Last night I went to see Klimchak performed at the Balzer Theater/ Theatrical Outfit in downtown Atlanta. Here's a rundown of his playlist and some of my thoughts:
1. "To set the mood for the evening..." Klimchak starts out at a large rustic home-built instrument upstage which consists of three 15' long PVC pipes ingeniously mounted on a see-saw device. As soon as he plays it you can tell that these were jumbo Rain sticks specifically designed for sound effects at a theatrical performance (probably at Georgia Shakespeare.) Klimchak continues to built more layers over the sounds with some kind of didgeridoo-like wind instrument as well as a traditional flute.
2. Next he moves on to the crowd-pleaser Marimba Lumina, (click on it for more info) which I have seen him performed many times over the last few years: outside at a park on the Atlanta Beltline and at indoor venues such as the EyeDrum space. "Country and Eastern" remains one of my favorite compositions. It combines a catchy Chinese/Oriental melody on top of what sounds more like rock n roll than country rhythm. "The Pent" featuring some wild free jazz improv trumpet licks followed by a sort of "Scottish Jig ?" complete with the penny whistle. It's something you have to see live to appreciate how well Klimchak makes use of this electronic instrument. He plays with four percussion mallets, using both feet on pedals for drums, and then a mouth breath-controller on top of it all.
3. This was probably the first time a lot of people have seen the Theremin (click for more info) being played live. Man, his skills on this wireless eerie electronic instrument have improved tremendously since the last time I've seen him. He could make that Theremin sing sweet expressive operatic sounds just by moving two hands. Mesmerizing is the word I still think of whenever I see and hear Klimchak performs this instrument. Who knew that the Theremin could also be humorous?
4. "Sixteen Tons" his Afro-Cuban take on this coal miner folk/work song shows his confidence and ease playing around the acoustic drum set-up. His vocal mic probably didn't need that much reverb, but hey that's just my opinion as an ex-sound guy. This might be the only cover song that he does publicly.
5. "Waterworks" worked wonderfully for its simplicity an beauty. Just a mallet banging on some pot lids submerge in and out of a giant clear glass waterbowl. Added some Berimbau-like instrument played with a bow. The whole effect is very meditative and zen.
6. A live dance accompaniment piece performed on a Magical Musical Desk with built-in instruments. "To Bring into Being" featuring Lori Teague from Emory University.
7. This is what I think is the essence of Klimchak: unique, imaginative, playful, incredibly inventive and creative in his approach to music. He said he did this "Tarzan on Acid" piece at an open-mic show about 3 years ago. It makes great use of the looper effect. Starts out with a basic Tarzan yodel, loop or sample that, add some flute phrase, loop, add more instruments, various squeaky dog toys, mouth harp, more plastic toy instruments, everything plus the kitchen sink, plays the tambourine, do some more throat singing and scat singing. What is incredible is that he makes nothing seems out of place, this piece is seamless and effortless. The whole thing sounds so fun, modern, groovy and spontaneously organic. The audience can't help but get into it. I could watch and listen to it for hours.
8. "Knows No Brakes", a Rave Techno song done live without sequencer on the Marimba Lumina finished up the 2-hour performance.
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| Klimchak playing the Marimba Lumina at the Atlanta Beltline opening last year |
