CatSynth

Degeneration / Regeneration, Marina Abramović Institute

CatSynth — Mon, 16 Nov 2009 07:12:32 +0000

Last Friday, I attended the opening exhibition of the Marina Abramović Institute here in San Francisco. The exhibition, entitled Degeneration / Regeneration, featured several live performance pieces and videos, and included an introductory talk eponymous founder, Marina Abramović.

Abramović was a pioneering performance artist in the 1970s; I first encountered her work when briefly studying artistic collaboration in conceptual art of the 1960s and 1970s. (This was the same time that I discovered Gilbert and George.) In her introduction, she was particularly concerned with how contemporary audiences experience “long-duration performance art”, preferably with concentration and without distractions such as conversation or “Blackberries.” As a demonstration, she instructed us on how to walk into the first exhibition space, a very slow and deliberate sequence of “lift, stretch, land and move” repeated the entire way of the lecture area up the stairs to the first exhibition hall. For someone who tends to walk rather fast, this can be difficult.

In terms of the pieces themselves, a few stood out in particular. Jennifer Locke was busy in a glass-enclosed space, painting it entirely black. She was herself covered entirely in a black suit as well.

With her were cans of paint, standard commercial painting equipment, and several large containers of Elmer’s glue. It was not exactly clear what the glue was for. We came back a few times to see her “progress” and eventually she had the room completely painted black. At this time, she proceeded to remove her suit and pick up one of the containers of glue. It was then we all realized what the glue was for, as she poured one container after another over her body. I did not stick around to see how this situation resolved itself (no pun intended).

I did like Mattias Ericsson’s pair of pieces. Maybe everything is grey after all covered a kitchen area of the building with black-and-white photographic prints, some of which were displayed openly, and others (particularly tiny 1×1 inch prints) neatly placed in closed boxes or behind cupboards. One could open these spaces and peruse the images, which appeared to chronicle very personal and intimate moments. Readers can get a sense of the images via interactive version. One starts to feel a bit voyeuristic going through them. Ericsson also present a video entitled 1630 photographs, in which he described his photographic process and his vision for his work.

Another featured live performance by Michael Ryan Noble invited audience members to participate by placing clay on his body, an act that is both sculptural and symbolic of burial. Many audience members did participate, and a participants sculpted elaborate clay objects to place on him, such as a dorsal fin.

Overall, it is an exhibition that does push one comfort’s zone (especially the glue). I am often left wondering whether performance art is closer to the visual arts than it is to music and theater, or something entirely different. I find myself wanting to treat it more like visual art, which seems to go against what Abramović stated at the start of the evening.

Preparing for Saturday performance

CatSynth — Sat, 14 Nov 2009 07:50:13 +0000

I am busy preparing for the first of three upcoming performances this week. That primarily involves hastily assembling a collection of gear and cables:

For this show, I will be using the Evolver, the Korg Kaos Pad, looping and effects software the MacBook, and several of my Chinese and Indian instruments, including the prayer bowl at the center of the photo. A challenge for readers: how many cats do you see in the photo above?

Meanwhile, Luna sits nearby. She seems to be accustomed enough to the odd sounds from my musical instruments to remain relaxed and even take a nap.

Appropriately enough, Weekend Cat Blogging #232 is being hosted by our audio-gear-savvy friends LB and breadchick at The Sour Dough.

The Carnival of the Cats will be up this Sunday at Artsy Catsy.

And of course the Friday Ark is at the modulator.

CatSynth video: My cat plays better synth than me.

CatSynth — Fri, 13 Nov 2009 16:24:01 +0000

From blwvideo on YouTube, via matrixsynth:

“My secret weapon for all two of my synthesizer videos is my cat, Buddy, who is a synthesizer virtuoso. He agreed to share one of his amazing jams with us. First he takes a stab at horror film fx, and then he goes slow and sultry with one of his more jazzy grooves.”

You can also see a related synth video on matrixsynth.

