Shepherds of Cats & Vj Pietrushka - "Live at Bemma Bar"

Shepherds of Cats & Vj Pietrushka

Adam Webster: cello, voice
Aleksander Olszewski: ethnic percussion instruments
Dariusz Błaszczak: modular synthesizer, sampler
Jan Fanfare: guitar, prepared ukulele, looper
Vj Pietrushka: live cameras, video processing

Album's title: Live at Bemma Bar

Antenna Non Grata (2025)

Review author: Viačeslavas Gliožeris

Shepherds of Cats & Vj Pietrushka is an audio-visual project consisting of an electro-acoustic free-improvisational quartet and visual artist Vj Pietrushka. “Live at Bemma Bar” is their latest live recording, but since it is released as an audio CD (and download), the best way to imagine the full picture (with a visual part) is searching for some YouTube snippets on the net.

Physical release is packed in a black-and-white paper/plastic CD case and contains one piece of music, lasting almost 38 minutes. In the case of the Bandcamp edition, the single piece is cut into four parts.

The audio part of the collective is quite unorthodox (though not so much, if speaking about the diversity of free improvisational collectives). We have here the cellist Adam Webster (who adds speaking words as well), Aleksander Olszewski playing ethnic percussion, guitarist (and occasional prepared ukulele player) Jan Fanfare, who uses loops as well, plus vintage synth player Dariusz Błaszczak. The recorded material comes from the 2023 concert at Bemma Bar in Wroclaw, but there is no applause or any other signs of live auditorium existence coming from the recording.

As with many other similar audio-visual projects, the best way to appreciate Shepherds of Cats & Vj Pietrushka's music is through the integrity of audio and video lines. Still, we have here the audio track(s) only, which can probably be described as a “soundtrack” of sorts.

The program starts with quite bulky free improv, combining acoustic cello and percussion vibes with “old school” electronic sounds and loops. Ten minutes later, the music finds its flow framed by droning strings, repetitive, almost ritual drum beats, and occasional shredding guitars. Squeaky cello recalls great Korean cellist Okkyung Lee's works with Norwegian noise artist Lasse Marhaug. At approximately 18 minutes, part 4 starts, containing military marching-like music with Adam Webster's voice over it. Without losing its freedom, the music sounds more directional and organized on the other half of the recorded concert.

I believe the best way to appreciate spontaneous/free improvisational music is to experience it watching/listening live, when (in the best case) the miracle is born before your eyes. Everyone who witnessed the intuitive interplay between great improvisers during the concert knows what a great feeling it is. Still, recordings are a compromise of sorts, giving the possibility to hear and enjoy the music from the events one had no possibility to participate.