lasquo and Ritwik Banerji
[Photo: PeterBKaars.com.]

As a humorous demonstration of their technology, the performance opened with a demo of two chatbots attempting to converse with one another, with rather absurd results. This served as the point of departure for the first piece, which combined manipulation of the chatbot audio with other sounds while Banerji and Lasquo provided counterpoint on saxophone and piano, respectively. The next two pieces, which used more abstract material, were stronger, with deep sounds set against the human performances and undulating geometric video elements. The final piece was even more organic, with subtle timbres and changes that came in waves, and more abstract video.

This was followed by Understatements (2009-2010), a fixed-media piece by Ilya Rostovtsev. The piece was based on acoustic instruments that Rostovtsev recorded and then manipulated electronically.

Ilya Rostovtsev
[Photo: PeterBKaars.com.]

It began with the familiar sound of pizzicato strings, that gave way to scrapes and then longer pad-like sounds. Other moments were more otherworldly, including extremely low tones that gradually increased in volume. The final section featured bell sounds that seemingly came out of nowhere but coalesced into something quite serene.

The final performance featured the CCRMA Ensemble, which included Roberto Morales-Manzanares on flute, voice and his “Escamol” interactive system, Chris Chafe on celletto, John Granzow on daxophone and Rob Hamilton on resonance guitar. Musical creations were a major part of this set. Chris Chafe’s celletto is essentially a cello striped down to its essential structure and augmented for electro-acoustic performance. The saxophone is based on a bowed wooden element where the sound is generated from friction. The Escamol system employed a variety of controllers, including at one point a Wii.

CCRMA Ensemble
[Photo: PeterBKaars.com.]

The set unfolded as a single long improvisation. It began with bell sounds, followed by other sustained tones mixed with percussive sounds and long guitar tones. The texture became more dense with guitar and shaker sounds circling the room. The celletto and daxophone joined in, adding scraping textures, and then bowing sounds against whistles. In addition to the effects, there were more idiomatic moments with bowed celletto and traditional flute techniques This was truly an experimental virtuosic performance, with strong phrasing, textural changes and a balance of musical surprises.

I was happy to see such a strong presence for experimental electronic technologies in this year’s Summit. And there was more electronics to come the following evening, with a very different feel.

Pitta of the Mind, Doug Harvey, Other Cinema at ATA

In the midst of this rather crazy time in May with multiple band performances, rehearsals, art fairs and other happens, we look back at the simpler time that was April. In particular, my performance as “Pitta of the Mind” with Maw Shein Win at Artists Television Access in San Francisco. The performance was part of a launch event for Doug Harvey’s new anthology “patacritical Interrogation Techniques Anthology Volume 3”, hosted by Other Cinema.

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Other Cinema events are always a fun mix of the campy, the strange, the beautiful, and sometimes challenging material. The selection during this evening included the hilarious but incomprehensible “Turkish Star Wars” and an interest abstract french piece, shown below:

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Throughout the evening, Doug Harvey also read selections from his new anthology. It was such an eclectic mix of elements ranging from criticism to found text, and I look forward to reading it myself.

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Our Pitta of the Mind performance featured readings from Harvey’s collection of spam poetry. It was a different sort of text from our usual, but a lot of fun and provided more opportunities from abstract musical response. You can see and hear our performance in this video:

ATA Pitta of the Mind from CatSynth on Vimeo.

I also had the opportunity to accompany Harvey’s Moldy Slides, a piece based on a collection of 35mm slides in various states of decay. The images and concept were quite beautiful, and I enjoyed the opportunity to improvise to it on iPad synths. Unfortunately, I do not have a recording of that performance.

Harvey wrote a very complimentary review of our performance on his blog. Here is an excerpt:

The highlight of the San Francisco launch event for ‘patacritical Interrogation Techniques Anthology Volume 3 at ATA/Other Cinema (Craig Baldwin’s 28-year-old underground microcinema) was undoubtedly Pitta of the Mind (Maw Win & Amar Chaudhary) translating found email spam poetry from the turn of the Millennium into swinging intergalactic electro-transmissions. I made a video, so hopefully that will find its way online soon, but in the emantime, here’s a couple of action shots, and a sampling of the spoems:

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Any dahlia can brainwash short order cook of, but it takes a real lover to for lover.Any trombone can approach fundraiser toward, but it takes a real guardian angel to traffic light of cleavage.piroshki remain sprightly.

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– Essie Russell

Follow the link to read more and see some photos.

A big thank you to Craig Baldwin of Other Cinema and to Doug Harvey for giving us the opportunity to participate in this event. I look forward to doing more with Other Cinema in the future.