Wordless Wednesday: Demolition

CatSynth — Wed, 11 Nov 2009 06:15:22 +0000

SF Open Studios Week 3, part 1: Abstract

CatSynth — Tue, 10 Nov 2009 18:24:12 +0000

Week 3 of San Francisco Open Studios features South of Market (SOMA), my neighborhood, and Mission Bay, the corridor along 3rd street further south. This is a rather large piece of territory within the city, and a mixture of old industrial areas and downtown that seems to me very creative. I have decided to divide my experience into three distinct sections: abstract, architectural/urban, and figurative/characters. These are by no means authoritative groupings, they just represent the main areas of my interest among the work that I saw, and a way to separate the large number of artists I saw into something a bit more manageable. And of course many of the artists blue the boundaries between these distinctions. This article presents a few of the artists whose work was primarily abstract.

Paule Dubois Dupuis. Pour toi maman. (Click to enlarge)

At South Beach Studios, I once again visited the studio of Paule Dubios Dupuis. I had seen her work last year when I was specifically looking for large abstract paintings, and indeed her rich and vibrant canvases were once again among the largest I saw this weekend. Her paintings feature shapes and areas of color of different sizes with soft of ambiguous borders - the content has a very expressive, even emotional, quality. Her smaller “Graffiti” series is very crisp and tight with shades of black and grey; her exceptionally large Pour toi maman is simultaneously study in color, shape, and use of text, and a moving tribute to her mother.

Clare Kuo. Boundaries #24. (Click to enlarge.)

At 1035 Market Street, I encountered the work of Clare Kuo. Her large abstract paintings have very strongly defined shapes and boundaries, with large fields of color. Within each, one can see different shades in the brush strokes and fine detail, but it is the large outlined shapes that most stand out. Conceptually and texturally, her paintings remind me a bit of Silvia Poloto’s Observations series (from Open Studios week 1), but with a different vocabulary of shapes.

Andrzej Michael Karwacki. (Click to enlarge)

Also at 1035 Market, Andrzej Michael Karwacki presented both abstract work as well as figurative work, and indeed I did not initially realize they were from the same artist.Karwacki keeps the two bodies of work fairly separate, and noted that the viewers and clients for his abstract and figurative work fell into two very distinct groups. So perhaps I was an exception in having an interest in both. His abstract work was very textural, with brighter natural colors often running down the canvas in a manner that suggests water running down the side of a wall. Some of his paintings also feature plant shapes and patterns. His figurative paintings, by contrast, had a very crisp feel with well defined lines, and reminded me of fashion and glamor photos. These images also incorporated text in the form of poems printed in the background.

One of my favorite “spaces” from the weekend was Pier 70, a collection of dilapidated port and industrial buildings in Mission Bay. I featured one of my own photos from this area in last week’s Wordless Wednesday, and will have more to say about it in a future article.

Phillip Hua. (click to enlarge)

I did see several artists at the Noonan Building at Pier 70, including Phillip Hua. I have seen Hua’s abstract work from his De/Construction series before at Hang here in San Francisco. I was attracted to the large shapes lined with smaller dots and splatters; and stark coloring with broad areas of black set against white and bright colors. His more recent work, re:Action involves ink and tape placed on top of pages of the Wall Street Journal. The images of trees that emerge suggest the “reclaiming” of the Journal pages. The newspaper was created from trees, and now it is being used to recreate trees.

In a lower level of the same building, I found the work of John Haines. His metal sculptures feature soft curving lines, circles and smooth textures. The abstract metal shapes have a very organic feel and the thin lines in some of the pieces convey a sense of motion. It also was fun to try and use the circles as “windows” through which to peer at some of the other sculptures.

John Haines. (click to enlarge)

Rebecca Fox. (click to enlarge)

It seems that I always end up being drawn to abstract metal sculpture, and thus I ended up again this year atIslais Creek Studios. Some of the artists I saw last year were not showing this time. But I did see Rebecca Fox’s large metal sculptures. Her arrangements of almost perfect circles and other curvilinear forms in arrangements suggest astronomical symbols. The shapes and surfaces have a very smooth, continuous quality to them. They also have a feeling of strength when viewed in person, even some of the pieces composed of thinner circles.

