Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Bora Yoon Holds the Crowd Spellbound at La MaMa

Bora Yoon is a connoisseur of high, ringing sounds, and the things that make them. Wednesday night at La MaMa, in the first of a four-day run of her new program Sunken Cathedral, she employed her signature instrument, singing bowls, in addition to rattles, chimes, a music box, pizzicato violin and several items typically found on the stove or in the cupboard. She also played piano, tersely and evocatively, in a thoroughly opiated Erik Satie-meets-Cab Calloway vein, acting out a surrealistic, shadowy, existential one-woman play of sorts against a shapeshifting prerecorded backdrop incorporating both electronic atmospherics and snatches of material from her enveloping, enigmatic new album from which the production takes its name.

Onstage, the exit and re-entry point was the grandfather clock in the corner, giving Yoon the chance to change costumes – and also allow for flitting appearances by a male dancer dressed in traditional Korean garb, complete with twirling tassel atop his colorful cap. Yoon bookended the performance with pre-renaissance vocal works augmented by atmospherics: she has a crystalline chorister’s voice and held the sold-out crowd rapt along with her. In between, she took brief detours into brooding art-rock, lengthy, nebulous vocalese sculptures and a couple of horror-film interludes complete with scary shadow puppetry and projections. Early on, she got an almost imperceptible doppler effect going with what looked like a crystal on a spinning turntable, a more subtle take on an old Andrew Bird shtick.

The theme of the album – recently reviewed here – and the show are something along the lines of “if you don’t make your life happen, it’ll happen to you.” Despite the pretty relentlessly moody ambience, what was most striking was how absolutely hilarious Yoon can be. A couple of momentary appearances by Yoon’s mom speaking animated Koreanglish into her voicemail drew predictable chuckles. But the funniest sequence involved a countertop, an oven and the things around it. The sight gags were priceless, and it wouldn’t be fair to spoil them – suffice it to say that Yoon is hardly the first person to peel and then munch on a carrot while singing, but she didn’t let it throw her off, pitchwise or otherwise, no small achievement. The rest of the La MaMa run, continuing through tomorrow night as part of this year’s Prototype Festival, is sold out, but there is a wait list and several people on that list made it into Wednesday’s show.

January 16, 2015 - Posted by | avant garde music, concert, drama, experimental music, Live Events, Music, music, concert, New York City, review, Reviews, theatre | , , , , , , , , , , , , ,

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