Venue: Glassland Gallery (NY)
Date: August 18, 2013
My previous exposure to The Mast, the duo of Haleh Gafori Kilmer and Matt Kilmer a year or so past, was impressive. Their live performance and CD release was marvelous (you’ll find my review here: https://doobeedoobeedoo.info/2012/03/13/cd-review-the-mast-wild-poppies-how-did-profit-trump-well-being/). So, on a recent Sunday night, I trekked into an obscure area of Williamsburg to hear what they’re doing these days.
The act before The Mast was Nitemoves, a laptop player / DJ. He had a musical sensibility, and was an interesting performer. While some of his melodies seemed little different from the melodically unsophisticated synth bands of the 80s, he did create some interesting things and made creative use of his computer’s possibilities. His music was always changing and never became monotonous.
The Mast took the stage in a stark, minimalistic setting. They performed the music from their upcoming CD Pleasure Island. Their music has moved into a different realm than it was on their previous release “Wild Poppies.”. While its still definitely The Mast”, they have left their old sound behind. The acoustic percussion that Kilmer is so brilliant at, and the organic and simplistic styling of Gafori’s guitar playing have given way to a disingenuously aggressive electronica.
Kilmer played electronic percussion and laptop. He was essentially the whole of the group ‘s instrumentals. His set up consisted of an electronic percussion, a mini keyboard, laptop and and an iPad. Gafori used a mini iPad for additional sounds and effects. Despite this new role, Kilmer’s skills have not at all diminished. He succeeded in translating them to a different medium and a different genre. His use of this genre’s musical / sonic qualities was imaginative.
Gafori’s concentration on vocals and being a frontwoman (or frontperson, if you prefer) was another big change The Mast made. Gone is the organic, minimalist guitar playing she used in the band’s early phase. Clearly more comfortable in the role of singer, she exuded a sense of having fun, occasionally dancing in a slightly imprecise though effortless and carefree way that communicated a subliminal sense of reassurance to the audience.
The only thing that remains of the old Mast sound is Gafori’s ethereal vocals and her sense of melody that subtly insinuates itself into one’s memory. Although this too was subject to electronic manipulation (I was unsure if she, Kilmer, or both of them were doing this; I never had the opportunity to examine their equipment closely), it never suffered from being overwhelmed by the electronics; as if its very nature cannot be affected by anything.
The audience was very responsive and enthusiastic. They danced throughout the performance. And The Mast’s new music was particularly well suited for this.
All in all, however, it was an enjoyable performance, and I look forward to The Mast’s upcoming CD release when I can concentrate on their music without the distracting and intoxicating environment of a club.