Nearby, Yong Han’s sculptures provided a stark contrast. If Fox’s sculptures are represent simplicity, strength and circles, Han’s are intricate, delicate and very linear. Several of his sculptures featured complex arrangements of wire, bars and rods, sometimes vertical and sometimes at odd angles, and sometimes quite tall. Although not necessarily the tallest of his sculptures, I liked this pair as they reminded me a downtown city block.

Yang Han. (click to enlarge)

Back in SOMA. Reiko Muranaga’s drawings blended figurative and abstract shapes, such as in the large charcoal-and-ink drawing Session. One can focus on either the thick black curving lines, or the figures that emerge from them. This piece in particular seemed to fit quite well with the red table in front of it.

Reiko Muranaga. (click to enlarge)

She has also composed some exceptionally large scrolls of her drawings, although these were not on view. Muranaga also presented her Letters to Monet series features soft fields of colors (light reds, oranges, blues) overlaid with very detailed brush strokes suggesting birds or plants.

At Garage Studios on Bryant Street. Alan Mazzetti’s paintings feature a very geometric vocabulary with clearly delineated shapes and textures. Although the linear and rectangular shapes stand out from a distance, up close one can see the the defining elements are the circles. There the large and clearly visible circles, but also the arrays of smaller circles that together form larger objects, and the circles that are hidden in the textures of the paintings.

Alan Mazzetti. (click to enlarge)

At SOMA Studios Mark Harris presented an interest mix of purely abstract work from his Letting Go series featuring energetic curved lines, and prints that ranged from abstract to overtly political. Some of his prints were recycled from previous trials, on which he placed text elements including his iconic “signature” shape.

I had initially seen Jeremy Garza’s work as another example of the use of text in abstract art, with his shapes that resembled a sci-fi language. This was apparently a coincidence, though he noted I was not the first person to point that out during the day.

A few artists blurred the distinction between abstract and architectural (actually, several did whether intentionally or not, like Yong Han’s sculptures above). From a distance, some of the paintings in Nanci Price Scoular’s “journeys” series look like abstract color fields with soft muted tones, but on closer inspection they are revealed to be details from structures, such as the “urban still life” pieces featuring rusted iron rings and gates.

Nanci Price Scoular. (click to enlarge)

Samantha Ricca also crosses the boundary between abstract and architectural, with one series of paintings featuring surved, organic, almost corporeal shapes, and another featuring featuring straight lines and sharply delineated outlines of structures, such as a ferris wheel. Ricca’s studio was back at Pier 70, and a fitting place to conclude until the next article, which will focus on urban and architectural art.

[Images marked with "catsynth.com" are photographs taken with permission of the artists for use in these artists. Other images are reproduced from artists' websites with their permission.]

CatSynth pic: Tiger and OB-8

CatSynth — Mon, 09 Nov 2009 15:39:16 +0000

Submitted by Tony Cappellini via facebook:

“Tiger- on tweaking a patch on my OB-8″

Updated music website

CatSynth — Mon, 09 Nov 2009 05:11:18 +0000

I have embarked on a long-overdue update of my professional music and art website, a sort of sibling to CatSynth.

Besides the new look and feel which I quite like, I updated the available music for download, including some selections previously only available on the (now defunct) podcast, and the audio recording from my performance in Shanghai.

Please do check it out. Feedback welcome.

Weekend Cat Blogging #231: at home in the studio

CatSynth — Sat, 07 Nov 2009 20:44:27 +0000

A day when I was feeling mildly ill turned into an incredibly creative and productive day, including lots of time in the office/studio.

Here we see Luna sitting on the ledge that borders the studio area. In the background one of our main workstations, with Pro Tools running on the computer, and the trusty E-MU Proteus 2000 module off to the side (it’s back in its rack after the recent Reconnaissance Fly performance). One of several photographs by our friend Luxe hangs in the back.

The studio ledge is the highest point in CatSynth HQ, which makes it attractive to cats. There is also another workspace against the ledge where I often sit, so she likes to be nearby.

Note that the duck is actually musical instrument that I have used in several live shows :).

