Cottonfest

Cottonfest 2009

 

Cottonfest
Anton was just groovin’ & jammin’ & rockstarin’ to his little heart’s content tonight, and good taste was NOT going to get in the way of that!  I sensed a communication breakdown, which was later confirmed when the set did not end at a very natural feeling ending, which Anton felt needed to be his funky solo instead.  Rod recounts how his attempts at eye contact went unanswered, like the fat girl at prom.

But maybe I’m being too harsh. Though reviewing some footage taken by a member of the crowd, it looks like Anton was not only not responding to Rod (because he had his eyes closed to really FEEL that sweet sweet sound), but he did not look once at the five foot painting behind him, which presumably these two musicians should be taking cues from.

Tisk, tisk! Bad musician!

In his defence, and to the credit of both Rod and Anton, this is a rare occurrence.  Usually, they are both looking and at times responding.  The current format however, does lend itself to more of a loose interpretation on their part, and a very reaction heavy and gestural approach on my end.  Because of this, Rod and I have started thinking on ways of working that will be more successful with respect to our aim of actually creating a merger of art and sound.

Regarding the painting, this was the first time I used my new “Key West” colors.  I was really excited to use the vibrate yellow, blue and pink which Martin Wilson captured so well in the photographs below. It definitely has a different feel to it than the rest of the work, which proceeded it.  And while I was not happy with it as a whole composition (as one did not emerge serendipitously this day), I did feel that some of the sections had a very successful and rich painterly quality.

All in all it was a good day, complete with some really nice burgers to boot.

 

–Angie

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Allow me, if I may, to present the case for the defence in the face of the vicious slander being spread about by one Angela Guyton.

Firstly, while the footage may indeed show I had my eyes closed, when pressed on this matter, Angela was forced to reveal the footage was only less than two minutes long, thus being an unreliable source of evidence.  In fact, in the photo below you can see me staring at Rod, admittedly it’s a “stoned hippy” type stare, but a stare nonetheless.

Secondly, erm, well, really that’s the only point I had to make.  And, if I’m honest, Ang is probably spot on, all that is left to say is (and this does excuse everything), I had been drinking heavily prior to this performance.  That is the Cottonfest way, and I make no apologies for that.

-Anton

 

Painting owned by our Anton Hunter.

Sans of Gilbert

New Webpage : New Album

Sans of Gilbert

Finally got around to redoing the webpage. Pretty sharp looking eh?

We’ve also finished up our first EP, The Sans of Gilbert. It’s going to be available in the next month or so, or once Angie and Rodrigo come back from their trip to Miami.

Also in store is a possible tour of the Northwest in October, so keep your eyes and ears peeled.

Indigo Bar

Shirokuma Presents

Indigo Bar

You know that scene in Lost in Translation where these two dudes are wondering out loud to one another whether  or not its Bob Harris and they’re just out of frame? Playing at Indigo Bar was just like that for Rod and I…except our two dudes needed to hear each other over the roar of the crowd, and the crowd wasn’t roaring for us, but despite us.

 

“Bro, yeah. I see what they’re doing. They’re like connected.”

“WHAT?”

“THEY’RE, LIKE, DANCING BRO”

 

And bro, let me tell you, I was definitely dancing. I felt I did some really good work that night.  I honed in on Rod’s playing and felt like I really pulled it together.  To this day that painting remains one of my favorites of all time despite the shinnanigans.

And the shinnanigans are as follows:

– The place is an actual busy & hip bar filled with twenty-somethings getting drunk and setting the mood to no doubt boogie down to no less than two Kylie Minogue songs throughout the night.

– House music started playing right at the beginning of the set. We had to stop the performance, ask the bar to cut it off, and reset. Which is not an easy thing to do especially with TSC’s notorious vibe-sensitivity. (But which still wasn’t as bad as Anton’s sandy vaginitis sensitivity).

-The crowd was EXTREMELY close and may or may not have even have been aware that we were performing despite Rod’s necessary consistently loud drum playing.

Bro, Rod was not, like, dancing. He was put off not being able to really demonstrate any subtlety.

(Note: Anton was too busy and could not attend, but foretold most of the above.)

-Angie

 

 

Painting owned by Martin Wilson.

Aberdeen

SOUND Festival – Aberdeen

Aberdeen

We had made it a habit of attending the SOUND Festival in Aberdeen every year we had been in the UK. This year was no exception. Since Serg was staying with us at the time, we figured it would make a great road trip/vacation. I managed to book us a gig at a nice venue in Aberdeen, and we were off. The car was loaded to capacity with the three of us, a massive canvas (to be assembled at the venue), quilts/pillows, and quite a bit of gear.

Since this was more of a ‘solo’ show, with some support, I planned for a different type of setup. I went with a nearly all Ciat-Lonbarde setup running a Sidrassi, Cocolase, Namasitar, and Radio Zither. There was also a toy piano and a banjo.

We broke the set into three sections. The first was some solo improv on toy piano + electronics. This was followed by an inspired performance of ‘The Ocean’s, Like, Right There’ from my eventual Jew Point Owe release. Last came a ‘cover’ of Regina Spektor’s Apres Moi, and by ‘cover’ I mean we used it as a setup for some very noisy, noisy, improv. It was intense.

Angie made a beautiful painting, using lots of tape, which created some great sounds when being applied/removed.

–Rodrigo

 

 

 

Painting owned by Bill Thompson.