I do sometimes feel a little nervous when Luna gets up the ledge, given how high it is above the floor below. But I am putting my faith in her feline balance and dexterity. Eventually she comes done into the space itself to curl up for a nap, often on her favorite beanbag chair:

Weekend Cat Blogging #231 is being hosted by Diamond and Tristan over at digicats. Do check out their cool graphic featuring another black cat with green eyes and a human “cat woman” companion.

The Carnival of the Cats will be going to Nikita’s Place this Sunday.

And of course the Friday Ark is at the modulator.

Reconnaissance Fly and Noertker’s Moxie at SIMM series

CatSynth — Sat, 07 Nov 2009 00:52:29 +0000

Last Sunday (November 1), Reconnaissance Fly performed at the Outsound SIMM Series.

This performance was as a trio, with Polly Moller (Scorpio, and flute and voice), Amar Chaudhary (Pisces, and electronics), and Bill Wolter (Saggitarius, and guitar).

Photograph by Jennifer Chu. Click to enlarge.

We performed four pieces from our “spong” cycle Flower Futures. What is a “spong cycle”? It is a series of pieces based on spoetry, “the deliciously powerful results of robot efforts to evade your spam filter” (as well as the enormous spam queue here at CatSynth). Most spam is banal or poorly written, but occasionally one stumbles upon a particularly beautiful piece of text. We performed four pieces from the eventual full cycle. The two I wrote entitled “Small Chinese Gong” and “Seemed to be Divided in Twain” are improvisational pieces based on graphical scores. You can see an example symbol to right. The interpretation of the graphics can be musical gestures “inspired” by shapes, or a more literal interpretation such as tracing them out on a Korg Kaos Pad - for this performance Bill and I had dueling Kaos Pads in some sections, which produced dense textures or “forests” of pointed sounds that reflected the underlying text.

Photograph by Jennifer Chu.

Bill Wolter’s “Spam-a-lot” is a combination of improvisational and traditionally written material. The highlight of the piece is the section in the middle concerning “the animal trade in Canada”, ending with a bluesy rock pattern set to “Ca-na-da-a!”, and is probably one of our favorite moments in every performance or rehearsal.

Polly Moller’s “Emir Scamp Budge” is a more idiomatic piece, scored for a standard quartet of keyboard, bass, guitar and voice with a bit of a jazz feel. The text is set to a rolling melody set against a walking bass line and an odd chord progression. It is quite a contrast to the graphical score pieces, and a great excuse to dust off the jazz chops.

It was a pretty solid performance, with all the practice and rehearsal time having paid off. Sadly, this was in all likelihood the last performance that Bill Wolter will be playing with us.

We were followed by Noertker’s Moxie, featuring Bill Noertker on contrabass, Annelise Zamula on tenor sax and flute, Jim Peterson on alto sax and flute, Jenny Maybee on piano, and Dave Mihaly on drumset and percussion. They were marking the release of their new CD druidh lacunae.

The piece, Kamilopárdali, started off very free-form, with lots of detached notes and percussive sounds, including a cloud of metallic-percussion sounds, and Maybee directly playing the strings inside the piano. Gradually, the music became more focused rhythmically and melodically, and then began to alternate between sections of standard modern jazz with rhythms and chromatic lines, and more free-form sections like the beginning. At one point the rhythm disappeared entirely with only sparse hits on the piano strings, drums and bodies of the bass and saxophones. After this, a section with a stronger and tighter jazz melody and rhythm emerged; I believe this was the segue into the piece Athenian Birds.

This was followed by Virage, which Noertker described as having been composed in Hungary and Slovakia in 1995. However, the impression I had of the piece was more East Asian, with lots of pentatonic scales and harmonies set against a latin rhythm. Indeed, one flute melody performed by Zamula sounded exceptionally Chinese, not only because of the scale but also the ornamentation of the notes - there is a particular sound in Chinese music with grace notes or bends on accented notes.

One other piece that particularly caught my interest was Desert Canto. It was described by Noertker as a “beautiful piece”, inspired by photos from Nevada Test Site (site of former atomic-bomb tests) that were “beautiful but also disturbing.” The piece was indeed beautiful, very atonal - but a traditional melodic atonality as opposed to percussive or non-pitched - and had a soft, more dreamlike quality, with frequent cymbal and drum rolls and freer rhythmic structure. You can hear a clip of Desert Canto on the Noertker’s Moxie website.

Dona Nobis Pacem: Blogblast for Peace!

CatSynth — Thu, 05 Nov 2009 05:35:55 +0000

Wordless Wednesday, North from Pier 70

CatSynth — Wed, 04 Nov 2009 05:48:26 +0000

CatSynth pic: Chat et MPC 3000

CatSynth — Tue, 03 Nov 2009 16:24:19 +0000

Submitted by Vince Noog via facebook:

Originally from the French-language version of Audiofanzine. The cat is napping atop an Akai MPC 3000. The MPC 2500 was “represented” in Nomadik Messenger’s performance at the APAture Festival” back in September.

I also noticed an E-MU SP-12 in one of the other photos from this set (sans chat).

CatSynth pic: Sam Evolving

CatSynth — Mon, 02 Nov 2009 15:35:31 +0000

From Ran Kerlian on flickr, via matrixsynth:

“Sam, my 3 months kitty, dronning with the Mono Evolver Keyboard.”

Weekend Cat Blogging #230: Hallowe’en Black Cat Edition!

CatSynth — Fri, 30 Oct 2009 14:00:08 +0000

Luna welcomes everyone to Weekend Cat Blogging #230. As has become an annual tradition here at CatSynth, we are hosting the Hallowe’en Edition in celebration of black cats.

Hallowe’en can be a difficult time for any cat, with kids and mischief-making and such. But it can be exceptionally hard for black cats. Hallowe’en traditions for celebrating the dark, macabre, and scary collide with the (primarily American) superstition that black cats are bad luck. You can read an interesting article on the history and mythology surrounding black cats:

On our cat forum recently, I asked the members what they thought of when they heard the words “black cat.” Being true cat lovers, they answered that the following words come to mind: mysterious, alluring, beautiful, playful, elegant and gorgeous. But when non-cat owners are asked the same question on another internet forum they come up with these words: bad luck, witches familiar, evil, demonic, mean, spooky and Halloween… So you can see the superstition lives on even today.

Indeed, many shelters block adoption of black cats in the weeks immediately before and after Hallowe’en, some blocking adoptions for the entire month of October. However, this practice is not without its controversy, as suggested in this recent article. But as Kathy Covey’s cat blog suggests, black cats can have a hard time being adopted at any time of the year.

However, we at CatSynth, and we suspect many of our readers, fall into the category who see black cats as alluring, beautiful and elegant - and of course, playful as well. And with that, we invite all our feline friends to join us in celebration of cats this Hallowe’en.

To participate, please leave a link to your post as a comment, and we will add you to the round-up throughout the weekend.

The Kitty Limericks blog featured black cats during the week leading up to Halloween, and on Friday Karen Jo composed and posted a limerick for Luna!

Luna’s a black cat with eyes of green –
One of the prettiest I’ve ever seen.
She loves her nip;
Goes on a trip.
Now she’s ready for Halloween.

Our friend Mickey is a bit nervous, but we’re pretty sure it has very little to do with being a black cat on Hallowe’en. Visit Mickey, Georgia and Tillie to find out more.

Hallowe’en of course features costumes, and Raymond is enjoying a Hello Kitty costume, i.e., by mauling and drooling on it rather than wearing it.

Hallowe’en is also about treats, and Jules enjoys banana popsicles. Vincent seems to prefer the more conventional mouse toy.

One needs a bag to tote all those treats, and the Criz Cats remind us to use bags responsibly. Reusable bags are the best option for Hallowe’en treats and all your carrying-stuff-around needs.

At sidewalk shoes, Patchouli says Happy Hallowe’en to everyone while remaining safely inside her screened-in porch. We at CatSynth definitely recommend that cats stay indoors this weekend.

Conventionally speaking, Hallowe’en treats are candy. But the cats over at Friends FurEver think that tuna makes a better treat that candy. I suspect that Luna agrees.

Hallowe’en is associated with autumn colors (including the iconic orange), and Ernie’s black fur complements the fall colors perfectly in this photo.

Salome (in black silhouette) has a “trick or treat” plan of her own at Paulchens FoodBlog?!

Our fellow “house panther” Mr. Hendrix (or perhaps his evil alter-ego Bendrix) and the “blurpy boy” wish everyone a Happy Hallowe’en! Seems like there ready to go and enjoy the unique holiday nightlife.

Wordless Wednesday: Vines and Concrete

CatSynth — Wed, 28 Oct 2009 04:51:07 +0000

CatSynth pic: Cats and Gear 11

CatSynth — Tue, 27 Oct 2009 16:00:06 +0000

Submitted by pulsewidthmod via twitter:

I see a Moog Voyager, an DSI Evolver keyboard, and a korg

There are several photos in this archive, look for more to reposted here in the future.

Catsynth pic: Guest Percussionist

CatSynth — Mon, 26 Oct 2009 14:56:19 +0000

Submitted by Ivan via facebook:

“Different Skies 2009 in Arcosanti, AZ. Our guest percussionist sits in on the Roland V-Drums.”

I also see a Digidesign Mbox 2 Pro.

UPDATE: “[the cat is] named Mischa. A real sweetie, too!”

Weekend Cat Blogging: back on the patio

CatSynth — Sun, 25 Oct 2009 16:30:31 +0000

We had another warm weekend, so Luna and I enjoyed some late-October time out on the patio.

I particularly like this second photo, with its sparse quality. Luna and screen are discrete elements on the continuous field of stone squares.

Weekend Cat Blogging is being hosted this weekend by Samantha at the New Tuxedo Gang Hideout.

The Carnival of the Cats will be up today at When Cats Attack!.

The friday ark is at the modulator.

And don’t forget that Weekend Cat Blogging Hallowe’en Edition will be right here at CatSynth next Saturday!

Metal Machine Manifesto - Music for 16 Intonarumori

CatSynth — Sat, 24 Oct 2009 01:28:58 +0000

Last Friday, I attended Metal Machine Manifesto—Music for 16 Intonarumori at the Yerba Buenca Center for Arts here in San Francisco. This concert, a joint performance of SFMOMA and Performa, was part of a celebration of the 100th anniversary of the launch of futurism, or more specifically the Italian Futurist movement launched in 1909. A century ago, the futurists were producing art, music, architecture and performance that still feels very modern, even more so than some of the more conservative post-modern art of recent decades.

In the area of music, one of the most influential composers and writers was Luigi Russolo, who wrote the Art of Noises, and developerd the intonarumori or noise makers. The work of Russolo and others in futurist music paved the way for experimental and technologically-focused music from George Antheil to the electronic experimental and noise music of today that we at CatSynth perform and celebrate. Indeed, RoseLee Goldberg in her introductory remarks to the program refers to the music of the futurists as the “original DNA of noise music.”

The intonarumori were hand-cranked instruments designed to produce “noises”. Their sounds included whirrs and buzzes, clangs, scrapes, and also sirens and mechanically plucked strings.

For this performance, Luciano Chessa, a “foremost Russolo scholar” oversaw the recreation of 16 intonarumori, which were used to perform both pieces by the original futurist composers, and contemporary pieces for these instruments.

The recreated intonarumori looked much like the old pictures, with simple wooden boxes and large cones for sound projection. You can see and hear some of the futurist noise makers in this video from Chessa and composer/performer Mike Patton:

After the concert I a chance to see the intonarumori up close and even try a couple of them out. This medium-sized instrument produced repeated plucked-string sounds.

This one was purely mechanical, though another that I tried which produced automobile noises appeared to have an electric motor.

The concert itself featured Luciano Chessa as conductor for most of the pieces, and members of the Magik*Magik Orchestra under the direction of Minna Choi.

It opened with Paolo Buzzi’s 1916 piece Pioggia nel pineto antidannunziana. This was a rather theatrical piece, with dramatic conducting by Chessa and various words in Italian shouted through a megaphone. The noise intoners here were used to literally reflect the urban noises of the time such as sirens and the whirring of machinery.

In the the more contemporary pieces, the noise intoners were used in other contexts rather than as simulation and expression of the modern noisy environment, but as instruments that could be played subtly and expressively. Such was the case with Theresa Wong’s Meet me at the Future Garden. Hits and clangs and mechanically plucked strings were set against Wong’s percussive vocals and Dohee Lee’s more dramatic low voice with loud vowel intonations. From Wong’s program notes: “2 a.m. sharp, in a primordial cooperation of pulsating forest, I will sing you a song tactitle tick tocking of residual harmonies, caution manifest launching the dominance of mutual respoect and hypersensitivitiy this message sent from my iphone [sp].”

let us return to the old masters, a collaborative composition by members of sfSoundGroup, took its inspiration directly from a quote of Francesco Balilla Pratella ’s Manifesto of Futurist Musicians to “destroy the produce for ‘well-made’ music”. The piece itself was composed during the rehearsals for the concert. The sfSoundGroup members have excelled at extended technique and performance of complex compositions with their traditional instruments, and brought that skill to the intonarumori.

The first half of the concert ended with one of the most disinctive pieces of the evening, Donno Casina by Carla Kihlstedt and Matthias Bossi. The performance featured two the larger “bass” intonarumori, along with Kihlstedt on vocals and violin, Bossi on accordian, and Moe! Staiano playing a large drum and collection of colorful metal objects. The distinctly futurist sound of the intonarumori was blended with Kihlstedt’s more contemporary extended vocal and violin techniques, and Moe!’s intense and theatrical percussion performance.

In addition to having the best title of any piece in the concert, James Fei’s New Acoustical Pleasures (A Furious Meow) was the most subtle. It was made of “quiet noises” with lots of empty space between sounds and relatively little movement, and reminded me of some of John Cage’s more static pieces. The short, soft tones from the intonarumori were quite a contrast to the loud blaring representations of modern life of the original futurist pieces.

While listening to John Butcher’s penny wands and the native string, I came up with the word “scrapier” to describe the piece. And I am pretty sure that is not a real word. Nonetheless, the piece was “scrapier” than the others. The performance, which featured Gino Robair, included lots of scrapes and grinding sounds building up to a crescendo and then coming to an abrupt stop. After a brief silence, the scrapes and grinding sounds resumed. This pattern repeated a couple of times, with variations in each repeitition.

After Fei’s and Butcher’s pieces, the full ensemble returned for Mike Patton’s << KOSTNICE >>. All sixteen intonarumori were played together to produce a thick “orchestral” sound along with drums.

Luciano Chessa’s L’acoustic ivresse (Les buits de la Paix) also featured the full ensemble plus bass vocalist Richard Mix. There were similar thick clusters as in << KOSTNICE >>, but this time framing Mix’s vocals. There were moments when the vocals and ensemble played off on another, with Mix’s strong bass voice and traditional singing style simultaneously blending and contrasting with intonarumori. This performance received one of the longer and more spirited rounds of applause of the concert.

Elliott Sharp’s Then Go, which featured Dohee Lee, received a similar reaction. This was another full-ensemble piece, where the noise tones were very well synchronized to Lee’s dramatic singing. She also tapped (or stomped) her feet in time with percussive sounds from the ensemble in a strong rhythmic pattern. Through the rhythm, piece seemed to connect both the futurist sounds (as archetypically modern sounds) with something much more traditional, even primal.

The concert concluded with a realization of a fragment from Luigi Russolo’s 1913 Risveglio di una città. Like the other original futurist work in the program, this piece directly referenced “sounds of the modern world” like cars and sirens. This very short fragment of a piece abruptly ended with Chessa dropping his baton.

CatSynth pic: Soma’s Solo

CatSynth — Fri, 23 Oct 2009 15:46:00 +0000

From Persiflage on flickr:

We have seen Soma playing synthesizers before.

And try out the soma tag for an interesting mix of what this site is about.